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06/09/2007 10:14:46 PM · #1 |
Was recently asked, "How do you put a Fashion Shoot together?"..
I really don't where to start...
The team is always the following: A Fashion Stylist, Hair Stylist, Make-Up Artist, Model or 's, Phoographer and Assistant or 's....
A stylist is the person that chooses the clothing, shoes and accessories. The stylist is briefed before the shoot by the photographer. This briefing is a think tank session that is intended to garner a "Theme" or "Story" that will be the thread running through the whole shoot. It is like writing a storyboard. Let's say we want to do a ten page fashion story with the theme being"My Day at the Laundromat" for example. The shoot will be about a girl who has a huge pile of clothes to wash and is spending the whole day in the place while people are coming in and out as she observes the procession. All "Good" fashion stories start with a theme, from simple to complex. Well these people i.e. models are dressed in specific "Brands" of clothing that should cover a range of designers or manufactures to give a reason for it being a "Fashion" story and not just a "Model Portfolio" Yach...Sorry. All fashion magazine expect at least a six page story with a theme. Now how are you going to choreograph all of this. You are going for a ten page story. Well it could be two double pages and six single pages or three double page spreads and four single pages. On the former example you will only have to shoot seven images that being three horizontal images and four vertical. That could be done in one day but two days would be preferable. Now you have to define each of the shots in the "Story" Perhaps the first opening page could just be a picture of the Laundromat empty and void of anything except the ugly fluorescent lights and the washers and dryers. That might be where the title would be. Lets call the story "Living in a Laundromat".
The next shot could be the star of the show who might be wearing a "Miss Sixty" pair of red jeans an "H&M" blouse a pair of "Adidas" shoes and a "Victor and Rolf" Bag...Remember all magazine reason for existing is to catalogue what the designers are coming out with two to three months in advance of the product hitting the stores, so the stylist will have access to all of the press offices representing the designers showrooms. So let's continue. The next image is the introduction of the first couple or individuals coming in to do their laundry. They are perhaps passing dirty clothing to the one that is depositing the socks in to the washing machine. Perhaps it is being throw and caught etc. The story continues with different amusing vignettes and perhaps ends with a close up of the girl, still alone in the Laundromat of a close up on her sad face looking through the glass door on to the world outside...
That "IS" a fashion story.
Now that you have decided on the story, you have to decide on the rest of the team. Remember that the Fashion Stylist was chosen because she/he was appropriate for this kind of challenge and in your estimation a think tank session with this person would result in an interesting treatment. Knowing the story you both will have to find a hair and make up artist or one that is very good at both which is rare. You will be doing your casting based on looking at books of Hair and Make-up people to see if their style conforms to your treatment (story). Now that you have found the support team it is time to cast for the appropriate subjects.
In the story you decided that you needed three people. The other two will look different in each image so you could get away with just three "Models-Actors" The casting is so important in re-enforcing the theme of the story. For me stranger is better, but that is a matter of taste based on your being "Plugged In" to what the looks are that are happening today.
You will have the stylist or yourself call the model agencies and brief them with the criteria of you theme and they will respond by sending you portfolios for the purpose of honing down the selection. Once selections are made you will call the agency to have them send the chosen finalists to come for a face to face casting. The casting should be attended by the whole team. The hair and make-up artists will comment on there observations as well as the stylist and yourself, all seeing the model from a different perspective.
Once the democratic decisions are made, you will have the final decision approval authority based on their input. The agency will be called to confirm the dates you gave them when they asked "What are the shoot dates. We will send you books of talent available on those dates..."
You will get either a first or second option and hopefully a first. If you are certain of the selection confirm immediately. That will guarantee their availability.
Set the time and place of the shoot and give the agencies all of the telephone contact info and visa versa for the whole team...
That is how to put together a shoot. Although a condensed version. You must also think about the flow of the story. Two full shots two close up details one beauty shot etc etc etc...
The Beginning... Ben
Here is a sample of one of my shoots for "Spoon" Magazine on "FTV"
//www.dailymotion.com/tag/kanarek/video/xlcdg_guerrierefragdsl
Message edited by author 2007-06-09 22:16:56.
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06/10/2007 07:36:26 AM · #2 |
This is great - can you comment on the business side a little more?
I'm guessing there are budgets involved - when talking to the agencies are you specifying the budgets avaliable before you get the books, or is this discussed before the interview?
I also suppose that the overall budget is set by the magazine - or are there times you set up a shoot on speculation - that you will do it on "your dime" and shop the results around to different magazines?
This is great information. Several models I work with were talking about your myspace page and how amazing your work is - |
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06/10/2007 09:29:33 AM · #3 |
Originally posted by digitalknight:
This is great - can you comment on the business side a little more?
I'm guessing there are budgets involved - when talking to the agencies are you specifying the budgets avaliable before you get the books, or is this discussed before the interview?
I also suppose that the overall budget is set by the magazine - or are there times you set up a shoot on speculation - that you will do it on "your dime" and shop the results around to different magazines?
This is great information. Several models I work with were talking about your myspace page and how amazing your work is - |
I'm afraid you haven't grasped how the photographer comes in to play in regards to the agency. This is it in a nutshell.
An Ad Agency will have a client and the agency will know what the client budget is for the year for Communications, Media, B to B, B to C etc. The agency will suggest certain marketing solutions to the client. Based on the analysis, decisions will be made as to which solutions best suit the clients' goals. Is it Internet, Press, PLV, Viral, Events, PLV's etc. Once the decision is made and if they decide to do an image related Ad Campaign the next steps follow suit. There is a briefing by the agency with the commercial side of the clients sector. Based on that the Creative Director and Account Executive will discuss the client needs. Based on the briefing the CD will speak with internal traffic of the Ad Agency to find an Art Director or Director's based on the size of the budget and Copy-writing team to work with the AD. They always work in couples AD & CW. The CD will brief them vaguely to give them a lot of latitude but based on the client briefing. Once a concept is accepted by the agency they present it to the client. If it is accepted the next step follows. An Art Buyer will be shown the layout that was accepted by the client. Based on the style of the layout the Art Buyer will start to contact talent that will be able to fulfill that criteria. She/He will contact the Photographer Agents to call in books of Photographers that might relate to the style being sought. This is the same for Still Life, Autos, Beauty, Fashion, Architecture, Tourism etc.
After looking at several books, three to five are chosen by the agency. These books will go with the CD, AD AE to the client. The AD will generally have a preference and fight for it on occasion. The client has the final say, with some diplomatic coaxing. Now prior to that meeting the AB knew the daily rate of the photographer. This doesn't include royalties.
Once the photographer has been chosen the Photographer and the Photographer Agent will come to the agency to be briefed by the AB, AD and often CD. The AB will ask which tea they wish to work with. I.e, Model agency (model or model's), hair, make-up, fashion/beauty stylist, set designer, retoucher, studio, lights etc. The AB will negotiate with the agents of all of the above talent in a similar fashion as was done with the photographer.
Dates for the shoot are coordinated and confirmed.
On the day of the shoot a team of up to twenty people may be on the set. Agency, Client and Team.
Payment is 90 days from presentation of final images.
Ben
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06/11/2007 01:39:04 PM · #4 |
Very interesting.
Watched your video link BTW, wish they would stop impressing us with their editing and show us the damn shoot! :-)
You didn't get nearly enough air time! Maybe if you danced around like the FS you'd get more airtime? :-)
Thanks for the time in explaining - I appreciate it.
Message edited by author 2007-06-11 13:41:18. |
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06/11/2007 01:40:46 PM · #5 |
Now for the next really easy question to ask, and hard question to answer...
How does one acquire representation by a photo agent? |
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06/11/2007 01:55:18 PM · #6 |
| I was wondering. Is lighting (wether it will be dramatic or directional, etc.) ever disscussed before the shoot? Or do you decide that solely on your own? Just curious. |
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06/12/2007 08:19:32 AM · #7 |
Originally posted by jaded_youth:
I was wondering. Is lighting (wether it will be dramatic or directional, etc.) ever disscussed before the shoot? Or do you decide that solely on your own? Just curious. |
When hired as a photographer, you are hired for what you can do that is illustrated in your portfolio. They won't ask you to copy someone else. If they want that someone else they hire them. Often the AD will discuss what you propose to do based on the layout. Lighting is always an important consideration decided by the photographer.
Ben
Message edited by author 2007-06-12 08:20:19.
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