Once the requirements of the job are clearly defined – encompassing creative possibilities, layout specifications, content, and approach – the planning phase can commence. If working in a studio, selecting the most suitable accessories is crucial. This may involve constructing or hiring a specific setting. For location-based shoots, identifying and securing the ideal venue is essential. Models can be shortlisted through agencies, interviewed, and selected. Some photographers prefer to use models they encounter in everyday situations or among their friends. Additionally, assistants are often necessary to manage lighting, scout locations, or care for the models. A stylist, particularly for fashion or food shoots, plays a vital yet often underappreciated role in commercial and fashion photography history.
Lighting requires careful planning. For natural light, consulting weather forecasts is advisable. Existing artificial light sources must be evaluated for technical adequacy. Tungsten or flash-lighting units, along with specialized equipment like wind machines, smoke machines, or portable generators, may need to be rented. If shooting on film, choosing the appropriate stock – color or black and white, negative or transparency – is important, though transparency is rarely used today.
On the shoot day, once all elements are assembled, the set and subjects can be arranged to create the desired images. Various aspects, such as viewpoint, lighting, framing, subject relationships, and emphasis within the frame, should be considered and adjusted. These technical details significantly impact the final image’s meaning.
Working digitally offers the advantage of constant image review and revision. Photographers using film might employ a digital back or a separate camera for preliminary checks. Typically, one roll or sheet of film representative of the shot is test-processed before the remainder, incorporating any adjustments from initial results.
Commercial photography is demanding, requiring continual portfolio updates and regular presentations to art directors, designers, and picture editors. Utilizing assistants and connecting with professional organizations, like the Association of Photographers (AOP) in London, can provide valuable support and advice. Design groups and advertising agencies frequently seek new talent, and numerous photo libraries hold and promote photographs to various commercial clients. These libraries request a specific number of photos, with themes varying by library, and take a percentage of sales.
It is essential to thoroughly review contracts with photo libraries to ensure satisfaction with all terms. Agencies like Magnum and Vu are prestigious and challenging to join, whereas others, such as Photo Ink (India), Drik (Bangladesh), and Autograph (UK), focus on specific regions and photography types.
Do you have any specific experiences or challenges in the field of commercial photography that you’d like to share?
