Who is To Blame When Your Photos Turn Out Bad?

We have been fortunate not to have these things occur. Yet, we hear about them all the same. We’ve had a misunderstanding or two over the years. Who hasn’t? Usually it’s about start times and styling choices. Even after all these years there are some things we still simply refuse to photograph. There can be a great deal of finger pointing when things go bad on or after a photo shoot. When the pictures aren’t of the quality and caliber of what everyone expected then who is to blame for that?

Is it the subject, the client, the photographer, the creative director, the makeup artist or hair stylist, the agency, the wardrobe stylist, the retoucher or the booking agent’s fault that these images are so horrible? There are several people blame can and will be assigned to. 

The photographer wants to blame the agency for sending him such an inexperienced model. He says she doesn’t understand his instructions or that he has to almost babysit the model and take him or her thru every single pose like a baby having to be guided through taking it’s first steps. Or the model came unprepared, she didn’t bring the right clothing discussed, she didn’t wax, she was unable or unwilling to do the required looks. I’ve also heard photographers say the model simply can’t model. She can’t pose or move. Everything was jerky or incomprehensible and out of context with the theme. It happens but is that all the model’s fault? Read on.

The stylist or booking agent might say that the modeling agency sent the wrong model. Or the agency will say the model is exactly what the creative director asked for. But someone will complain that she's too tall. She’s not expressive or that she doesn’t have the dress size or hair color we requested. Is it the stylist’s fault or the agency? Read on.

The model blames the photographer. He was too pushy. He was weird. He spoke too fast. I couldn’t understand him. He was not communicable. He was too quiet. I didn’t want to do lingerie. I thought we were doing lingerie but he wanted swimwear. I told the agency I only shoot nude. I don’t shoot nude; why was I asked. I was cold the entire time. I was too hot. The location was far away. He wasn’t good with lighting. He focused too much on lighting. The list goes on. Could she be right? Read on.

I think you see where I’m heading with this post. Everyone has a complaint about someone at some point in time. The simple answer is that it’s your fault your pictures are terrible. What do I mean by “your” fault? I mean anyone reading this. In short, it’s everyone’s fault. It is no single person because pictures can’t make themselves. If there are humans involved in their creation and a human is on both sides of the camera then it took both and all involved to create that image.

Most of the problems associated with photo shoots is a lack of preparedness and a failure to manage expectations. This all starts with communication which is why I cannot emphasize enough of knowing and preferably having an open dialogue with everyone involved with your project. Blind photo shoots are like blind-dates in that you don’t know who you’re getting. Why set yourself up for failure? Study a port. Look for inconsistencies in shooting styles. Models, check the photographer’s work ahead of time and look into the ports of the models he or she has worked with in the past. Message one or two and ask how he shoots, if he’s communicable, if he’s difficult and then decide for yourself if it’s worth your time. Ask how long it takes to get pics, do you get to choose them, how will they be used, how much are his or her photography rates? Ask if you’re expected to bring your own clothing or will you have help. 

Models… go further and ask the photographer if you can bring an escort ahead of time if you need one. In fact, for many photographers its a deal breaker. Not because they’re up to no good but largely because they can manage one stranger in their home or business but not two. Additionally, that’s one more distraction he or she doesn’t need. Don’t surprise us. We hate unexpected tagalongs. A photographer shooting from his home or basement isn’t unusual. In fact, it is common. If that freaks you out then choose another photographer. But you better believe some of his best work was created in that same garage or basement. Do you believe every single image the photographer created was in a $20,000 per month ocean-facing loft studio? A great photographer can create an incredible image almost anywhere if they have enough space, enough light and a willing model. But if someone is too high brow for a basement then go and pay someone with a huge posh studio willing to shoot a start up model with zero experience. You never know. Maybe you’ll get lucky that way. Besides, that option is readily available to you here as well. But that is what portfolios are for. If you saw a scene you like in his portfolio then ask about it ahead of time. Be clear that’s the kind of look you’re interested in and communicate that is what you’re expecting within your level of resources. If that isn’t possible with your resources then be sure the photographer communicates that to you. Don’t assume they can and will do that just because you brought it up. If you wanted a twentieth floor ocean front balcony view as your background image and you’re not paying the photographer, you haven’t spoken to them or referenced them with another model or artist that may have worked with them, then you have reason to be suspicious; but that’s on you. You have reason to be concerned if you’ve been told escorts aren’t allowed and you’re being led into a dark basement in the middle of Idaho looking for the ocean. Some things are just common sense. 

Ask for examples of ideas ahead of time that the photographer or director expects you to do. If you’re working through your agency then ask them to be specific. If they can’t be specific then adapt but don't complain. Beforehand and if applicable, ask if you need to sign a model release and what is in it. If you don’t then why or why not? Ask your contact about image use and how many images within reason you can expect. How long will it take until you get images? How will they be delivered? As professionally as possible ask the photographer if nudity is expected or if implied is okay? Provide a visual example of your level of nudity that you find appropriate or inappropriate. Ask the photographer if there is a changing room or if there are bathroom facilities there. Exercise due diligence and work with creatives that consistently gives the kind of quality and performance you want from the beginning. Even if it means working less or collaborating less - choose high quality projects and be deliberately discriminating on your choices. It only takes one bad image to ruin a reputation and scores of extremely good ones to recover your reputation if it can be recovered at all. 

Agencies… what can I say about an agency? They’re very good until they’re not which is to say most often they’re not. Call the agency, email them a call-sheet with the ideas along with the model you’re requesting. Ask the agency if they can send the model’s current pics (this should be automatic and already current but don’t assume) to be certain her look hasn’t changed. Be sure to cover the aspects of how the images will be used and share your expectations to them as to what you expect them to do and the model that you are expecting to arrive. Confirm arrival times and duration of the project. Do this all and do it twice more. Agencies can be notoriously selectively forgetful and inconsistent. Furthermore, agency turnover is atrocious so who you spoke to this week may be a different person the following week. Therefore, manage your expectations by keeping a trail of documentation of your correspondence. 

Make up artists and stylists… share, share and share again. Make sure you know exactly what the creative director or photographer expects of you. Be sure you are familiar with the look and have your kits and your clothing accessories on par with what was shared, planned and discussed. DO NOT assume autonomy over how the makeup and hair will look. Chances are the people you’re shooting with will want full creative control over the end result and how it got there. Ask ahead of time which looks will be first and the order of shooting those looks so you're prepared. Suggest but don't demand a sequence more efficient for your application. Why not demand? Well demanding is rude for one and there are things beyond your station in-play. In cases like mine, I've had to take into consideration tide forecast times levels if we're shooting on the beach. If it's the tide is too high when the model is there we're doing indoor looks first if it's on the menu. As it the tide subsides, there are areas we can now get to  they were not available when the tide was at the maximum level. Photographers have to consider sun position. Backlit images are best for certain parts of the day. That means shooting a certain look may need to be earlier or later. No one should assume they know everything that's going on. You have to ask, email, call and/or message each other. You’ve probably been given a mood board of a plethora of styling ideas supporting the theme you’re expected to execute. If you're not sure who you’re reporting to then ask. There is no shame in getting it right and asking questions if you don’t know. Too much pride is often times are greatest enemy. Ask your primary project contact about what you’re expected to do and what, when and where you’re doing it. Ask for a mood board and ask specifically how much latitude you have on the look and who will manage your applications. 

As you can see, most problems can be addressed before a shoot ever begins. When that image didn’t turn out like you expected it to then it’s probably something you didn’t do or neither of you talked about. When model’s tell me that they worked with a terrible photographer and the images weren’t that great I have to wonder. Did the model even look at his portfolio? I mean really really look as in study it? Did the model reference other ports of models that this photographer worked with? Were they prepared for the shoot or did they just bring what they had or what they wanted to shoot without discussing it with the photographer? Quite frankly I wouldn’t work with a photographer I didn’t know well if he or she didn’t ask me what I was bringing. Wouldn't that photographer want to be reasonably prepared for what the model was bringing even if it’s something casual and carefree. I would want to know which background I need to put up or even if I should gas up the car for a location shoot on a collaboration. 

When the photographer says a model was stiff and inflexible and just overall inexperienced and haughty, I think… did he meet her first? Has he spoken to her at all aside from her “Hello, I love your work; let’s shoot this weekend,” messages many upstarts let themselves get entrapped by because they're so eager to get pictures of a beautiful new model they haven’t worked with before.

Let me level with you on a little secret. Photographers are prideful and models are even more prideful. They really don’t like contacting one another for advice on a model or photographer. They want everyone to see, believe or think they did this all on their on. Yet, the regional photographer and model community is a small one and people talk - if not now then soon. Eventually every nuanced thing, bad habit, good habit, preparedness, lack of professionalism, flirt, whisper or word of encouragement gets passed around. So why not, just manage those expectations, talk to each other and share your experiences to improve your projects. I’ve been more than disheartened about how many photographers fail to contact us about models. Yes, it has been several over the years but you’d think it would be dozens of times a week at least. Then they complain and whine about what they didn’t shoot or couldn’t shoot. Or they whine about a lack of image quality or that the model was this or that or didn’t model lingerie when they talked about lingerie. Well I might have told you she would do that. Well that’s the photographers’s fault. We’re the one’s pulling the proverbial trigger. Even though it’s everyone’s responsibility, the pressure is on us to perform despite the circumstances that led to the bad images or lack of images. 

Retouchers retouch. Stylists style. Models model. Photographers manage, direct, orchestrate, adjust, manage people, often times style, produce, help to design sets, and create the circumstance by which the entire project will be executed. It stands to reason that we would take every single measure to insure the results are nothing short of stellar. Sometimes despite our best efforts, something or someone falls short. But it’s not our time to point fingers. It’s everyone’s fault but ultimately we have to get up, dust ourselves off and see what we can do to keep such things from occurring again. I have found that in the end, it still comes down to communication, preparedness and managing expectations of every single project.  

In conclusion, whose fault is it when an image fails? It’s everyone’s fault. I can’t take a picture of another person all alone without the other person. 

Photography is a People Business

You can learn every single thing about lighting. You can buy the best camera gear, grip and props. Yet, the thing that truly makes your image great is how well you interact with and engage your subject. 

Just this past Thursday I was called upon to photograph a member of a corporate sales team. This guy is the big cheese of financial and sales analytics. He's the number one reporting guy. As you might imagine his professional image is extremely important and he was well overdue for a profile update image for his business page. I was approached directly by his direct manager to make sure he's taken care of from the image perspective. He knew i knew the deal; the upscale, professional, business look with all the fixings. But he specifically added, "give it your special touch." Whatever that means. 

I could tell the guy was apprehensive but he really needed the update. I'd seen the existing pxiture and lets just say it's... Bad would be an understatement. But he knew it wasn't great because he went on and on about how spur of the moment it was when he had taken it etc etc. I wasn't setup yet and I told him it would take a few minutes. I didn't even have a camera immediately on hand; my own was clear across town. But he wanted to just hang around and follow me until I was ready. They didn't have great lights either. In fact, they are atrocious little buggers; weak on power with a terrible color cast that was inconsistence every time you turn them on. The camera they had was also about 14 generations behind the tech curve. I worked very hard indeed to figure out how to set a reasonable white balance on the barely functional paperweight. That's all I had - two weak monolights of two different colors in a room the size of a closet with a prehistoric camera that barely turned on affixed to a generic very loud slow lens stuck on f4 aperture all under weak fluorescent office lights. I had no V-flats and no assistant. 

It took a few moments to setup but my intended subject was chatting me up incessantly obviously as a means to quell his own nervousness. Hey, I get it. Some people have very real anxiety when it comes to having their picture taken particularly when they don't want to. No amount of expensive gear and lights will make him more comfortable. Consequently, if he's nervous it will show and what you'll end up with is a crappy picture even if you used $50,000 worth of gear. Sure it would be clearer, brighter and in perfect color but you'll have a subject with an expression that says I really don't want to be here. I'd rather be getting a root canal. Fortunately, I've had years of experience with situations like this. If i didnt I'd be screwed because the company is about 15 years behind on having the appropriate gear for this sort of thing. I mean to say without exaggeration that a cell phone on a selfie stick could take a better picture than some of this company's stuff. From pure experience, I knew that the best pictures are always from people who are comfortable taking them and from people that trust you unconditionally do make them feel and look amazing. So what could I do?

Well I did what I always do. I talked to him. I'd subtly suggested a spot for him to stand in without him even realizing it. He was following me around anyway so I just lead him right into the light and stopped in such a manner that had him stand where I wanted him to be which was right against a bright white very boring wall. What that wall was to me was a perfect way to bounce the already atrocious lighting so that this weak camera sensor I was working with could pick up a bit more light. So while I'm pretending to look for stuff I ask him about projects he's been working on. It eventually lead to a few jokes, him laughing himself to tears and talking about some family picnic he was reminiscing about. Now keep in mind I'm shooting the entire time but he barely paid me any attention. His anxiety was gone largely because he wasn't thinking about the little ad hoc photo shoot I'd learned about only five minutes earlier. He was too engrossed in the conversation to care. To an onlooker we were just two co-workers having a great chat about absolutely nothing but trivial BS. 

I had changed shooting modes and aperture settings several times even after only a dozen or so captures in to it. You have to do that with sub par gear because crap gear can be so horribly inconsistent. You're never sure which images will be the keepers. I ached for my own gear but I didn't have access to it and quite frankly this gig doesn't cover the expense or risk of bringing out my gear. Besides, it's a very last minute thing. 

I finally showed him the first few pictures I'd taken. He was shocked as to how comfortable and poised he looked and even more shocked as to how much I'd already shot. He said he had always struggled with pictures and never quite mastered the right expression - not until now at least. He was very pleased and even wanted to take more pictures with a variety of backgrounds. Well time was of the essence so I kept it simple and put off something grander for a later date. 

The main thing to remember is that really great photography involves more than just standing behind your camera with thousands of dollars in equipment. I've seen those pictures. We all have seen those images; crystal clear, technically flawless in perfect light shot from a $5,000 camera with a $5,000 lens but images that are still boring as hell. You forget about them almost as fast as they left your sight. To really bring out your subject's best you need to engage them. You'll draw more of their personality into the look and that is always more appealing than just asking someone to smile (weird). Remember to stay productive while you're directing, adjusting, capturing and chatting. Remember that you're working. You just make it look easy and that always lowers the anxiet and nervousness of your subject. To the untrained eye you're just having a great time and seemingly rarely firing off a shot. But in reality, you're adjusting lights, changing the aperture and shutter speed, recomposing and adjusting white balance all while having them follow you around the space as you get a variety of backgrounds, genuine expressions and real emotions. It's a win-win because you're capturing amazing images, getting a potential lifelong client and probably making a new friend. 

How to Look Good in Every Photo.

Over the past few years I’ve heard every kind of excuse as to why some people feel they can’t take a great picture, or why they don’t take pictures. After years of experience, and hearing every kind of excuse I thought I’d share my personal guide to improving the outcome of your pictures. 

I, for one truly believes that everyone has something to bring to the photographic table. I think every person has something beautiful to offer and it is my task to harness that beauty, that sensuality, masculinity, pride, strength, or that confidence into something visually striking. I’m not changing you. I’m making a perfect facsimile. As flaky as it sounds, that light and camera can reach far deeper than what is seen on the outside. 

Now are there people that are physical masterpieces of Godly perfection? I’d be the first to say YES. Let’s be real about it. Beauty might be in the eye of the beholder but there are certain types of beauty that are as certain as gravity. If you don’t believe that, you’re lying to yourself and probably lacking a bit of self esteem. The big surprise is, they’re not all walking in the Victoria’s Secret show. They’re your neighbors, friends, workmates and relatives. I see it every time I leave the house. She’s in the grocery store, she’s your barista or your bank teller. He might be your physics professor or your landscaper. It doesn’t matter the source. There are some gorgeous people on this planet. I don’t know if they are nice people but if it’s eye candy, it’s just plain eye candy.

“Yeah she’s hot.You may not be as tall as that (eye candy) barista, but you should stop comparing yourself to other people. She doesn’t have your smile, your hair, or your eyes. That is something unique to you. Despite what you believe, you have the most insanely gorgeous cheekbones I have ever seen. Your skin is like baby oil on glass; smooth and supple making light literally slide around you as you move; and you move so confidently without trying and project regality and a powerful confidence making you extremely sexy.”

Have I said that to anyone before? Of course I have and it was entirely true. I had a client which complained incessantly about her hips and kept comparing herself to someone else. Was she hippy? I don’t really know. Where she saw hips, I saw dunes and lines. I saw curves of highlight and shadows with a cascading terrain of canyons and hills. I saw a dance and play of light as she strode into a room and smiled; something my camera would absolutely love. 

When we did finally shoot, she saw it too after viewing her images. Thru tear soaked eyes she thanked me for allowing her to see how I saw her, how everyone saw her. The lesson here is that your excuses are just that...EXCUSES. After decades of staring at yourself in the mirror, your idea of what you think you look like is not likely shared by anyone else on Earth. In fact, I’d say your own opinion of your physical self is probably shared by less than half the people you know whether that be good or bad. But my experience suggest that most people probably think better of you physically than you realize so stop beating yourself up. For everyone not in the Godly perfection crowd, well... that’s just sad.

Leave the Excuses

I’m too hippy, I have a pot belly, what about my muffin top, I want to grow my hair out, I’m too old, I’m short, I’m a lumbering giant, I’ve put on weight, I have no coordination, blah blah blah. No one is asking you to walk a tightrope. So you think you’re heavy? Guess what? So do runway models, and singers, and actresses. Most of them think they are heavy too. Yet, they are on billboards, magazine covers and all over the Internet. Why? Because they get paid? Would being paid to take a photo make you feel any better about yourself? I think not. 

When someone tells me that they are too heavy or have put on weight I take it as saying “I don’t trust you to take a good photo of me right now because I’ve put on more weight than I’m comfortable with; thus, giving me a less than ideal view about myself. You’re great but not that great. No amount of light will rid me of my self loathing. No amount of makeup will make me feel beautiful right now. Next year when I’m at my goal weight you can take shot after shot of gorgeous images of me because I’ll be thinner. Your talent is solely dependent on my thinness. You’re only as good as how thin and fit I feel. I’m just not happy with myself because I’m fat and ugly and have no confidence.”  

When you word it like that it sounds horrible doesn’t it? But isn’t that what you just told me? Is that not what you said? It may have been paraphrased but that is exactly the meaning when someone says, “I’ve put on too much weight.” You told me that my talent and ability to take a mind blowing gorgeous photo of you is associated directly with how you feel about yourself. Until you feel great about your body I am damned to a career of utter mediocrity and talentless wandering. 

Attitude 

Given time, a little patience and leaving your self loathing at the door you are already 50% there. Confidence, is one of the key components. Shake off that self defeating air you’re projecting and come in fired up and ready to have fun. Whether they are CEO head-shots, maternity shots or senior pictures matters not; shedding the apprehension and remembering that it is not the end of the world will improve your visual disposition. 

You ever wonder how someone that is stereotypically average looking in person looks like a supermodel in pictures? Yet, someone breathtaking in person looks like a train wreck in pictures. More than likely it’s confidence. They may have had one or two bad photo experiences and every photo shoot after that they met went a sense of foreboding and depression. Guess what? It translates. Your sense of dread doesn’t do anything for the image. Furthermore, you project it around you. Everyone feels it. The one you do not need to project onto is your photographer. Most photographers are business people. Sure they want to insure they capture the best shots of you, but they’re creative and fluidic which means they want to have fun and keep an uplifting atmosphere. It keeps their creative synapses firing and allow them to see potential in you that you may not have seen before. 

I’ve had all types; even the 5’10” proverbial bombshell with the angel face. But when the lights started to flash it all faded away. I struggled to bring her to life. There was no spark, no life behind the eyes. There was only a pretty face and just having a pretty face and/or a great body does not necessarily equate to a great picture. Just keep it positive and drop the expectations that you only have for yourself. No one is judging you and there is no one to impress.

Dress the Part

I think you’re mind blowing-ly hot; but that doesn’t give you a license to try and fit into a size 8 if you’re a 12. Dress appropriately and be realistic. Sometimes, your biggest fan sees you thru rose tinted lenses. Therefore, it would be prudent to get another opinion and check up on different styles and buy clothing and accessories consistent with your intent. My most used self made phrase is “just because they made a mini skirt in your size, doesn’t mean it’s for you.” Get a little help. Your photographer or a stylists would be extremely helpful in this case. Unless your best friend has won styling awards, they may not always be the best source of style trends and appropriateness. Best friends often dress similarly as you and you two seek conformity with one another. You and your friend may be wearing clown suits and think it’s still the s**t. But it probably went out of style with "hammer pants."

To Pose or Not to Pose  

Posing is a skill. If you’re not sure about it don’t try it. There are some basic stances your photographer will take you thru to insure great results for your shoot. Please don’t try top model stunts unless they’re part of your skill set. Basic considerations are poses that shift weight to one leg or another, or to one foot or another. It aids in the illusion of slimness and a shapely figure. 

However, the best shots I’ve ever taken are candid shots; shots where the subject appears to be in their own space or some other natural state. No posing required. A genuine laugh, a smile, or glance or tilt without them even knowing what they are doing is perfect. One of the best shots of my photographic career was a client brushing out her hair. Another was a client adjusting her earring. They are spontaneous and natural and they don’t look staged. If the theme permits, candid is the way to go to not look dorky. If works for almost every genre, especially wedding, portraits, boudoir, and glamour. 

My largest advice to women is Triangles and Curves. Most positions that put the body’s limbs in triangles and the core of the body as an s-curve relative to the limbs is gonna be awesome. Create space between the arms and body (refer to triangle). Bringing your arms in close to your body adds a visual sense of bulk thus adding the illusion of weight. Turn and twist, shift the weight away from the camera and bend the arms creating space between you and camera, as well as between the arms and body. Not to worry, it’s not something to remember. A good photographer will subtly remind you. 

Just Give Me the Light

Remember where the light is. We want the light to strike the key area of interest. Most often that area will be your eyes. Always remain mindful of your eyes and body relative to the light source. While we may not say look into the light directly, we might remind you to look toward the light or past the light. 

Your Good Side  

Some studies suggest that the left side of the face is statistically the visually favored side as it pertains to attractiveness. I don’t know about that. I have captured photos of beautiful people from all sides with varying results; sometimes it’s the left and sometimes it’s the right depending on several factors not all of them being pre-disposed to one side or another. 

In conclusion, stop insulting yourself and get out there and just take pictures already. It's a photo not a prostate exam or a pregnancy scare.