Over the last few months, I’ve hammered through a lot of shoots for clients and for stock. Processing [...]]]>

Reading time: 7 – 11 minutes

The situation

Over the last few months, I’ve hammered through a lot of shoots for clients and for stock. Processing the results, I noticed my enthusiasm for the photos faded away rapidly. Not that the images were bad – they matched my clients expectations – but somehow, they failed to appeal to me. They lacked the “wow-factor”. They were kinda bland, missing the sparkle and the eye catching effect. To me, those images were uninspiring, unimaginative and – basically – dull.

The next thing

Doubt. Frustration. Postponing things, because I didn’t feel like it.  More evasive maneuvering. Rut. As I believe in the merits of striving for continuous improvement, this situation is opposite to where I’d liked myself to be.

The Pitfall

The danger of creating uninspiring images is that people will still buy them, creating room for leniency, and failing to pursue continuous improvement. There’s no creativity killer like indulgence. When you’re in a rut, it’s bound to lead to a creative dip. You’ll end up failing to follow up on leads, because you lost interest. A total killer.

The cause

Overproduction, perhaps. Shooting too many comparable images, shooting too many similar subjects, shooting too many familiar themes, and too little differentiating factors. It just all became repetitive. The weather has been gray, rainy and gloomy for almost 4 months now, forcing me into the studio a few days too many, producing more uninspiring images

At this point, some consider taking a creative break, and pursue other interests. I believe, there are several very useful – yet uncommon – methods to break this downward spiral. In this article, I’d like to are a few with you.

The solution

1. Back to the drawing board.

Put away the camera for a while, and stop trying to force yourself to get over it. I found it to be a waste of time, and it has only produced more uninspiring results. In stead, look at your latest images, and assess their weaknesses as well as their strengths. Be very critical of yourself. What could you have done better to make them tick? Make notes of how to improve on a technical and aesthetically level. It’ll make you aware of your weaknesses and the flaws in your images, as well as help you to accept the current dip in creativity. It’s widely accepted, acceptance is the first step to overcoming a challenge. So set yourself that challenge.

2. Changing the game

Changing the game is one of my favorite methods. In stead of shooting what others want you to shoot (or, in terms of stock, what you think will sell), think about what you would like to shoot, but never actually got around to – yet. Make a list things that you don’t get to shoot often, and which gets your photographers’ blood pumping again. Don’t forget to make the next step and start thinking of how to achieve the images you have in mind.Create the images in your mind! If you managed that, then start thinking commercially, again. It is entirely possible, that what’s not been selling today might start selling tomorrow. So connect to the real world and merge commercial aspects with your just found shooting list. Select a few subjects you’re not familiar with. Go out, and close the bridge between the known and the unknown. Add your own touch to the uncommon in your expertise.
(Personal note: I use mindmapping software, such as freemind, to collect, categorize and assess the ideas captured during this process)

4. Refreshing the way to look at things

Look around you. When you’re familiar with your surroundings, the same surroundings eventually become to look boring and plain. They aren’t. Be a tourist in your own town. Go to the sights, and look at what others are looking at. Observe others. What do the sights, common to you, do to others? How are strangers interacting with an environment that’s new to them? Go up, move down. Tilt your head. Wear sunglasses on a cloudy day; things will start to look differently. But whatever you do, don’t bring your camera. It’s all about scouting for locations and getting inspired again. Inspired by what others see. Consider it scouting for new opportunities. Gather intelligence for tomorrow’s game.

5. Change the tune

Switch to a different channel. Get inspired by other forms of art, whether it is music, the movies or other visual art. Try to capture the feel and the vibe, and think of ways to translate that into your work. And make sure, you go beyond your zone of comfort. Been listening to classic rock lately? Familiarize yourself with the vibe of pop or jazz for a while. It’s as simple as watching TV lying down; your mind adapts to the rotated image easily, however, the experience is entirely different.

6. Retrace your steps.

Move back into your portfolio, and select a handful of photos you’re (still) happy with. Preferably, this selection should convey various themes, shot roughly at the same time, within a two months’ span. Go over them again. Reprocess them. Go out and reshoot them. Elaborate on the themes, and create a series of siblings. See if you can achieve a better result, or at least see if you can make them into one series. Try to create a series of images, in which the series together is stronger than each individual image. This will force you, to plan your shots carefully, whilst keeping the broader picture in mind. It’ll help you to search for a correlation between photos, within a very tight scope.

7. Step outside your zone of comfort.

Been shooting with DSLR’s? Pick up an old film camera, of change to a camcorder for a while. The former will force you to make every click count, and thus make you think twice before you press the shutter. The latter will force you to stay within a fixed aspect ratio, making the choices of composition more challenging. My preferred weapon of choice if I decide to change gear is either an old 6×6 camera, or the HDV option.  A combination of the two is to limit yourself in choice of optics; In stead of a medium zoom lens, go for a fixed focal length lens

The theory behind it

As an industrial designer, the methodology of diversifying within the boundaries of the task at hand before converging to reach the final product is multifunctional. This methodology can be applied in a vast array of processes, provided you want to achieve the best solution for your client – whomever it may be – and pursue continuous improvement.

In the trajectory of diversifying, amending associative techniques, such as making cross references, transpositions of external concepts to relevant ones will always provide you new insights. Combine that with the foremost important rule of brainstorming – there are no such things as a bad ideas, but there will always room for better ideas. All you need to do is be open to those new ideas, execute them, assess their effectiveness, and fine-tune them. You’ll be back on track before you know it.

The Sources

My first boss once told me to focus on my strong parts during an appraisal meeting. Create the focus. Improve the strong parts, accept the weaker competences.
My Professor of Design methodologies – who told me, that when you get stuck trying to solve a problem, try to look at it from a different angle.
My dad, who said the answer to any problem is always easier than it may seem at first. Clear your mind, look at the provided information, make an inventory of the tools at hand, and the answer will be right in front of you.
Edward Deming – Plan, Do, Check, Act. [repeat] Mainly as safeguard, as it allows you to steer yourself in the right direction.

Disclaimer:

• This article is based on personal experiences, opinion and situations, and may or may not represent the actual situation.
• Some statements are rather bold, and rough around the edges (or too feathered :)), and there are of course exceptions possible.
• If you think there are any discrepancies or flaws in reasoning in this article, please let me know
• As the topic of this article is of a subjective nature, other opinions are equally valid.
• Care has been taken the sources used are accurate.
• I’m probably my own worst critic, and my views will change over time.

If you have any thoughts on his please share them by leaving a comment!

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, [...]]]>

Reading time: 7 – 12 minutes

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

The night before the shoot, I go over all phases, to refresh my memory, and re-embed the storyboard in my mind. 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.