Catalogue photos for fashion entrepreneurs
how to art-direct your own shoot
Considering the present times, I want to publish a 'remastered version' of an article dedicated to client awareness, written six years ago to help entrepreneurs and small fashion labels, who need to shoot for their e-commerce catalogue, look-book or other marketing purposes.
The intent is to give helpful information for the best outcome and close the gap between photo professionals and their customers, often on a different way of thinking about the same job.
Frequently I am asked to work on imagery for catalogues, whether they are for printed publishing, websites or online sales.
Differently from advertising work – where we usually work with a higher budget – the primary concern of an entrepreneur who needs all his collection photographed is how to get all those shots quickly and within a reasonable expenditure… still achieving good quality, of course!
Yes, quality, because although some in today's industry think a low-quality packshot will do, we still believe in excellent deliverables at a reasonable price.
The following considerations aim to help any fashion entrepreneur in achieving the best results for a catalogue shoot.
As an entrepreneur, you will probably want to attend your catalogue's photoshoot, at least the first few times.
Maybe you're just curious or like to be involved. Or perhaps you're breaking in a new creative team and need to be sure that everybody understands your goals. But quite often, you need to be more than just an observer; you will end up participating in the shoot in the first line by being its art director.
No need to be worried: the main qualities for an art director on a catalogue shoot are good marketing sense and organisation, skills that most probably you already have!
How to do it? Here is some advice based on my professional experience and freely extrapolated from an article by Susan J. McIntyre, The Catalog Doctor, McIntyre Direct.
No.1 // How to choose the right photographer
(or understand if you can be your own)
When interviewing potential photographers, look for someone with catalogue experience. There are several critical differences between catalogue and advertising imagery.
Catalogues have lots of merchandise and require many photos. On catalogue shoots, photographers are accustomed to working fast and taking many shots each day. They also understand that catalogue rates are lower because of the tight margins in cataloguing work.
On advertising shoots, photographers think different - they expect to work more slowly and – because there is a lot more complexity involved – they charge more.
Ask to see the photographer's portfolio. Notice the range of work done. If you see lots of shots you like, you'll probably like the work the photographer will do for you. But remember to review many photos, not just a few that the photographer has specially hand-selected.
Be sure to check references. It is not unusual to run across prima donnas who are moody or emotional. Such attitudes may be tolerated in advertising photography, but they have no place in high-volume catalogue photography.
No.2 // Agreeing on the correct licensing and rights
Before hiring a photographer, discuss "rights." Many photographers think of themselves as artists who create a piece of art and then sell you minimal rights to use it.
That doesn't work in cataloguing.
Although photo copyright remains to the author (the photographer) in most cases, you need to buy an extended usage licence. This aspect is essential because you may reuse a specific photo for many years. For example, some labels successfully reuse the same photo for decades. You won't like to go back to the photographer and pay again for each usage when that happens.
If you agree to buy "all rights," remember that you own the photographs, including their physical/digital support. Then be sure to receive it from the photographer and keep it organised, backed-up, labelled and in a safe, waterproof and fireproof place (there might be no other copies left at the photographer's studio).
Be especially aware of rights when you deal with models. Model costs can skyrocket if you don't understand what you're buying. It is often expensive to buy all rights with models, but be sure the model contract specifies all catalogue rights. Remember, rates and rights are negotiable with models.
No.3 // How to save money on your photographer
Photographer's fees may be high, so it is worth looking for ways to save money without compromising quality.
Make sure your photographer hires an assistant to help with the camera and equipment and a stylist to handle the product on the set.
The reason is that assistants and stylists cost less per day than photographers. So it doesn't make sense for your expensive photographer to spend hours on jobs that an assistant or stylist could handle. In a well-managed photo shoot, the photographer will always be busy with camera angles and exposures. At the same time, lower-priced assistants deal with the computer, lighting, etc., and the stylist changes products on set, keeping a steady pace on the job.
And if you are proficient enough to avoid the photographer's expense and take pictures by yourself, then still remember the importance to work with assistants and stylists.
No.4 // Organise your products to cut costs
Be sure that all your items, props and supplies are in the studio when they are supposed to be. Then, organise and label them so you can retrieve them quickly. Once again, a good stylist could help and save time.
No.5 // The team must eat
Consider bringing in some lunch for the crew from a decent nearby takeaway food service. Although it may sound lavish, you'll save time and money because the team will start working again sooner after lunch than if people leave the studio going to a coffee shop or restaurant.
No.6 // How many photos do you get in one day?
Talk with your photographer in advance about how many shots you can expect each day. You may be surprised at how low the number is.
An experienced team with one photographer, one stylist and one photo assistant working on high-quality clothing or accessory catalogue can produce thirty to fifty good shots in one 8-to-10-hour day. Expect one half-day for your covers.
If you need more images, ask your photographer if he's comfortable working with more than one set at a time. A "set" is the spot where a shot is set up, styled and photographed. If you run just one set, your photographer will often be standing around with nothing to do while the stylist adjusts the product or the assistant moves equipment.
But if you're running two sets, the photographer can be working with lighting and camera angles on one while the stylist and assistant are preparing the other. This solution makes maximum use of your photographer's skills and can boost your daily shot count by almost double.
No.7 // You should always be thinking several shots ahead
At the start of the shoot, pin the collection layouts up on a wall/board. Then, highlight every shot to be taken, and circle it when done. This simple procedure will help you and your visually-oriented crew to track your shot count progress on the day.
Let's say you're running two sets. That means two products will always be photographed on stage, and two more products should be standing by, ready to go on set next.
Always know which product is up next. Bring the appropriate merchandise to a staging area, and have the correct props, accessories and other supplies ready. If some assembly is required, do it well in advance. If you're shooting garments, iron/steam them in advance.
Preparation like this will help you avoid situations where people walk around confused or wait for someone else to do a job.
When gathering merchandise for your shoot, remember that the camera sees everything. Minor nicks and dents you don't notice in person will stick out under the camera. Bring multiple samples of each product if possible so that you can pick and choose the best. Avoid wasting time on 'emergency touch-ups' while the crew waits. If, for example, you're using food as props, bring multiple items so you're not stuck when your cookie crumbles.
No.8 // Keeping on schedule, on the budget
When you move a product onto the set, ask to see an initial image on iPad/computer of the rough setup as soon as possible, before the fine-tune adjustments take place. Then, if you don't like how the shot is shaping up, make changes immediately.
Usually, photographers will get a set roughed in very quickly, then work on details for the next (long) minutes. Then, after all the details are correct, they feel that the set is "ready to show the client." That's poor strategy - if you don't like the basic layout, the crew will have wasted precious minutes tweaking for nothing.
Instead, make a habit of looking at and responding to each shot as early as possible. Is it clear? Does it fit the scope?
If a setup isn't working, rethink and change it early.
And when you decide to change a shot, tell the team why, and explain what you're trying to accomplish. Don't tell anybody how to do the job - tell your team what you want to see instead. For example, say, "I need to see this feature," or "I need to see more sparkle." Then let everyone work their best to achieve that look.
No.9 // Choosing the right pictures
A significant part of your job as an art director will be approving each final image. When reviewing the photos, keep in mind that you are after marketing effectiveness, not art awards. Look for clarity, attractiveness, consistency with your catalogue's look, and printability. Try to avoid the temptation to nitpick tiny aesthetic details that won't matter to the customer.
Help the crew by bringing in tear-sheets from other catalogues of the look you want, and do this before the shoot so that you can prepare all the team at best.
And at the end of the long shooting day, I can assure you that you will be exhausted but also extremely satisfied to have achieved something good for your business.
Ad maiora,
Marco Fazio
credits & acknowledgements for photos on this editorial
Printed bodysuit and jackets // "The Magic Flute" collection by Carlotta Actis Barone
Jewellery // Chiara Martinelli, Antonella Tanzini
Evening dresses // Luna Sky Moda
Food creations // Yano Sushi
Photography // Marco Joe Fazio
