One of the hardest and most important disciplines any photographer should learn early on the training process, is how to select your very best images, towards the desired storytelling, from your photoshoot. It’s important on every aspect of photography, and not any less when it comes to fetish photography.
I was going to write about lighting before I came into selection, mostly because I think selection and composition go hand to hand, but I think it won’t hurt to lightly brush with the subject right away, and maybe help some people have more productive photoshoots, and better use out of those.
The selection process, to be honest, happen in two moments: during the actual photoshoot, and afterwards. You could say it also happens before, which would sound pretty silly ( oh, we’re always selecting ) but I personally see the planning process as something very different from the selection.
After planning, and storyboarding your photoshoot, you know what you’re striving for. You already have the ideas worked out, and now comes the waiting moment where you’re very eager to get to the selected location and start working. First, you waste some 2 to 20 images getting the lighting precisely as you want. The more you shoot, the better you get to it, and I think the lighting setup will become an integral part of the storyboarding exercise. And the less shots you’ll need to make it right. But, when you’re starting out, it pays out to be humble, and tell the models you do need some time to get things right. They won’t frown on you when they see you finally got it and it looks amazing.
After that, you start the actual shoot, and it will be really normal to spend the first few shots warming up. Back in the day of film, many photographers used not to even put film in their cameras, just to save up on developing costs afterwards. I mean, why pay for two extra rolls when you pretty much know the magic isn’t going to happen in the first 20 images ( talking medium format 120 film here )? Now, we’re on the digital age, and we can pretty much shoot everything and keep everything. But you should understand, those first photos are the warming up photos. Magic is not likely to happen and only really experienced models manage to start a shoot already hot, focused and nailing every pose. You may also want to adjust the light a bit here and there as you go, and the creative juices flow forth and back from you and the model.
But when the shoot really starts, you start selecting. Every pose, every move, you look on your viewfinder and imagine if what you see is working, or not. If that’s what you want, or not. You shouldn’t just click as a maniac on every single pose the model makes, because that’s just creating a ton of mud on your later final selection process. Creating a lot of noise, if you want. Don’t shoot sequence of very similar photos, shoot the very best. If you look on the viewfinder, understand what you’re seeing and actively compose the shot. Talk to the model, interact, move, change, think… until you know you’re seeing a keeper, and then you shoot. Look in the LCD, make sure the model didn’t blink, everything is perfect, redo if needed. But don’t just shoot crazy.
One good method to help develop that, was to have small cards. 256Mb cards were ideal for the 6Mp cameras. But cards that hold some 36, to 48 photos, so that you could work as if working with film. Ideally, you’d spend one or two in each set of images, and you knew, if you were running out of cards before you found the images you wanted in the shoot, you were in big trouble. Well, now in the age of 8Gb cards that hold 500 images, it’s even hard to find smaller cards, and don’t make much sense in the cost/benefit ratios. But still, you could set a number of images for each set. Say, 60 images, or 80 images is pretty much. Before you change pace, or move into a different idea, change clothes or a new prop is added. With time, try to narrow that number down to 40, and then to 30, progressively increasing your own critical eye on what you want, and only clicking when you feel you got an image that is a sure keeper.
That, is the very first discipline to reduce the amount of work needed later on. The more you select while shooting, the easier the later selection process will become. Otherwise, you’ll be risking sitting on your computer with 1000 images, several being very similar, and instead of selecting the best, you’re actually trying to salvage usable images. Many good images won’t stand out in the middle of several very similar ones. Don’t allow yourself to get into that trap. With 30 to 60 images per set, the selection process within the set will be much more productive.
Now, here’s a process to selecting afterwards, that I use. There are others, and if you want, leave your own process as a comment here and I’ll try to add to the text later on.
First, I select within sets, using a software such as Adobe Bridge or Adobe Lightroom. They allow me to browse all images and rating them with stars. I place one star for each real keeper in the set. After that first selection is done, I set the software to ignore all other images, and only show me those.
A second swipe is done, comparing similar images, still with the objective of the shoot ( both in terms of aesthetics, lighting, composition and storytelling ) in mind, placing them side by side. The “weaker” image looses it’s star, and the process goes on, taking down the worst of each pairing, until I have a set of unique, good, sequential images that do tell the story in a very strong way. Sometimes, an image stands out alone, and is a keeper, but not so great on the storytelling, and it’s kept as a single image. Maybe it’s the cover for the whole photoshoot, but not really part of what’s inside the story.
Of course, each kind of photoshoot has a different need. If you’re shooting for a gallery site, you need some 50 to 100 images in the end, while a fetish editorial will keep from 10 to 20, depending on how many pages you have to present your work. The first will have a higher number of keepers than the later. But still, you should be able to discard very similar images, and in the end, remain with a good, solid story being told. While shooting, and later on selecting, that must be always kept alive in the back of your head, as to keeping the quality of your photoshoot. In other words, don’t drop the ball, it happens, we all fail sometimes, but you should only click when you see “Wow, this is good”.
Every shoot is done with usually discarding way more than you keep. A good eye will help you shoot 4, 5 frames for each you keep. And an usual measure is about 10 to 1. On a good day, I’ll solve a set with 3 clicks for each keeper, in a bad day, 20. But… if you’re reaching 100 on a single set ( by set, I mean, the same position on the story, the same square on your storyboard, and so on ) and still are not sure about the 3 or 4 you’re going to keep, you’re walking towards a world of pain when it comes to selecting. And in a gallery site, that means you’re going towards 2000 images to get to the final 50 to 100. And that’s not a good place to be at.