How I got the Shot – Commercial Food Photography

How I got the Shot – Commercial Food Photography

 

I was recently booked to capture images for a North East food retailer who have a specialist butchery within their store. In total I had 150 items to capture over a two-day period.

Preparation

First and foremost as with any commission its important to plan and prepare for the shoot ahead.

I had an idea on what I wanted the set up to look like, simple, sleek and a slightly modern feel to it. Although the images were to be used for their e-commerce website; I didn’t want them to be plain white background shots. I was shooting Raw Meat products, they needed to look appetising and make the consumer want to buy them.

As with most things when I’m doing research, I turned to google for ideas and inspiration. There was a significant lack of images of this type on google with maybe only two or three available for reference. My idea in my head was still the same before I googled it so that meant I could continue on the same route.

The room I was go shoot in wasn’t the biggest, maybe 2m x 2m in total. There was no natural light, no windows and it was cold. That actually played to my benefit.

 

Props

As I said above I had a specific look in mind for this shoot, and while I didn’t want to make it really obvious that I’d used props in this shoot, I needed something to help fill the frame for some of the smaller meat items as well as something of texture to shoot on.

The first and most important part in my mind was a chopping board. It needed to be sealed so that the juice/blood from the meat didn’t immediately seep into it and give a “wet look”. I googled a few different suppliers, looked on Amazon and visited some cooking retailers, none of which had what I wanted.

 

Ikea.

If Ikea don’t sell it, it ain’t available. I had a quick look on their website and found the perfect board. Small wood grain, sealed, shallow and relatively cheap too. It meant that the pattern wasn’t so strong that it took the eye away from the product on top of it.

I bought quite a few of these to take to the job.

 

I also purchased small jars with the idea of adding spices, herbs, salt etc to them to help give the impression of a kitchen.

Although I was shooting on a chopping board, I still needed a table or bench. I didn’t want to use a traditional butchers metal countertop as it would have reflected the light too much and taken away from the shot.

I have a few different types of textured laminate flooring that I tend to buy on trips to B&Q. If you can find a split pack with a couple missing its even better as they’ll knock a couple of quid off too.

I added the flooring to the frame with the grain running toward the camera rather than away so that the light wasn’t creating shadows on the joints. I also added one of my favourite textures. Hessian. In fact it was a sandbag that cost me £1 from B&Q, it’s barely visible in the frame of the finished shots but helps to break up the background that tiny little bit.

 

Set Up

With jobs like this it’s always batter to take too much stuff than not take enough as by the time you get set up you may want to change modifiers, add lights and change set ups.

It took me four trips to the car to carry all the equipment in before I realised there was an abundance of flat-bed trolleys that I could have used to carry it in one. Next time.

So I started to get the set up in place. Luckily there was a small dining table in the room I was using (I think it was a staff room ) so this was the perfect height to shoot at. I pulled that to one side, set up two stands and a background bar with a white PVC background from Pixapro to use if I needed to bounce a little extra light in.

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I added the flooring to the table running towards camera, and clamped it to the table to ensure I didn’t knock it while setting up. I clamped the hessian sand bag to one corner and placed the chopping board in the sort of position I wanted it.

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Lighting

As I’ve already mentioned, there was no natural light in this room whatsoever, so, I had to create my own window light.

The look I wanted was light and airy as if on the bench next to a large natural light source. This is where the Pixapro 170cm Octabox came in.

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Positioned at the end of the table on the opposite side to the camera it was placed on a Pixapro CITI600 strobe, battery-powered which meant I didn’t have to mess about with cables and extension leads.

So with the back light in place, I then needed a fill light. I used another CITI600 with a 90cm Octabox to the camera left, touching the table.

As you can see from the images both of these lights are very close to the product, this was to give the softest light possible. The further away from the product the harsher and deeper the shadows would be and it would look much more obvious that I had used artificial lighting on them.

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One of the most important parts of the lighting set up was probably the cheapest too. Foam Board. I used two A4 Foam boards just out of frame on the right of camera to bounce the tiniest bit of light back into the product to lift the shadows ever so slightly. It didn’t need much but it made a huge difference when we had it compared to when we didn’t.

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Left With Foam Board – – – Right Without Foam Board

The Shoot

So the scene is set so to speak (that a lot of S’s) and I’m ready for the product to come in. Before it does though there are a couple of aspects I need to ensure. Having already set the light powers (1/16th on the key light and 1/32nd on the fill) I need to give myself the best chance of viewing the images I capture in the most detail. The easiest way to do that is to shoot tethered.

I set up my MacBook with a TetherPro Cable to show the images directly in Lightroom. This meant both the client and I could see the images, I could check for exposure and composition and they could let me know if they like them or if changes are needed.

 

Now some of the items were fairly simple to identify, even some of the more specialist items like chicken feet and pig trotters. But, there were 15 different types of Sausages and a lot of them looked the same. As part of my job, I needed to ensure that these sorts of items were labelled correctly in the metadata to allow the web designer to input them correctly into the website. The easiest way to do that…. a bit of paper of course. Then when it comes to editing I can rename each type appropriately.

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Geordie Bangers

It was hard to estimate to the client just how long this shoot would take. It wasn’t just the shooting time but it was also the cleaning down after each product, changing chopping boards, making sure the links of sausages fell in an aesthetically pleasing way. There was a lot to it.

Cleaning definitely took the most time. I would have loved to have used an assistant to help me set up each shot, but there just wasn’t the space to have someone with me. So, I had to set up and place each item of meat product on the set, clean my hands and then capture the images.

“Could you have worn gloves?”

Well yes but I would have had to change between each type of product, and would have still had to take them off to operate the camera. So I found this to be the easiest way. I went through a bumper pack of Kitchen roll within two hours on the first day just drying my hands!

It’s not often I use a Macro lens, but I opted for a 100mm Canon Macro for this shoot. I needed the detail that a lens like this gives you. I was shooting up at F11 (which is alien for someone like me who shoots wide open most of the time) and this allowed me to get a lot of detail into the shots, showing the texture of the meat and give lots of opportunity to crop in when required.

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Editing 

Getting everything right in camera was essential on a job like this, I wanted minimal work in post. So I had to be very pedantic about drops of blood/juice showing on the board, no matter how small, any residue left behind after adjusting the position of the meat and even the placement of the props around the frame which were changed every couple of items to give a big variation.

With that all in mind the post production was more about adjusting crops to make sure I wasn’t catching the edges of the flooring or foam board and to take out any tiny bits of dust or salt that I spilt.

I used a custom edit to get the finish I wanted to the shot and very slightly desaturate the image, but not so much that it made the meat look too pale.

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Before and After Edit

 

So all in all this was a challenging but interesting shoot to be a part of. I learnt a lot about Sausage and my Wife now knows how well I can actually clean the kitchen…

In all of the shoots I do, I always look back and think what could I do differently, and with this shoot there probably isn’t a great deal I would change. I’d probably try to use a bigger room as it felt very cramped once the lights and tripod was set up, my standing space was about 2ft x 2ft and I’m a size 12 so that ain’t a lot of room!

 

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How I made my new background….

How I made my new background….

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So last week I set about creating a new background in the studio. I had a spare wall and some wood panels lying around from an old room set I had created

 

So I started with four 8ftx2ft MDF panels which were already painted white from an old room set. I fixed these to the wall using 3×2″ CLS timber, I used plasterboard jointing tape between the joints to prevent it cracking when the paint was applied. I gave this a base coat of black matt paint.

 

Just before that coat was dry I went over it with a light grey silk paint. There is a reason I used silk… I’ll explain further down.


I bought rapid set Tile Adhesive, now unfortunately I mixed this way to wet (added too much water) so instead of being able to use a trowel to apply the adhesive to the wall I had to use a paint roller. What a mess that made!

But actually it worked out really well, it meant the adhesive wasn’t going on as thickly meaning it wouldn’t need much to sand it back to let the silk paint show through from below. I used Silk because it would pick up and reflect the light through some of the concrete on top of it to help make parts of the background stand out.

 

As the adhesive started to dry out, I used another paint roller to soften some of the edges of the adhesive and this helped to add a little texture to it, it was also easy to wipe the drips of adhesive away to give it more of a concrete look.

It was -2 in the studio when I did this so it was taking a long time for the adhesive to set, I used two fans to help dry off the adhesive.

For the sake of 3 or 4 hours work, and a little mess this background worked quite well. Including the original price of the MDF this cost around £50 to build which is a lot cheaper than some of the hand painted backgrounds that are available.

 

 

I couldn’t help but test it on my boys when they arrived at the studio, it was still wet at this point!

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My Top 25 Photography Gifts for Christmas…

I seem to get more and more messages each year asking “What is a good gift to buy for a photographer?..”

So I thought I would compile a list of what I think is a good mix of gifts for every budget…

(All of the products are linked to Amazon for the added bonus if you have Prime you also receive free delivery on Prime items)

**All prices correct as of November 27th 2017

Under £10

14-in-1 Cleaning Kit – £6.99

SD Memory Card Case – £8.99

5cm Prism – £6.99

20 piece Flash Gel Kit – £4.99

Microfibre Cleaning Cloth – £5.95

Under £25

24″ Speedlight Softbox – £24.99

Timelapse Turner for Mobile – £12.40

Camera Z Flex Tilt Head – £16.99

Read This If You Want To Take Great Photographs Of People Book – £10.49

Waterproof Camera Rucksack – £22.99

Under £100

4TB External Hard Drive – £99.95

18″ LED Ring Light – £69.99

Pixapro Triflector Kit – £89.99 + £4.99 Delivery

Wacom Intuos Graphic Tablet – £79.99

Spyder Screen Calibration Tool – £88.99

I’m on the Good List this year

K&F Concept Tripod – £99.99

Pixapro Speedlight and Trigger – £179.99 + £4.99 Delivery

Photoshop & Lightroom CC 1 Year Subscription – £99.99

DJI Phantom 3 Standard – £479.00

128GB Compact Flash – £187.99

All of my Christmases Just Came At Once…

Pixapro Citi600 With Extension Head & Bag – £500

DJI Mavic Pro Kit – £1,209

Sigma Art 35mm 1.4 – £549.00

Canon 80d & 18-55 Lens – £1049.11

Pixapro Storm 3 Head Kit – £899.99 + £4.99 Delivery


If you are not yet signed up to Amazon Prime ( I would highly recommend it not only for the free delivery on loads of items but the TV too!) You can sign up for a 30 day Free trial here and even cancel it after that just to use the free delivery….

Hope you’ve found the list useful, and let me know if you receive any of these goodies for Christmas!

Exposure – It does not pay the bills…

At 30 years old I like to think of myself as fairly well experienced in the world of business. I spent 10 years in retail management as well as running my own business for 6 years (3 years full time now) and I think this has given me a pretty decent “apprenticeship” to life in business.

Now this is probably true in all aspects of creative businesses from web design to singing to photography, but one of the great mistakes I see photographers make these days, particularly those new to the industry or those looking to make a name for themselves is; pretty much taking on every single bit of work they can, whether that be paid or unpaid.

Even as I look around the Industry in the North East of England, I can think of a couple of photographers in particular, and don’t get me wrong here I’m not bad mouthing them or saying they’re wrong, who shoot a whole lot. For Free. With the other party commercially gaining from the images.

 

There is a time and a place for this in my honest opinion. You may do this once or twice within your career in order to get some images in an industry or genre you’re not experienced in, to give you a “leg up” for future work. I get the thinking behind that. I have done this myself.

However, the time to stop doing this is when the other party continually gains from your effort and all you have to show for it are images for your portfolio. I ask, “What is the point”

Most creatives these days know that “Exposure” doesn’t pay the bills. I learnt that lesson quite hard a few years back thinking I was going to get fame and fortune working with a big name.

That. Didn’t. Happen.

One of the strongest things you can do in your photography business is to say NO to the stuff that won’t benefit you and concentrate on the stuff that will help you. If you get offered the chance to work for “exposure” its a simple process for me. I ask myself a couple of questions;

Will I enjoy it?

Will it really lead to more work? (99 times out of 100 this is a big fat fuck no)

Do I have something better to do with this time?

If I answer Yes, Yes & No, then its worth thinking about. If I won’t enjoy it, and it won’t lead to more work then what is the point of doing it? Just to show off on social media and say “Look at me I shot this today” when everyone really knows you did it for free anyway?

Now there is a wider issue as to why this happens. Some of it is the fault of photographers and some of it is due to a lack of value in photography as seen by the client.

 

I see it week in week out on Facebook groups where someone will ask for a service, a host of pro’s will offer their services and links to their websites etc and then you’ll get a random guy or gal comment “I’ll do it for free”

FFS- At this point you do really want to give them a swift kick to the lens pouch.

I have to refrain from commenting or messaging these people, not that it would be out of nastiness or anger, it would literally be to ask what were they thinking???

There should be a level of common courtesy around this sort of stuff with photographers. If there are “pro’s” offering their services, they most likely do this for a living, they need that money to pay the bills, put food on the table and live. Why on earth would you jump in there and offer to do it for free and take work away from these people? This is why the industry is getting harder to work in, particularly with charity and event work.

I’m not going to go down the route of calling out charities, but you can guarantee the Executives in these charities get paid, usually a fairly handsome sum. I’m all for raising money for charity but don’t do it by working for free. Go and do a fun run if you want to clear your conscience.

Well thats just my opinion on it anyway.

 

So I’ve deviated fairly widely from my original point, but I guess its because there is a huge spectrum to this issue and so many opportunities to work for that all elusive exposure.

All I would suggest is that you have a look at your photography, whether you be in business or not, and think to yourself. Does this benefit me? Is it worth me doing it? What would be a better use of my time?

Hey, if you do it for the fun of it then do it for that but think of the wider implications you’re having on an already growing industry with a shrinking value against it.

 

 

What the F*ck Are You doing?….

It’s 7.15am on Sunday morning.

I’m driving through the middle of Newcastle on my way to shoot wedding prep at a venue just over an hour away from my home.

I pull over to the hard shoulder. Head in hands, crying and asking myself;

“Chris, What the F*ck are you doing?”

 

Let me rewind 70 hours.

It’s 9.15am on Friday morning.

I’m sat in the waiting room of the children A&E at the Royal Victoria Infirmary Hospital in Newcastle.

My youngest son is very ill. He was in hospital on the Wednesday with something called HSP. Some reaction to an infection he had. Over night on the Thursday into the Friday he had got significantly more poorly.

Vomiting blood, screaming in pain, covered in a horrible rash. Pretty much the worst things you could see happen to your 4 year old.

“We need to admit your son..”

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The doctors quickly realise there needs to be some intervention with my son to stop him getting any more poorly. He’s the most distressed I’d ever seen. He even asked if he was going to die. Heart wrenching stuff.

First and foremost I am a Dad. That is THE most important job in my life.

But, what happens when you’ve got to make that decision between being by your son’s side while he’s going through this awful illness or keeping your commitment to photograph a wedding which has been booked for over a year.

This was one of the toughest decisions I’ve ever had to make.

On one hand how could I possibly leave my son? What if he got worse? What if he needed me? What if my wife needed me there to support her?

On the other hand how could I possibly let this lovely couple down? How would that impact their day? How would it impact my reputation as a photographer? What If I couldn’t find someone to cover it?

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All day Friday all of this was racing through my head, I reached out to some amazing photographers I know to see who is available if I can’t get there. Luckily four came back to say it wasn’t a problem and they would sort it. Amazing photographers indeed.

 

This was one of the toughest decisions I’ve ever had to make.

It’s Saturday lunch time. He’s not really getting any better. His heart rate is up, his kidney function is down and he’s having to have Morphine for the pain in his tummy.

How do you make this decision? It’s not like when I was employed by a big business, I couldn’t have cared less if I was off work then. It wouldn’t even have crossed my mind not to be at the hospital with the boy. But this is different. This is all on me.

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Even though I had great photographers willing to cover the day, how could I do that to my couple? We’ve built a relationship, a rapport and an understanding on how the day will be. Taking that away from them with less than 24 hours notice could have ruined the happiest day of their lives.

It’s Saturday night. I’m still not certain on what to do. I look to the Wife for the answer knowing fine well that she would tell me to go. I look to my Dad. He tells me the same.

I get home. The guilt is real.

How could I leave him?

I cry myself to sleep.

It’s 7.15am on Sunday morning.

I’m driving through the middle of Newcastle on my way to shoot wedding prep at a venue just over an hour away from my home.

I pass the turn off to the hospital.

I pull over to the hard shoulder. Head in hands, crying and asking myself;

“Chris, What the F*ck are you doing?”

I give myself a shake. Take a big gulp of my coffee and get back on the road.

As soon as I get there I check in with the wife to see how he is. He didn’t have a good night and was really unsettled. He was in pain.

I took a minute outside before going to see my lovely bride. I tried to rationalise in my head what I was doing.

Could I actually make him feel any better by being there, like actually physically better? No I couldn’t. He was with my Wife,  very strong, very smart and very much in control of the situation. He was surrounded by Doctors who are doing everything they can to make him feel better.

He is in the best place possible.

 

It’s 10.30pm on Sunday evening.

I arrive back at the hospital to see my son flat out asleep in the bed. I sit down next to him and cry my eyes out again. The guilt is real.

The saving grace is that my couple we amazing. The wedding was amazing. The venue was amazing and we got some amazing images of their stunning wedding day.

Still. This was the one of the toughest decisions I’ve ever had to make.

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Eight days in and we are still in hospital with the little fella. He’s looking loads better but its going to be a long road to a full recovery.

Those three little words

Those three little words

 

Photography. Like a relationship, requires commitment, time, patience. It requires a strong will and sometimes the ability to backdown when you’re in the wrong.

It can often feel at times, like when in a new relationship, that the whole thing is building up to those three…..little…..words.

How do you know if its time?

Is it too soon?

What if they don’t feel the same?

Am I making a fool out of myself?

If you haven’t guessed yet, those words aren’t “I love you”, well they can be if you want them to be, but for me, in photographer there are three far more important words…

“Here’s your invoice”

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Now read those few questions again;

How do you know if its time?

Is it too soon?

What if they don’t feel the same?

Am I making a fool out of myself?

 

I was going to start this sentence by saying, the truth is only you know when it is time to start charging for your work. But, thinking back to the hundreds of photographers I’ve spoken to about this subject over the years is that they don’t know. They don’t have a clue. Or perhaps, they do know and are too scared to admit it.

I remember at 13 years old, sitting on a swing in a park with my first real girlfriend who was a couple of years my senior, and whispering in her ear so that my friends didn’t hear “I love you..”

She took a sharp intake of breath and almost choked on her panda pop; “Ha thanks Ordy”

Safe to say, I wasn’t expecting that response, but at least it was a response.

 

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I had the same feeling the first time I issued an invoice to a commercial customer. I was nervous, palms were sweaty. I sent the invoice via email and eagerly watched for the reply to ask “Why are you charging me?”, that email never arrived. 9 days later (two days overdue) the payment was made to my bank. That was easier than expected.

Now don’t get me wrong, not all love stories end this way, nor do relationships with clients, particularly when you’re looking to make the transition from Hobbyist to Professional.

Just to note when I say professional photographer, I mean someone getting paid to take photographs. No matter how much or what level.

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I speak to a lot of photographers when coaching and training and I’d say that 90% fall under the same category of “I don’t think I’m good enough to charge”.

They’re answering the wrong question without it even being asked. What they should be thinking is, “Does the client think I’m good enough to charge?”

Therein lies the issue.

I have talked about this time and time again. As photographers we find it incredibly difficult to value ourselves, praise our own work, admit when we are good at sometime. I find it frustrating. Many a brilliant photographer will miss out on a potential long and fruitful career due to self-doubt or a lack of self-worth within the photography genre.

 

So here is my thoughts on when it is time to charge;

  • Would you feel your images were of a good enough quality for someone to use if they received them for free?
  • Do you think you can create better images than a company/client can on their own?
  • Did the client approach you or did you approach them?
  • Is the client going to make money from your images, directly in indirectly?

If you have answered YES to any of those questions then the answer is simple. It is time to start charging for your work….

IF

…You want to go down that line.

 

If you’re not interested in making money or a living from photography then you’ve probably wasted 10 minutes reading this.. Sorry!

 

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The industry is overrun with photographers who will offer their services for free, I’m not going to bad mouth those people or ridicule them or saying they’re doing something wrong. Everyone needs to start somewhere and get experience somewhere. But, If you do fall into that category and you shoot free, then you should re-asses why you do that?

Do you need those images in your portfolio?

Are you actually getting any work from that (and I’ve avoided this word) exposure?

Or is it that you’re too scared to now so to that client, “Actually my time and skill is valuable, if you would like me to shoot this it will cost you £xx”

Now I get this isn’t a one size fits all approach, but another simple way to check its viability for your business would be to complete a very simple DR Pepper Analysis…

What’s the worst that could happen?

All they can do is say no..

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Top Tips for Successful Shoots with Models

 

Whether you’re working as part of a large production shoot or working just yourself and a model, there are still a lot of factors to take into account to make it a successful shoot. Below I will discuss how to make the most of your model shoot, whatever the motivation and give you some tips on how to take it to the next level;

 

Planning

The point first and foremost which is ultimately the most important is… What do you want from the shoot? It’s very easy to go into a shoot with no ideas, no real concept of what the images are going to look like and without worrying too much about the results. The problem with that is that it is inefficient in terms of getting great results and it’s not very often you’ll deliver something outstanding. We all know the phrase “failure to prepare, prepare to fail”

Researching the particular theme or genre that you want to shoot using tools such as Pinterest is a simple but extremely effective way of planning either on your own or as part of a bigger team. Being able to share ideas and concepts and build a plan of what you’re doing through images is the easiest way to explain to everyone involved exactly what you have in mind. This also gives opportunity for those with better knowledge of certain aspects a great opportunity to influence. So for instance when I am planning a shoot I will give my Make Up Artist a general idea of what I am looking for and then she will go away and research that and come back within definitive ideas on what will and won’t work. This is true across many aspects of a team shoot whether it be hair, styling, clothing or location.

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This process for me can start as soon as 2-3 months before a shoot is due to take place depending on the size and the client. The quicker you can do this and communicate with everyone involved, the better chance you have of having a consistent approach and goal.

 

Professional Help

So, you’ve got your concept and you have your model. What next? In my eyes its extremely important to utilise those who have skills in the areas you don’t. I have zero experience in applying makeup and I’m bald so my hair styling skills are fairly minimalistic too!

Although many models will tell you they can do their makeup to a good level you will find that a Make Up Artist (MUA) will apply it in an entirely different way that photographs better. They will use a host of different products and techniques to achieve the look you’re after which most models just couldn’t achieve. Remember, most MUA’s have studied this and gained qualifications making them professionals in what they do! The same is very obvious about hair styling, even if it’s just a messy hair do, stylists will do this in a different way to ensure it stays that way for much longer and again will use techniques and products to ensure it photographs perfectly.

Hair and Makeup aren’t the only professional services I look to use in a shoot. Clothing Stylists are hugely influential in the work I do, from picking which shoes go with each outfit, to influencing the location for each particular style. This is their job, they have experience in doing it and can delivery excellent results. This to me is a no brainer.

Voice Activated Light Stands (VALS), these may sound really futuristic, but in fact, it is just a helper holding a light stand or acting as an assistant. I will never use a VALS who isn’t a photographer. It is essential that I keep as much dialogue going with my model while in the shooting aspect of the day, so having to keep advising and explaining to my assistant what I want just isn’t going to work. Having someone who is experienced, understands light and most importantly understands the concept of the shoot (through prior planning) is vital. This enables me to speak quickly but effectively on changes I’d like to make to lighting without breaking the dialogue with the model.

 

Location and Context

Context! Context! Context!!

It’s a word I often scream into my head when I see photographers who have done the Professional Help bit and hired an extremely creative hair and makeup team to deliver something brilliant, and then its been photographed against a plan grey or white background. It just doesn’t work, it doesn’t fit together, it lets down the Hair and Makeup team as it just doesn’t have Context!

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If you’re shooting on location its much easier to create context by finding a location that suits the theme and idea of the shoot. However, shooting in the studio can be a bit more difficult and requires a little more thought and creativity. Adding texture into a set, props, using gels to add colour to a background can all be useful ways to help stitch the idea together and link the model to the background behind them. Always keep context in mind when shooting and don’t be afraid to change the location/set during a shoot if it isn’t working.

 

Shooting Tethered

For those who aren’t familiar with what “shooting tethered” means, it basically is shooting with a laptop or screen nearby which shows the images as you shoot. There are several ways of doing this and lots of software that enables a quick transfer. I use a Tethertools TetherPro 5m cable linked into my Macbook Pro and use Lightroom. It’s very easy to set up and images transfer in 3-4 seconds for me.

 

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The advantages of shooting tethered are very useful. From your own perspective as a photographer it lets you seen the image on a bigger screen rather than the camera LCD meaning you can better judge the exposure, focus and overall look of the image. Turning the screen to your model can also be very useful in that the model can see exactly how their poses look and you can give them instant feedback with examples without really have to move around too much. The biggest advantage I find is when shooting with a bigger team, if I set the Tether to my 27″ iMac in the studio it means that everyone from the client, to the stylist to the model can see exactly what is going on and what the images are looking like meaning instant feedback from the client is available and changes can be made if needed.

 

Less is more

My creative team knows me enough now that I shoot very quickly and once I’ve got a frame that I think is a winner, I won’t shoot beyond that. What is the point?

I’ve worked with my creative team now for nearly three years so they fully understand how I work, but If I’m working with new people or a new team I always communicate clearly just how I work and that I won’t be shooting thousands of images. If I get the shot I want and its only 5-10 frames in, I will still stop at that point. Otherwise I’m just creating more work for myself and everyone else involved. This also inspires a lot more confidence in your models, clients and creative teams if you’re not shooting 100’s of images without really getting what you want.

 

So there it is, just a few top tips on getting great results from your Model shoot. Thanks for reading guys, and I hope that your next shoot is an awesome one!