Avoiding screw-ups while shooting

(Click on photos to enlarge)

Before beginning a stock photography shoot with a female model (they're not professional models - mostly students of mine, friends, and acquaintances), various issues have already been addressed and mostly resolved, including:

• Inadequate or inappropriate application of makeup, if wearing any, corrected
• Strands of hair (from her and pet), lint, and wrinkles removed from clothing
• Tattoos or body piercings hidden by clothing or accessories
• Chipped or peeling nail polish repaired
• Jewelry, if worn, displayed correctly

Once the actual photography begins, I stay tuned to other problems that no doubt will arise from shot to shot. If something does pop up, I'll try to deal with it immediately, knowing that if I don't, something else may catch my attention, and I'll forget about the issue. I usually work unassisted. That adds pressure to keep up with all that's going on, since nobody is around to act as a second pair of eyes for me. Also, my natural inclination is to think creatively - what can I do to make the shot dynamic, unusual, and appealing. I have to remember to stay focused on addressing the mundane but often critical issues that will arise. Failing to do so can result in an inferior or ruined picture.

I photographed Deborah on the roof of her apartment. As she experimented with a variety of poses, these were some of my “be sure” concerns:
- Be sure her head and body are backed only by the roof
- Be sure her hair is arranged well
- Be sure her head is tilted up enough for skylight to illuminate her eyes
- Be sure nobody on the ground wanders into the shot
- Be sure any slight compositional changes I make from shot to shot don’t contain any distracting elements
- Be sure she doesn't slide off the roof
- Be sure I don't slide off the roof
- And, of course, be sure her expressions and body positions are interesting

Here’s something I often miss. Deborah was moving around on the sofa, trying out a variety of poses. As she slid down the pillow, friction kept the back of her hair from moving with her. The result was this odd hairdo. When I do notice this problem, I’ll have the model tilt her head forward, smooth down her hair with my hand, then have her lean back to where she was originally.

Meredith was lit by two strobes bounced against the ceiling and walls behind me. Because she stood between two windows, I had to keep an eye on what was going on outdoors, being sure nothing happened out there that might hurt the shot. I also had to be careful how I positioned my camera from shot to shot so that no reflections from the strobes would be visible in the windows.

This was one of the few times I used a tripod to photograph a model. I liked the placement of the camera and knew moving it again would not be necessary while at this location. With the camera on a tripod, therefore, the composition would be set. I could then focus my attention more fully on the model and other elements in the scene. Adeline, mostly on her own, was coming up with some great poses and expressions. My concern was her placement in the frame. First, I wanted nothing but the wall behind her. Second, I didn’t want the shower caddy or hanging brush, on the right, to appear to be touching her body. Third, I wanted to control what proportion of the shower door was covering what proportion of her body. Not having to handhold the camera gave me more freedom to attend to these concerns.

It’s my palm Joanna is touching. That meant I was holding the camera and photographing with only one hand. As I shot, I kept watch on all that surrounded her, being sure that:
- Her legs stayed between the toilet paper and toilet tank
- A good view of her face appeared in the mirror
- Her hand was positioned gracefully on my hand
- The camera was held fairly level

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