Wearing the appropriate attire for your portrait photo session will make for better pictures.
Suzanne Cotter, Director of the MCA, shot on location at the MCA for Wish Magazine. I gave Suzanne the option to choose her image and this is the one that appeared in the magazine.
Here are some lessons I learned recently after a corporate shoot, and it’s stuff that I should already know!
No job should be easy.
I have a regular client for whom I have shot portraits for about nine years. Previously I would shoot them in the park on a sunny day; they are corporate, but they wanted to stand out from other businesses in their field. We would shoot supernatural portraits for their website and LinkedIn. It was an easy job for me: no lights, just my camera and some shade under a tree and my witting banter.
2. New style, no worries!
But this shoot, they wanted something different. The business has grown with more staff and extra owners. They wanted something cleaner and more aligned with their corporate environment. When the owner and I spoke, she told me she wanted something different from their old headshots, so I gave her some ideas and showed her what I have shot in the past for other corporate clients. After I showed her my examples, her feedback was that they were too messy. On reflection, this should have been the first red flag. Although I would not describe my style as unclean, it's certainly not like other corporate photographers. We chatted about shooting in a studio which isn't something I do with a corporate client. I like to go to people's offices, where they are comfortable. I prefer to shoot people in situ or against a plain background which is usually easy to find in an office. So, I suggested I do a recce at the office, the client and I decided that shooting them in the meeting room would be the best way to execute the shoot. The space was small, but I could make it work.
3. Be transparent and honest with your client.
Their web builders also briefed me as they needed specific images for the new website. Unfortunately, this company had no creative director, just web designers who had very vague ideas of what they wanted from me. Another red flag, and its' something I raised with the client, but she seemed to think we could make it work, so we pushed ahead with the shoot.
4. Have a clothing brief.
Before I shoot someone, especially those who aren't used to having a professional picture taken, I ensure they know what to wear and how to present themselves. I send a brief it reads like this:
Not sure what to wear or how to do your makeup? Here are a few pointers:
First, present yourself like you would for a job interview.
Then, do your hair and makeup like you would for a nice night out.
Please don't wear red, all black or checks, they don't photograph well.
Here is an example of one of the recent corporate shoots I sent to this client, which she said was too messy, but this is just my style. Jonathan Knapp, SJB Sydney Director shot on location in the office.
5. Don't let the subject leave until they are delighted.
The day comes, and we start to shoot; I have my light set up, my assistant and my computer all good to go. The client made the point to staff and me that all the staff needed to look at their images on the computer to see if they were happy. I made sure we did this with everyone. The team seemed happy and didn't leave me until they saw an image they liked of themselves. For example, one woman wore a top where you could see her bra. We tucked it in for them and let them know if there is an image they prefer when you can see a bra strap retouching is available. Another woman had nipples poking through her top. We pulled her blazer over so you couldn't see them. She noted that you could see her nipples in the one she liked and could retouch them, which is an easy fix.
When I first started shooting, we shot on film, and retouching wasn't an option; we always tried to get it right on camera. Now, I say this, BUT when I'm shooting, I'm concentrating on my subject's expression, body, and head position, plus I'm trying to make them feel comfortable. So, I will sometimes miss things like bra straps, nipples, and messy shirts. There is only so much one person can do! My assistant always tried to pick up anything I missed, but I love to go with the flow. I'm not making excuses, I promise! It's the way I work!
6. Negative feedback is never easy to hear.
I edit the shoot, and I send it to the client. A few weeks pass, and I send a follow-up to see how their edits are going for retouching. The client who engaged me sent me an email complaining about the above. Bra straps and nipples are showing, and messy clothes and hair. I'm devasted as I tried so hard to make these people feel good in front of the camera. I offer free retouching and a phone chat about the shoot. She calls, and I apologise, I mean, the buck stops with me, and I'm willing to take the blame. She says everyone in the office is disappointed with the portraits, and I offer a reshoot at a reduced rate, anything to keep this long-time client happy. We agree that this is the best idea, but she wants to wait until they move office and have more space and the extra staff starting. We agree the room was too small, and the portraits were too honest for everyone, which brought out their insecurities.
7. What did I learn?
What a lesson this was! I didn't feel right about this shoot in the first place; I should have pushed back instead of agreeing to shoot. It felt rushed and not well considered, and my years of expertise should have safeguarded me.
I have also updated my what to wear brief to include no bare shoulders and wear a padded bra!
Have you had to learn the hard way? If so, let me know email me. I would love to hear from you. Katie
