You can have the tools, and you can have the know how, but what is one of the most powerful skills that most photographers, videographers, and just about anyone else will swear by in a creative industry? The power of forethought and pre-planning. Granted, for some this step isn’t as important as it is to others. However, whether you sit down and make a shot list, sketch out some rough ideas for shots, or just develop a really strong concept of what you want to accomplish on a project, most people do pre-plan in some way shape or form.
How Important is Pre-planning Really?
To get started, I thought I would reach out to a few different of my associates to get their opinion on the matter, so to start, I reached out to Nino Batista, known glamour rockstar and all around awesome guy, to hear his thoughts on pre-planning projects.
"I've been accused of being less-than-planned when I go on set, and those accusations are accurate. That said, I've been really discovering, just in the last year or so, how beneficial a proper plan in place can alter the end results; often radically. There is still something profoundly enticing about improvisation and, well, zero planning. When the moment suits it."
Nino in the Vegas Mountains on our most recent trip there, seen here donning his signature shades and bandanna and surrounded by some of the meanest Cacti I have ever seen.
Many people will differentiate on this specifically, but I know for me and a host of others in a creative industry, there is definitely some forethought put into a project in order to accomplish the intended goal efficiently and effectively. I personally am a big fan of a extensively planning projects ahead of time in order to get the best result I can, especially on video projects that require many facets in order to achieve the intended goals. Some people can walk onto a project and just pull something straight out of their brain and accomplish amazing things. Me personally, that’s not always the case, and I’ve come to grips with that in the past few years. It’s helped me diversify and think of new ideas and even help me improve my work in the sense that I’m not having to use energy and time problem solving unnecessarily. I used to walk on to most projects with simply the objective of ‘taking good photos’ or ‘shooting a good video’ and that’s generally all that would happen. I would shoot video footage or get photos that were good, or decent, or usable, but nothing that ever really just wowed me; and if I was not wowed, I generally assumed that neither were my clients. A position you do not want to find yourself in.
Turning Point
I charged myself after a few less than stellar projects, on both the video and photo side, to re-examine my methodologies in order to further my career and work. For this I watched BTS videos, reached out to other photographers, and read books. One of the most common things I discovered was they for the most part emphasized organization of thought in the form of preplanning with storyboards and shot lists, and so began the journey into the realm of more serious and organized project planning.
My personal preparation work flow for planning a shoot from concept to production.
To illustrate, my process for planning is pretty straightforward and linear and much of it is done in a sketchbook to start. Beginning with subject matter or concept, and then establishing the mood, pace, and/or vibe of the final content. From there, for photo projects this is where I would establish a storyboard (usually hand drawn in a sketchbook) or at this stage more accurately, a shot list. For video projects however this would be the first of many deriving the shot list as the storyboard is expanded into a rough shot list. Should music already be selected and available, this is where it can be used to further expand or simplify shot lists already having been made in order to prepare the gathered footage for editing before even the first frame of filming is executed. Which makes the post work after filming even simpler and more organized.
The Result
After I started organizing my thoughts for a majority of the projects I was doing, I could definitely see a change in thought processes, even during shoots. Especially with the quality of the work I was able to achieve on projects where I was pressed for time while shooting, or even had to adapt to situations that were not expected, I still had a framework to draw from to help keep the project going smooth. I reached out to fellow automotive photographer Eric Warren to see what his thoughts were on pre planning and he had this to say about it:
"It's extremely important to me! Pre-planning for shoots requires a little extra time up front, but can save SO much time on the back end when the client or collaborator is there and ready to go."
Eric cites his experience in the Marines where planning any sort of action was paramount, and failure to do so could yield catastrophic results. The amount of planning that occurred before anything was put into motion allowed actions to be carried out swiftly and efficiently, and also helped maintain order and allowed for them to adapt should something happen. This practice has carried over into his career and he is always planning and thinking of projects and shoots as he goes about his day.
Verde Mantis Hurracan Lamborghini shot by Eric Warren, used with permission.
He continues on to say that essentially, pre-planning your shoot also allows you to ensure that what you are wanting to do is even an option. Some locations require permits, without planning ahead would you be able to complete your shoot as planned? Would you know that you needed to acquire a permit or get clearance to use that location? Alternatively, let's say that the location is free to use, but what if you're planning on using available light for your project only to arrive and find out there really isn't any at the time of day you're there and you didn't plan on a contingency location or equipment to be able to adequately complete the project. These are all details that can be invaluable to know before you attempt a project. He Concludes:
These are things that can happen even WITH good planning, because Murphy's Law is still alive and well. But when you take the time to get every possible detail prior to the shoot, you minimize the amount of surprises that could occur, and will also reassure your clients and the rest of the team you are working with that you put planning on a pedestal. No one like to have their time wasted, so make sure that you aren't the one doing it!
Photo of the legendary Ferrari F40 taken by Eric Warren, used with permission.
I think it is important to note his mention of time at the end, because it’s a known fact in the industry, that time is in fact, the most precious commodity you have, and after a few years in business you truly begin to appreciate the value of not only your time, but others that you work with and the need and urgency to optimize the time that you’re using become just as important as snapping the picture. Pre-planning is a skill, and it definitely takes practice, but I also definitely think it pays in dividends to try and have a plan in place in order to create amazing work and streamline the process. It removes stress, and makes you look like a rockstar to your client.
In Closing
Now is pre-planning every project absolutely necessary? No of course not, and Nino even mentioned it above, not every situation calls for it, but that ultimately comes back to personal taste and experience. So in conclusion, what do you do? Do you plan out your projects or do you ‘wing it’ and hope for the best?
If you'd like to see some of Nino Batista's work, please visit his Website: HERE
If you'd like to see more of Eric Warren's work, please visit his Website: HERE
Photos not taken by Author used with Permission
On a somewhat related point, for people who work with models (particularly for beauty/fashion work), how pre-planned are your poses?
Working with good models is great, you can say off you go and get some good creativity out of them. Working with amateurs not so much. So, when thinking of scenes/shots do you get as far as what poses you want? Let them start and re-direct as needed?
I tend to have everything thought out ahead of time EXCEPT for poses, possibly because mostly what I'm trying to achieve when shooting is a look or technique so I'm focused on backgrounds, lighting, colors, composition, clothing, etc etc. That causes things to grind to a halt mentally when a model is really not hitting stuff on her own accord that is striking my fancy. I'm also not a posing pro by any means yet. I know how to make the small tweaks (pop that hip, don't show the full palm, make shoulders uneven etc etc), but building out of nowhere isn't my thing quite yet.
Definitely don't pre plan a pose but you should pre plan some general ideas. I often have a general rundown in my head like sitting on the floor in a relaxed position or something closer up with hands soft and near the face etc...
Prior Planning Prevents Piss Poor Problems
It depends on the shoot
The following quote is from Tom Lowe, maker of the Timescapes film. His speciality was motion controlled time lapse but his remarks are wide ranging enough to cite here. It becomes relevant to the topic towards the end but is worth quoting in full, I hope you agree.
"There is not a thin line between success and failure at a high level in natural-history and timelapse filmmaking; there is a wide chasm. In my estimation, there are three main attributes needed to succeed in this kind of filmmaking: 1) Talent 2) Dedication 3) Problem-solving ability, specifically solving problems before they occur.
We will assume you have talent.
Many people think patience is a key attribute of natural-history and timelapse filmmaking, when it fact patience is only a subset of a much more crucial trait -- dedication. It is not patience that gets you up at 3am in the dark and freezing cold to carry a crane up the side of a mountain. It is dedication.
The third trait is probably the most overlooked: Problem-solving and anticipatory planning ability. If we assume you have talent and dedication, then this is what separates the winners from losers every single time. As a natural-history or timelapse photographer, you already have thousands of forces at work conspiring to cause the failure of your shots, everything from weather, to technical issues, to law enforcement, wild animals, personal health, the behavior of others (flashlights, car lights, subjects who stare into the lens, etc). You cannot afford self-inflicted wounds that leave you even more vulnerable to the above-mentioned forces. If a person engages in anticipatory problem-solving, ie, solving problems BEFORE they happen, their chances for success increase. If a person engages in reactionary problem-solving, ie, trying to solve problems as they arise, their chances for failure increase dramatically.
A person who engages in reactionary problem-solving runs around with a bucket of water, constantly trying to put out dozens of shrub fires. A person who engages in anticipatory problem-solving waters down the desert in advance, so no fires pop up"
It is such a vast difference between studio work and virtually everything else. I've considered every element in that environment but there are situations or elements that are too spontaneous to plan for while on the road. The only thing that is certain is that I have a backup rig and good footwear. What I do do is prior to a trip look at what others have done so I'm not replicating a shot that isn't marketable, check when lighting is good etc. A great recent example was in the Sahara, I knew the time the sun was coming up, approximately where I wanted to be and knew the dunes that were not shot everyday. Got up, trudged up the dune and someone had already been up and walked along the spin leaving footprints .. it was actually a better piece because of it.
I mainly work on portraits with models, to several different directions, either conceptual aimed to fine-art or commercial. Preplanning a shoot always works great but only preplanning shoots I do not find all that fun. I preplan around 20% of my shoots to the last detail, projects that I regard as concepts to be very precisely executed. The rest of my shoots fall under test shootings and they are better to be worked as spontaneous and inspiration gathering, mostly trying out new models keeping it light. I used to never preplan, so I'd say it is something that grows inside a creative, the kind of the visual engagement one may think they want to create. Usually people that come out of art schools are the ones that preplan 100%, while self taught creatives may or may not grow pre visualization. There's no right or wrong, I guess. Both approaches can make good photography and serve different purposes.
"Pre" - visualize?
Why not just visualize it instead of making it sound like you try to imagine it before you visualize it?