Let me preface this by saying that professional photoshoots are not for everyone. Your business type and client base may not require them. It is important to analyse your business, your goals and dreams, your target client, even your artistic sensibilities, to ensure that a shoot is appropriate to your work. This is true of any marketing effort, any addition to your portfolio, any business expense… 

 

Still with me? Right, then let's have some fun dreaming up your photoshoot!

Why should I arrange a photoshoot?

Have you identified your potential target client? Good. Where does s/he shop (I will be referring to "she" from now on, simply because it will keep the article simpler)? How does she find her dream corsets? What sort of imagery is she exposed to when buying clothes? What are her values, her tastes, her aesthetic preferences? Which designers, styles and high street shops does she love or hate?

Is there a noticeable difference between the way your work is presented to her and the work of the other brands she buys?

Figure 1: An example of a corsetmaker/designer whose visuals are distinctive and powerful. Sannie of Skeletons in the Closet works with many creative photographers whilst also modelling from time to time. Photographer: MRJ photography. Model: BlackvelvetMost probably, there is. Pick up any glossy magazine and you will probably see huge differences. Now, I've already said that we can't and probably shouldn't seek to precisely emulate that sort of branding. There are inherent differences between our industries (not least the amount of money available for advertising) that we cannot get rid of. But those differences aren't to be seen as a bad thing.

It isn't a failing to have imagery that is wildly different from the mainstream fashion fare. It's just a question of how it's done. It can be done badly, or it can be done well. Through adherence to your brand's core principles, and through reference to your business' special status as an artistic one-woman endeavour, you can create imagery that makes sense to your audience and is "different" in a good way.

The overall branding for any business must support the product as effectively as possible. The product may be elevated to the status of a desirable object (a "must have purchase!") through this presentation. In other words, the product's inherent quality may be boosted or belittled by the way it is presented to its audience.

So, does your current imagery boost or belittle your work? Does it show it in its best light?

If you are reasonably skilled with a digital camera, happy to fix colours in photoshop, and able to photograph your work in a setting that is appropriate to your brand (eg: in your beautiful home, such as Lucy of CorsetLacedMannequins does with her mannequins), then you're probably fine as you are. 

Our own Cathy Hay, as another example, takes beautiful photographs (both in-progress and at completion) which focus on the tactile and quality details of her work.

 

But if, on the other hand, you find yourself tearing your hair out over shots that are just slightly blurry, shots that don't convey the fabric correctly, shots that don't do justice to the glorious shape you've achieved, then you may benefit from getting professionals involved.

Figure 4: one of my corsets photographed by me (on the left) and by professional photographer Sean Elliott (on the right).Here, I have chosen two images which give very different impressions.

You can see in figure 4 (right) how the effect obtained can be very different. The left-hand image (taken by me) is helped by the super-curvy mannequin, but the corset is not filled out to its correct and proper shape. The series of images we took of the corset on its intended model (Ivory Flame) show it with considerably more smoothness, as a soft body will always fill out a corset better than a mannequin.

Sean's image (on the right) is more "editorial" in style. It works to create potential narrative. Even though it doesn't show the whole corset, this is a beautiful image that draws me in. Being drawn in by the image is, in my opinion, the most important thing.

When selecting images to showcase your work you need to think, "Which of these images has the potential to last in someone's memory?"

I often forget about photographs that I have taken since they are so bland, so what chance do I have of someone else remembering them?

For me, it's necessary to collaborate with others if I'm going to produce effective imagery for my business.

 

Dreams

Figure 5: As gorgeous as my friend Breezer is and as much as I still love both of these corsets, this dark image with messy background and unclear views of the corsets wouldn't really inspire me to fall in love with the designs... Try to look at your imagery from the point-of-view of your potential clients. Ah, the benefits of hindsight!You want people to dream about your work. You want them to imagine the pleasure of owning something you've made, to anticipate the thrill of lacing into your bespoke corset for the first time, to become all misty-eyed at the potential feel of silk beneath their fingers. It may sound excessive, but these are the processes so many of us go through when purchasing luxury clothing. We imagine what owning/wearing that garment will do for us.

For example, a good friend of mine recently indulged in her first pair of Louboutins. Spike heels, jazz leather in black, a rounded toe, and the ever-present red sole. She delighted in the texture of them, the look of them... she imagined wearing them to her important interview (the whole justification for the expense), pictured the length they would give her legs, the elegant arch they would give her foot, even the slight physical discomfort of high heels that would be oh-so-worth-it. We spent a good twenty minutes alone discussing how it was incredible that such a simple design could have been refined so beautifully, marvelling over how something (maybe the proportions?) made this shoe so much greater than the other shoes we wear on a day-to-day basis.

The entire website and shop setting is designed to reinforce these dreams, even stepping into "myth-making" territory: the sort of encounters that you tell your friends about and even embellish upon. Did you know, for example, that once the red Louboutin sole is scratched in any way (even a tiny scuff) the shoes are non-returnable? The shop floor is carpeted for this reason and the sales staff present you with the bottom of the shoe for inspection. The brand is inviting you in, making you feel like a quality-control specialist in your own right, teaching you that you are indulging in an exclusive moment.

They are making you feel special. Again, I would recommend reading The Luxury Strategy as it goes into great detail on these matters and you can really assess which ideas might be useful to your business.

Now the nature of corsetmaking is such that most corsetmakers are still individual people working privately from home. On the whole we undervalue our work, as I've discussed previously.

We are constantly battling against the difficulties of self-employment, of finding clients, of earning money. Figure 6: The black and gold set in figure 5, presented with much more skill by Vincent Abbey.We expect our work to do the talking for us, but forget that everything surrounding our work also sends a message. If, like me, you are rather shy and uncomfortable talking up your own work, those surrounding elements are even more important.

Presenting your client with the glamour of seductive photography is giving her exactly what she wants: the experience of "the dream". The desire, the perceived value, the notion of luxury...

If you produce a luxurious hand-crafted product but your visuals, price, and accompanying text don't reinforce that message then you are undermining your product and telling your client that it isn't special after all. You're actively convincing her not to buy it.

Figure 5 shows a couple of lovely corsets, but in a rushed poor-quality photograph taken by myself one evening. Figure 6 shows one of the pieces in a much better light, whilst the lilac corset now belongs to Ivory Flame and has been photographed by a few different photographers (which is actually quite useful, as it allows me to see my work through many different eyes and get ideas for the future).

So, if you now feel that professional imagery would be appropriate to your business, where do you start? I'll share what I've learned from embarking on professional and personal shoots, so that you can fast-track your way to exciting and engaging imagery for your brand.

 

The Artistic Side of Things

Figure 7: An example of an image that could have been better had I paid attention and spoken up. Different lighting could have picked up the sparkle of the crystals more effectively and perhaps also "wrapped" around the torso, giving greater definition to the extreme waist shaping. Chrys Columbine by Sean Elliott.Firstly, these things work best when everyone involved has a genuine passion or interest in the project.

It is good to have aesthetic reference points and clear ideas in mind so that you and your team can all be on the same page, but it is also necessary to have total confidence in their previous work. You need to understand that each person involved will bring their own creativity to the shoot, and the carefully set 1940s roll you imagined may turn into a contemporary avant garde version on the day.

Good creatives will follow your brief very closely, but a good client (that's you) will also be flexible, trusting, and confident enough to say "yes" or "no" when new ideas are presented.

Figure 7 shows an image that could have been better had I paid attention and spoken up. Different lighting could have picked up the sparkle of the crystals more effectively and perhaps also "wrapped" around the torso, giving greater definition to the extreme waist shaping.

The first thing to do is have your inspirations and visual reference points ready. Ask yourself the following questions:

 What is the "dream" you are trying to create? Is your dream mysterious and sexy like Mike Figgis' The Four Dreams of Miss X for Agent Provocateur... is it refined, light and elegant like a Chanel couture show... is it hard-edged punk or "alternative" like Vivienne Westwood? Refer back to the core principles established in Branding Parts 1 and 2.

What are the visual markers of this dream? What colours, textures, tones, lighting and models will enhance your message? How will your corsets look amongst these markers? Are you designing/choosing specific pieces to put forward as representative of your brand? Figures 9 and 10 show how the same model, the beautiful SamiO, can be styled wildly differently, and how the different environments (in this case a studio versus a house) produce such different results. If there were no restrictions, what would the environment for your shoot look like? Imagine it fully. Right. Now you need to think about how can you make that happen.

Who should your models be? For Sparklewren, I really want my models to be beautiful but distinct. I feel like there's enough bland anonymity in fashion already and that the very nature of "bespoke" is such that you strive to dress the individual. For this reason the models for my portfolio shoot came first, before the designs had solidified, and so choosing models who had the types of beauty I find enchanting was really the starting point for the resulting designs. I'm hoping to build upon this further in the future, working with some of the same women as my inspiration.

Where will the images be used? Do your websites or social networking profiles need updating to match? Will you use them in your press releases? Will you seek newspaper coverage? Which publications and/or blogs would they fit into seamlessly?

How long must the images be useful for? If you are a small business, professional photoshoots may be few and far between. If the resulting images must last 3 years they will have to fill a different set of criteria than if they only need to last 3 months. Think about changing trends. Do you want to tap into the trends or sit outside of them? Try to avoid creating "dated" images that will look out of place quickly.

Figure 8: SamiO by Vincent Abbey.

Figure 9:SamiO by Sean Elliott and SJE Make-up.

 

The Practical Side of Things

"But where do I start?"

This is the point where you must outline your priorities, start organising the details, and be realistic about the expense.

The Creatives

Analyse what you can afford to spend and research the cost of the photographers you have in mind. ModelMayhem is a great place to start searching for photographers, though real-life connections help too. Ensure you like your photographer's portfolio. They may talk about trying something like Rankin, but the likelihood is they'll produce a similar aesthetic to their usual work.

Consider the cost of models. There are models at every level of experience and with wildly varying looks, so consider what's appropriate for you. Don't be afraid to offer skills trades (eg: your model may work for a corset, or a very new model may work simply to have new images for her portfolio), but be aware that the more experienced and professional your model is the less likely it is that she can afford to take up such offers. Only approach models who genuinely inspire you. Of course, if you're comfortable in front of a camera you can always model yourself! Thus saving some pennies and giving the work another dimension (see figure 2).

Don't underestimate the value of your work. If you are asking someone to work for trade you are basically asking for their good grace and a favour. It must be done delicately. You also need to recognise, however, the desirability of your art. If your corsets are good people will want to work with you and may be open to TF ("time for...") arrangements. For example, you may find new MUAs (make-up artists) who will work simply to get good images into their portfolio, photographers who wish to change direction and so will work at a reduced rate, or models who will do a day's work in exchange for a corset.

 Don't underestimate the importance of a good model. She will give something magical to the images and that is what will make the images have power long after the viewer's initial thrill has worn off (figure 10).

The location, make-up and hair must support the overall message. The location in particular is important. If your style is 50s pin-up, the dramatic ruins of a castle may not be appropriate (unless you want to create a deliberate discord for artistic or eye-catching reasons). You don't want anything to undermine your style. Further, locations can be massively expensive, especially if you source them through agencies. Shop around, ask others for advice, try to get in touch with location owners directly, and do consider local venues. Local venues may be more willing to give you a reduced rate on the basis that you might bring them some coverage. Remember that clever photographers will find the tiny beautiful space in any location, and you may be surprised at the great results you can get from even just the corner of a garden or a unusually decorated bar.

Consider other styling. You will need to arrange for additional garments, either through collaboration with other designs or stylists, by asking the models to bring some clothes, or by providing them yourself. This includes shoes and jewellery. An MUA (make-up artist) is particularly important, as the appearance of make-up in real life does not translate onto camera so accurately. They will know how to give the look you need on camera (figure 12). A great starting point is to google mac cosmetics face chart.

In all your dealings, be polite, concise and professional. Do not waffle on in a huge email when first contacting someone. Keep it short and sweet. Always be gracious and polite, and always remember to say "please" and "thank you"! Within the UK, you can look to the Plain English campaign for guidance.

Explore visual references. Often I find that we use the same words but mean wildly different things. A prime example being when phrases such as "tastefully done boudoir" are thrown around! This means hugely different things to different people, so ensure you have inspiration images you can point to when outlining your ideas to your creative team.

Get/read references. If your chosen creative has no references, be wary. Most good and professional creatives will have a page of references and colleagues that you are able to contact for confirmation.

Terms and conditions. Ensure everyone is clear on what is expected of them and what they receive in return. If possible, have model release forms ready to sign and a contract/deadline for the photographer.

 

The Samples Themselves

If you have a selection of existing samples then great, you can get straight into a photoshoot with the minimum fuss. Alternatively, if you're making new samples you can really have some fun! Either way, use photoshoots as an opportunity to present your most interesting work. You'll never run out of clients asking for plain black underbusts, but no-one will ask you for a fully corded cotton antique reproduction if you haven't demonstrated that you can do something like that. In my experience, you don't need to worry about being too ornate or alienating your client base... you can make a dozen highly elaborate designs and still receive requests for simpler classic pieces.

Remember the primary objective of your images: to make people dream. Take the key essence of your work (it may be your love for colour, your signature silhouettes, your specialism for certain client types, or a more vague sense of your character) and really explore it. You may want to spend a good while designing, experimenting, costing, illustrating, and visualising before you begin.

Remember that "necessity is the mother of invention". Supplies are expensive and time is short. Look through your existing stock of trims, re-appropriate steels from old toiles, try out fabric combinations that you wouldn't have thought of... being unable to go with your first choice can often result in something more creative than you had originally planned. Figure 12 shows an overbust corset which made use of the last fragments of antique lace and diamond effect leather that I had in stock.

What do you stand for? Remember your core principles. Producing experimental samples is in keeping with my brand ethos as I wish to always produce more and more interesting work that challenges me technically and excites me visually. What is the coherent thread running through your work? This is what you want to explore through your photoshoot.

Think about what your imagery has to do... think about the fact that you are a small creative business. This gives you a good deal of freedom, you know! If you ultimately want to produce stage-appropriate corset dresses that are covered head-to-toe in Swarovski crystals with soft feather trim and blonde antique lace (gosh, I want to make one now!), there isn't much point in filling your portfolio with classic white underbusts, no matter how often you're told to create "a range of popular classics". Don't get too caught up in this idea of appealing to the masses... you don't want the masses, you want a small selection of people who will fall in love with your work and support and encourage your creativity. Yes, it makes the process an expensive one, but it will also make your brand stand out from the crowd.

Your samples must be "fit for purpose". That is to say, think about their use. Are you going to sell them afterwards and do they therefore need to be perfect? Are you going to make experimental samples that will be ripped down for parts? Are they tightlacing corsets, casual wear corsets, or bridal corsets? How will they be photographed? Will the details, shapes and colours you're planning translate well on camera? Do you want to showcase your bespoke fit or photograph standard sized pieces? Do they need to fit onto mannequins afterwards? Really think through this process in as much detail as you can. For my part, I use my photoshoots as an opportunity to push my abilities and explore new ideas. My photoshoot samples are therefore more like sketches than paintings, if that makes sense... they point towards their client-order equivalents, but are themselves more like spaces for imaginative play, where happy accidents and mistakes are welcomed as part of the learning curve. If you look back to figure 8, this is a prime example of an experimental design.

 

The Long Haul

Figure 13: A contemporary take on short stays, this silk damask body features dozens of hand-filed artificial whalebones and was quite labour intensive. Model: SamiO. Photographer: Sean Elliott. Assistant: Elaine Slipper. MUA: SJE Make-up.Arranging a photoshoot can be an elaborate process. It really depends upon the nature of the shoot. Shooting one new sample with a local photographer may be executed very quickly... Shooting a whole collection with a team of people will take longer to come to fruition, especially if you're self-employed and responsible for everything yourself.

My recent 2011 Look Book photoshoot was only made possible by putting all of my earnings straight back into the new designs. This was the situation for 7 months, impacting on my living situation, my bills, even Christmas.

Your shoots obviously do not need to be as elaborate as all that, but whether taking part in mini-shoots every-so-often or hugely time-consuming day-long extravaganzas, you do need a genuine passion for the project. It's worth putting the effort in as you are "laying the foundations" here. Sleepless nights and empty purses will be worth it when you have work that you can be proud of later! Figure 13 shows an example of a design that was surprisingly labour-intensive, but one that I am very happy I included in the shoot.

Working with other creatives is never straightforward. And the more people involved, the more issues to balance. Be clear and professional with everybody, keep a journal or task list throughout the process (you will work too hard, become exhausted and forget things), ensure you have contact phone numbers for everyone, and have contingency plans in case anything goes wrong.

Be firm throughout. As creative sorts, we're nearly all pushed for time, energy and income. If you're too soft or sweet you'll be pushed to the bottom of the priorities list again and again. Guess how I know.

 

On the Day

Again, be polite and considerate. This is just a rule for life, and luckily everyone I've dealt with so far has been very lovely. But if your conduct on the day isn't good, those individuals (and potentially anyone they talk to) will not work with you again. Be ready with food and drink in case it's wanted, and ensure the location is a nice cool constant temperature throughout (important insider info: tightlaced models and dramatic temperature rises do not mix).

Focus. It's easy to get too chatty if you're nervous or new to the situation, which can be a distraction. Remember that everyone is there to work.

Be clear and confident. If you aren't happy with how something looks, say so. Most likely, as a corsetmaker you will spot things that the others won't, but often this doesn't happen until the photographs have been taken! This is also a vote in favour for having a helper with you and a good night's sleep beforehand. In the past, I have been too busy or tired to notice that a lacing gap isn't quite even or a breast is a bit squashed, which then means that those photographs are not quite good enough. Keep your eyes peeled and make sure your helper knows what to look for too (and how to lace a corset!).

Take a corset or boot hook with you. If you're lacing people in and out all day your fingers may suffer (especially if working with tightlacers). Have a hook ready to help with the final tightening.Figure 14: A broche corset by CrikeyAphrodite! in a standard size. This piece has been photographed and modelled brilliantly, despite being technically too large for the model. Model: Christina Chalk. Photographer: Towzie Tyke.

Don't be tempted to say, "oh, we'll photoshop that out later". Often, the offending detail will be forgotten or missed. Also consider how you feel about image enhancement. Fashion imagery is enhanced an incredible amount, as we all know, and usually we focus on what is done to the models.

Debenhams recently countered this by displaying one image side-by-side, before and after photoshop. They pointed out the "light" photoshopping that had been done to the model so that their customers could see that it was just to enhance the image rather than be misleading about her figure (eg: they gave her a tan, erased fly-away hairs, etc.). I shan't comment on the success or intentions of that campaign here, but I will point out that it wasn't only the model that had been enhanced. The bikini she was wearing had also been "fixed" to better fit her.

Sure, it's a standard-sized garment thrown quickly onto a model, that's probably to be expected. But I've had people suggest editing waists to look smaller and many of you may have seen a recent example of this on the cover of Vogue Italia. Though in a way I quite like this image as the proportions are so extreme as to make you question them... most fashion images do not "jar" your senses in any way, which I think is arguably more dangerous in terms of quietly giving readers an unrealistic sense of how bodies should look.

At any rate, as I am promoting my abilities with bespoke fit, subtly editing proportions would be unacceptable in my opinion. I think it's hugely important that you present your work fairly so that potential clients can decide for themselves whether they want to work with you. My personal feeling is that it is acceptable to enhance those things that could have been different (the light may not have created shadows under the eyes if positioned differently, for example), but not those things that you are actively claiming to be able to create (such as the waist shaping). It's about enjoying the smoke and mirrors, but being honest about the product itself.

 In keeping with the above point, check and double-check your model before you send her off to the photographer. I've had stray bits of thread disrupt perfectly good photographs. In figure 14 you can see a beautiful broche corset by Alison Campbell of CrikeyAphrodite!. Her bonnie model was too small in the bust for this sample design, but with a watchful eye and careful padding that hasn't been a problem at all. The design is beautifully presented in an image that shows off its colours, textures and shaping exceptionally well.

Figure 15: Model: Ivory Flame. Photographer: Sean Elliott. MUA: ND Makeup.Give a few guidelines to your team before shooting starts. The most basic point to remember is that corsets look best from the front, from a slight angle, and from the back. Side views do very little for corsetry.

Shooting a full-length image from below eye-level can be used to mimic those leggy supermodel proportions that are so often used in magazine fashion shoots.

Meanwhile, close crops that cut through limbs, cut faces out or view the model through windows, doorways, etc. give an instantly intimate, kinky and sensual feeling.

One of my personal weaknesses are areas of softness or movement in photographs... sections that are out of focus, double-exposed, or otherwise undefined lend a sort of dreamy beauty that I cannot resist! See figure 10 again – the bevelled edge of a large mirror has created a double-reflection that the photographer has cleverly played with. Figure 15 shows how mirrors can be used in another way, to give front/back product shots that remain elegant and alluring.

 

Follow Up

Send out follow-up thank you notes/emails. This is so important.

Use the images as intended. Consider sharing images gradually. In my experience, "little and often" gets more of a response than sharing everything in one go, especially if your main audience are online. People can be overwhelmed by gorgeousness very easily. If you distribute it gradually, they can take it in with more ease and more enjoyment. It's worth imagining your brand as a burlesque artiste (bear with me)... you need to tease and seduce and suggest, but never quite deliver. Build anticipation! The corset itself is where you deliver.

Credit everyone involved properly.

Don't be afraid to chase up your photographer and/or retoucher if they miss the deadline.

Be prepared for controversy. Corsetry is quite a controversial topic in itself along with being a small industry, and as you become more visible you may find that you suffer others' negativity more frequently. Be prepared to brush it off with a smile. Conversely, enjoy the good responses you get, but don't rely on them for your sense of self-worth or confidence in your work.

Alternative Approaches

Of course, there are other ways of obtaining good professional images. If you wished to spread out the expense of building your portfolio, or wished to produce photoshoot samples as and when inspiration struck, you could engage in numerous little shoots throughout the year. This can give great variety and colour to your portfolio, but be sure to check your model and photographer's credentials before sending out shiny new corsets. The only time I used this set up the shoot was cancelled, an alternative follow-up shoot never materialised, and the corsets were not returned in a timely fashion on account of "personal issues". Waiting for the corsets made me rather paranoid, I can tell you! I now know the model was genuine, but sitting on expensive un-photographed garments is not very professional. Plus, the delay meant that I lost a sale with someone who wanted one of the samples.

Alternatively, your business type may be such that additional promotion is not necessary (perhaps you have your "word of mouth" and self-confidence sorted) or such that your client base actually provides imagery for you. For example, if you work mostly in bridal or performance, you may well have scores of happy clients keen to share their own professional photographs with you, thus negating the need for you to arrange a shoot.

Another option is something we touched upon in the beginning. DIY.

If your brand's message is such that clear and simple product shots are suitable, you could take your own with a little practice, as shown in Lucy's work earlier. Antique and historically inspired mannequins and/or "invisible" Perspex forms provide a great foundation for contemporary corsetry (so long as the corset is small enough), and can give great images when lit well with an attractive or blank background. Museum photographs are often brilliant examples of this type of photography (at least, they are when the corset is photographed the right way up!) Such mannequins/forms have hugely varying prices, so do your research.

Of course, this isn't appropriate for all corsetry (ie: anything outside of that narrow range of sizes, anything that works around the rest of the body), and one potential issue is that things do look different on people from how they look on mannequins. You may find that your client base want to see the corsets worn, especially if you specialise in fitting plus sizes, men, tightlacers, and so on.

Likewise, you can photograph pieces on friends and family, or have a friend take the shots. This is how I began and it served me well. I still shoot pieces on one of my friends every now and then, although I am now considering whether that's appropriate for my brand at this stage.

For DIY shoots, Remember the Following

•  Side views aren't great

•  "Hands-on-hips" is a good fallback

•  Positioning the hands spanned over the waist is an appealing way of highlighting the cinching properties of a garment (figure 16).

•  The body should be square to the camera whenever possible. Try to think of the camera as a flat plain... the body and limbs work best when parallel to this plain. Eg: elbows should be square or even slightly pointed to the camera if possible (fore-shortened limbs with the elbows going backwards look odd).

•  Make-up/styling should be exaggerated (things don't show up as dramatically on camera as they do in real life).

•  Indoor lighting is horribly unattractive (unless you have a small studio lighting set-up), so take it outdoors if possible.

•  If shooting on friends, do give them guidance when in front of the camera. Keep them moving ("arms up", "left arm down", "smile", "grin", "jump"), as this will help them relax their bodies and faces (a lot of tension can be seen around the mouth when someone is uncomfortable). Get them to be over-the-top (laughing always helps), as then being even moderately expressive will become easier (figure 17).

 

Other pictorial art forms may also be suitable. Think of pin-up illustrations, hyper-real paintings, cartoons, famous depictions of corseted women, sensual Beardsley line drawings... would collaborating with other artists or producing your own drawings, etc. be an option? For my part, I like to draw and paint from my portfolio photographs occasionally, and if I ever produce anything I'm happy with I'll share it online!

Conclusion

I hope this article has helped you see how investing in professional photography may (or may not) be suitable for your business, and how to approach it if it is suitable.

Professional shots aren't solely the domain of big businesses or those with money to burn. With effort, passion and professionalism, you too can make use of seductive brand-appropriate imagery that will build your business's profile and speak to your clients on a new level, the level of dreamy imagination, the level of desire.

However, remember that photoshoots aren't just about brand promotion and boosting your portfolio. Working with other creatives is wonderful on so many levels. It boosts your confidence, validates your efforts, gives you feedback on design ideas and experiments, educates you on fit and body types, and builds a network of creatives happy to recommend your skills. If the tangible end result is a series of beautiful images, then so much the better.

Have fun with it, and do please report back to FR if you embark on your own shoots in the future!

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