Planning a photoshoot

It’ll probably be an open door for you when I say that with a decent planning, you’ve already done half the work. I believe a thorough planning is vital for any photoshoot. Whether you work with models, or go go out into the wild. Both indoors, as well as outdoors, a planning will only help you to be more productive.

This guide thoroughly describes the way I go about my major productions – using a group of models, on location outside my studio, using one or more assistants. For most (micro)stock productions, this approach will be way too elaborate and time consuming, and a more lean approach can be followed.

1. Come up with a plan before you make a planning.

This sounds redundant, but is often overlooked. What I mean by this first step, is that you need to determine what you want to shoot. I keep a long list of possible ideas in a small notebook (read: iPhone) where I jot down just about everything that triggers me as a prospected photo-op. Every now and then, I go over that list behind my computer, and search those themes on the various stock sites, to see what’s already online, what’s available, and which type of photos are missing from the various catalogues. Based on those results, I pick the “niches“, and create a mindmap, exploring the niche’s potential.

• Notebook, text editor or the likes
• Mindmapping software
• Search function of your stock agent of choice

2. Make a storyboard

This step is actually exactly that. Using a whiteboard (or a pen and paper), I sketch the images I want to capture. As many as possible, but only venturing out into different concepts and settings, without distinguishing between portrait – or landscape format. This usually results in about 30 sketches, depending on the theme and the purpose of the shoot.

• Pen and paper or whiteboard
• Mindmapping software
• Camera (phone, point and shoot, etc – you only need them for reference!)

3. Create lists

The next step is to create lists. What do I need? Think concepts, translated into props, locations, and models. Do not forget to include a list of equipment needed (specific lenses, lighting requirements, etc). Organise them; divide them into things you need to arrange, things you need to buy, things you need to pack. Just write everything down that comes to mind – it’ll have to be revised later anyway.

• I use a simple text editor, post-it’s, or a task management tool, depending on the magnitude of the shoot.

4. Create a plan of action

The next step is to write down everything I need to do. I usually start by planning a date, on which the shoot is to take place, and then work backwards, to determine when I actually need to start arranging things.

The time before the day of the shoot can (still) be loosely planned. Be aware that arranging models and locations may be very time consuming, though, so calculate this into your planning, and be prepared to be forced to postpone the shooting date, when schedules simply refuse to coincide.

Based on the story-board I’ve created in step 2, I plan the day of the shoot meticulously with 15 minute time slots. My planning describes each of the themes and concepts, the various settings and the number of different photos I intend to end up with. Based on those three variables, I calculate the needed time in quantities of 15 minutes.

Make sure you include time in the planning for the obvious: Checking your gear, charging batteries, setting up on location, welcoming models, and allowing time to sign model releases. In other words, a S.M.A.R.T. plan is essential

• Spread sheet program
• Word program
• Project planner for big shoots to create a Gantt chart

5. Start following your plan

Again, an open door, but what’s the worth of a plan, when you don’t stick to it?

During the process of putting your plan in action, you’ll undoubtedly notice, that you need to revise it. Several times. During one of those revisions, you will realise, you might need a backup plan, too. This usually happens, when you have to commit to arrangements, and have to spend uncalculated money on models, props, and / or locations. It therefore is a sound advice, to think before you act, and seek for cheaper (if not free) alternatives.

During this step, you’ll notice the pieces of the puzzle will start falling together, and you’ll be able to refine stages 1 to 4. However, I notice, that often, those phases are so well embedded in my mind, that I omit changing the documents created so far, and I carry on to step 6. However, this is typically sloppy of me, and could well fire back, so I would urge you to at least jot down those changes.

• Telephone
• Agenda
• Word program with the planning and draft scenario open

6. Finalise the shooting schedule

When you’ve got everything sorted out, it’s time to finalise the plan of action you drafted in step 4. Usually, I split up this document into three different parts:

1. A full shooting schedule, including all lists, addresses (including telephone numbers), and all tasks I’ve jotted down earlier.
2. A concise shooting schedule, including the events for which you’d need the action of others, and the instructions and agreements with all parties involved. (As personal arrangements may vary, I tend to omit them from this shooting schedule) The concise plan consists of all contact information, including telephone numbers, route description, and the division of the 15 minutes’ time slots, including breaks, time needed to change sets, model releases, etc.
3. A summary, only including the 15 minute’s time slots of the shooting date, in a large font. I tend to make at least 4 copies of this; one is constantly in my pocket for reference, the other three are pinned on the wall for my assistants, the models and the hosts – if shooting on location – so they know when their involvement is required.

Now is also the right time to scout the location which hosts the shoot. Check for ambient lighting conditions, sockets to plug in a laptop, battery charger and extension chords for strobes, etc. Also look for dead spots (disturbing, or unwanted backgrouds, places to store your gear, etc).

If I can afford the luxury, I also assign one assistant as “time keeper”. Knowing myself, I know that when I’m shooting, I tend to loose track of time, and looking at the plan and my watch only disrupts my creativity. Having someone around to tell me to stop shooting and move on to the next scene is worth every dime.

Three days before the shoot, I email everyone involved the concise shooting schedule, including personal arrangements, which are added in the body text of the email. That’s just about when I also talk everything through with my assistants. In most cases, this will all be redundant information, but for two purposes: to stress the stakes involved, and to make sure there are no last minute surprises.

7. The night before the shoot

That’s also when I check my gear, and, if I don’t shoot in my own studio, when I check my bag, flight cases, and documents (model- and/or property releases, press card, etc)

8. The day of the shoot

The day of the shoot starts by setting up for the shoot. As all shooting sessions have been carefully thought through, it’s a piece of cake to set up the lights. I usually plan a slots (15 minutes) to take a few test shots, to check the camera settings. By the time I’ve finished that, the models show up, and I (or an assistant) welcome them, and give a short recap of the events ahead.

Bottom line

This guide perfectly describes what I should do. Usually, the time frame does not allow me to go through all the steps, or unforeseen events (inevitably) change everything. However, with every shoot I produce, I notice this preparation flow become more of a second nature. The result is that I become both more comfortable at organising big productions, become less alarmed when last minute changes occur, as well as make the process more lean by retracing my steps more often. Although the latter may sound weird, it actually saves time and increases the production level if I organise meticulously. It also allows me to skip steps, and helps me to be more on top of things.

Golden rule

Regardless of how perfect my planning is, the best shots I get out of such a production are always the impulsive, improvised – and thus the unplanned photos. A thorough preparation of a shoot is essential, but leave room for creativity and the unexpected! Remain critical of yourself. When I’m in charge, all mistakes are accountable to me, even if I’m not responsible.

This entry was posted on Friday, July 31st, 2009 at 14:30 and is filed under Articles and tagged with Articles, business, deming circle, mind mapping, photoshoot, planning, preparation, productivity, storyboard, time management, tips, tricks. You can follow any responses to this entry through the RSS 2.0 feed.