Guest Writer

Boudoir photographers tend to the fears and concerns of their clients on a daily basis. In a boudoir session, the client is not only stripping down layers of clothing, but also layers of built-up emotional mindsets on body issues.

Conducting a smooth running photo shoot is a challenge. You need to create the right set conditions, manage the equipment, and deal with the models. Thankfully, there are several steps you can take in choosing the right models, while providing them with a relaxed and smooth-running environment. Having relaxed models can make or break a photo shoot because they’ll give you a more natural performance, which translates into memorable photos. Here are ten tips for working with models and managing the set in order run an efficient shoot and produce natural imagery:

Once you start adding up all of the fees, cost of prints, cost of matting, and cost of shipping, entering photography competitions can start feeling a bit expensive. This is why learning where you can cut corners without compromising your work is important.

All too often in our business, we are thrust into a job in which we either have no time for or cannot afford lighting tests. I find that these gigs force me to fall back on my old tricks and techniques. This can lead to the dangerous place of shooting stuff that all looks the same. Sure, you can try out new ideas on personal projects, but sometimes, the job calls for stuff that you don’t own or cannot afford to get. Usually, when planning a shoot, I have great theories and fantastic ideas on how to pull off a look. However, the idea of winging it in front of a client is stressful...

More often than not, things aren’t going to go the way that you want them to on set. Things are going to break. Things aren’t going to work. Models aren’t going to show up. That’s life. Deal with it.

I love to shoot tethered whenever I can. It’s the most successful way to create real collaboration on set, and clients are more engaged when they can see what’s happening on a big screen. Depending on the environment and the demands of the production, I’ll choose between a couple of tethering approaches.

Directors each have their signature shots, or do they? Creative trademarks like Wes Anderson’s symmetry, Alfred Hitchcock’s zoom-but-not-zoom, and Quentin Tarantino’s trunk shots might be central to their success — but so are the thousands of “normal” frames surrounding these shots: connective tissue often obtained from second units, stock archives, and even other films.

Now that I'm settled into my new 4200 sq. ft. studio, I have a ton of space. However, that wasn't always the case; in a smaller space, organization was the key to sanity. Tripping over gear and frantically searching for grip equipment is frustrating and doesn't look good in front of clients. I believe if you have an organized workspace that organization will be reflected in your mood while on set, allowing you to stay calm, cool, and collected. In this video, I show you four tips to starting down the path to a more organized studio.

Ever tried to photograph a subject, only to find out that you don’t have enough depth-of-field to get the whole thing in focus? Typically our first reaction is to stop down to increase our DOF. Unfortunately that doesn’t always give us the results we expect. The first issue is that even with our lens stopped down to its smallest aperture, we still may not have our subject completely in focus.