Awards Season plus the Perfect Photo Shoot

Currently I’m in the midst of In the midst of planning a photo shoot, Yeah yeah, I hear you. Rent a space, show up with a camera and some pretty models and push the little button on your camera. Nope, it’s not that easy, but more on that later.

I took a quick break from planning because some more great news was delivered in the mailbox this morning. I am humbled by the notification that I received announcing my 12th and 13th lifetime Telly Awards*. Just like last week, these two are the super elite Gold Awards.

This is especially good for my inner being since I’m an awards junkie. I want to own the advertising world and now the resume can list that’s 13 Tellys, two CLIOs, two Emmy Awards, a Davey Award, a Communicator Award, and a bunch of others.

* – What’s a Telly Award? Well…”The Telly Awards honors the very best film & video productions, groundbreaking online video content, and outstanding local, regional, & cable tv commercials and programs.”

Here are a couple of outtakes from the two-picture photo combo that was the foundation of a European ad series (these were generated from months and months of planning) and ultimately earned the Telly awards:

Now, back to the planning. Hear me now when I tell you that the best images that appear in print are snapped with the mostly basic tools of photography. If you have a keen eye, most likely you will be able to view the photos and tell what the light sources are from the shadows that embrace the models, where it comes from, and begin to understand what went into making this particular production special. Most out there can follow your recipe, use the same tools, yet fall short of the brilliant plan and theme you devised.

Buy the book…trust me! (It’s not even my book!)

The difference makers are the little things that all come together perfectly. You know the old adage by Aristotle, “The whole is greater than the sum of its parts.” This truly applies to a photo shoot. The perfect formula of parts make a huge impact and until you are able to plan these advertising or editorial events solo, you’ll want to be meticulous about the obvious fundamentals that turn something regular into an editor’s choice or something worthy of a cover.

First things, first. The theme…idea…concept.

I’ve been talking about the Big Idea forever. Stumble into one an you’ll be a star in your industry for a very long time. A star similar to a country singer who gets a top 10 hit and makes money from that one-hit wonder for decades. Yeah, that’s the ticket. Chances are, if you’re in charge of the creative, you have dozens of idea that rumble through your mind. Keep a journal handy and make sure you jot down everything that flies through because you’ll forget them minutes later. You have nothing to lose by writing it all down. It will even spur new ideas. Brainstorm it out in your own head. Find the process that creates genius. Trust me, your ideas will flourish in due time. Sketch, draw, highlight, dream. Visualize your ideas and come back to them later and add to them. They might not work for this shoot, but it will work for something, some day.

If you’re not good at revving up your creative engine, then you need to practice. Try investing $11 into Wreck This Journal which very productive to teach your brain how to go against the norm and fosters big ideas. Do the whole book and then graduate into the black book journaling.

Now the little big things.

You might say that the location, timing and equipment are really big things. But you are probably wrong. One of my best photos—that made a lot of money and was my country singer star moment—used a 20D Canon, the hallway of colleague’s apartment, and a makeshift Soviet Cosmonaut helmet made from throwaway materials from Goodwill and $3 of paint.

Location – $50. Model – $250. Materials – $39. Results – Priceless.

For my private exhibition shoots, I use no lighting and a Canon 80D and clean it all up in Photoshop afterwards. You too can use minimum gear for your production. You could go all crazy and gear up with a rented studio filled to the gills with outrageous doohickeys to light up your set and create the illusion of a big show. It’s up to you, but many times, less is more.

Many of my photographer colleagues trust in modest natural sunlight as the primary light source. Sure, sometimes they add reflectors, but that’s still an easy photo hack that will make you look like less of a, uh, hack. Research is vital and remember that if you pick a location, it might require permits or simply not look good as the backdrop you want. Take some quick test photos and tinker around with them before you fully commit.

If you feel strongly about your idea, do not listen to the naysayers who want to poke holes in your vision. Any location you chose could be an incredible choice is it fuses theme with reality. You can use guesthouse or living room with some rudimentary lights, an ironed bed sheet, or paper backdrops. It won’t be expensive and could save you a wad of cash for a studio. Even a hotel room might be a better option and give you the elements you need. It all depends on your concept. All of this works until you land that really big client or can afford to build your own studio, A studio gives extra advantages of an atmosphere where natural light is essentially non-existent. You regulate and control the environment with artificial light sources that can be purchased on the cheap on eBay or second-hand at a local camera store.

Outside shoots are different. Invest in some magazines or photography books, or even an online course to broaden your knowledge of this type of shooting. (READ: It ain’t easy Mr. Know-it-all!] The biggest factors are your positioning and time. Do it right and you will have beautiful dramatic results. Do it wrong and you’ve wasted a lot of time and paid models for nothing.

Speaking of models…

Talent matters…

If you have a lousy model, you aren’t going to get what you want. Quite frankly, you are going to fail. Models mean a lot and this isn’t the time to give someone a shot. You have to believe in who you choose. If want a successful shoot, don’t go cheap on the model. Figure out a price point and agree to it. You don’t want to be called out for being cheap. Despite most not having extra pounds on their frame, models have to eat too!

Finding someone privately or direct is a good start. Try Model Mayhem. You can post casting calls and your inbox will fill up depending on the assignment and rate you post. If you go the agency route, it will cost more and it will come with a fair amount of restrictions. Think long and hard on that. If you go the private route, make sure to download a model release and make sure it is signed before the day of the shoot. Rights should revert to you or your client alone. Models should be compensated properly and up front.

If you are going with a larger commercial shoot, residuals might have to be worked out and you need to be transparent with everything when you are dealing with talent. Don’t be tricky.

Teamwork makes the dream work. When choosing the crew, make sure you build one that has a “can do, will do, want to” mentality. Teaming a crew is the hardest thing you’ll do when planning a photo shoot. Everyone needs to understand your objectives and bring their best to the set. This is easier if you are shooting a larger scale print ad and your agency will have built in resources. Even better is when your models come with their own hair and makeup. They have their own synergy and their price points are pre-negotiated. If you’re working solo then you need to be diligent to set budgets, gain commitments, and get your team motivated.

So, who do you need on your crew? Like I said, if you’re going big you will need a wardrobe stylist, a set decorator, a makeup artist, a hairstylists, and a right hard catch-all production assistant.

Now that you have these steps, all you have to do is let your imagination run wild and get a group of people to buy into your wacky creative. Don’t stop at speed bumps. Plow through them and seek out your country song that carves your place in the photography world.

When in doubt, call up the Media Guy.

I can walk you through it all.