Behind the lens: capturing corporate content
Speak producer Ellie Gascoigne explores what it takes to organise striking photoshoots and the value of production briefs – and explains why it’s important to build up a trusted network of global photographers.
Can you talk us through the process of organising a photoshoot?
It’s always dependent on the nature of specific shoots, whether it’s colleague-focused colorama campaigns or event reporting. The first step is putting together a production brief – a document that helps us to meet client expectations and ensure that everyone is clear on the objectives that have been set for a photoshoot or video project.
This also helps ensure that there is alignment between the written copy – whether it’s an article, a report or even a social post – and the photos. The production team will always work closely with the copy team to achieve this. Often, we will need to work closely with the client to scout out the best possible locations for shoots to take place and to work out what the participants are comfortable with.
On a recent photoshoot for a diversity and inclusion feature, we photographed employees in a location that was meaningful to them – such as their old secondary schools or their local neighbourhoods. These locations, chosen by the participants, provided an instant visual cue to the focus of the story while also making the images far more personable – elevating it beyond a standard corporate office shoot.
What else helps to create an eye-catching and effective image selection?
Details such as clothing can make a big difference to an image. We may ask participants to bring a change of clothes with them so that we can make sure the colours work well against the backdrops we are working with. Often, opting for brightly coloured clothing that the participant feels confident in can help make a photo stand out.
Relevant props can also be a great way to tell a story instantaneously. And when someone is doing their first photoshoot, they might be unsure how to pose – so props can also be really useful to help the participants feel more comfortable and confident.
We need to think about how different images can work together too – if we are organising multiple shoots around the world as part of the same campaign, images may need to be retouched to ensure that the colour grading is consistent across the board.
How do you find and secure the best photographers for the job?
You need to select a photographer that has the right skillset and knowledge to carry out each specific project. For example, it wouldn’t make sense to hire a photographer who is used to working with natural lighting for a studio-based colorama shoot.
For one shoot we did at an event, we only had ten minutes with each participant to get portrait shots. In this instance, it was essential to get a photographer who we knew could work quickly while maintaining a high standard of photography.
At Speak, finding and maintaining a network of photographers is a key part of our process. We are lucky enough to have built up a fantastic network of photographers around the world that we can rely on and trust – and this helps us to deliver the best possible results for our clients.
However, we are always on the lookout for new talent to expand our network. To do this, our first port of call is to visit online databases that have been set up to showcase the work of a diverse range of photographers.
For us, this is a great way to connect with new photographers. Instagram is also a great way to keep an eye out for emerging talent. So, if we ever find ourselves needing a photographer in a brand-new location, we already have someone in mind that we can contact.
What challenges do you need to be prepared for when running a successful photoshoot?
There are plenty of logistical details that need to be organised in time for a shoot – booking shoot locations, gaining the necessary permits and getting release forms signed by the participants to ensure that a client has permission to use the images.
As we often organise global shoots, time differences also need to be factored into any timelines. For example, if you’re organising a shoot in Hong Kong, 10am in England is 5pm over there. As pre-production requires a reasonable amount of correspondence with those on the ground, we need to work flexibly to achieve fast turnarounds.
While it’s best to have a detailed schedule to guide the process throughout the day, it’s important to understand that issues may crop up – whether it’s because a calendar clash means that a colleague is no longer available or the weather isn’t cooperating for an outdoor photoshoot. Luckily, at Speak, our producers are great at problem-solving and are there to help both in the run-up and on the day.
What is your favourite part of the process?
It’s great to see the final photos, especially when we’ve had multiple shoots in several global locations for one story. I especially like when each of the images clearly tells a story about individual participants while simultaneously working together as part of a unified piece.
It’s also really rewarding to see the images out in the world. For example, we recently ran photoshoots for a client campaign – and one of my favourite photos was then displayed on large media screens across the company’s global offices and shared on their social media channels. I loved seeing such a powerful image displayed so prominently.
In brief
Seven things to include in a photoshoot production brief:
1. An overview of the shoot: this gives the photographer an idea of the general tone of the project.
2. The creative brief: this establishes the overall image approach and determines whether portrait shots or composite images will need to be captured.
3. Shot list: this specifies the shots that are required from the shoot – from individual participant poses and potential props to different locations.
4. Image references: a visual communication of the brief with some pictorial examples of what the client is trying to achieve.
5. Schedule: this should include details of when the photographer and/or producer should arrive on location, how long is needed to set up and the length of time required to capture different images on the shot list. The schedule should allow time for participants to meet and chat with the photographer before getting started.
6. Logistical details: this includes important details such as the address of the shoot and contact details.
7. Specifications: the number of photos that should be delivered, the desired file format and the deadline for final images.
Want to find out how Speak can help with planning, producing and distributing standout visual content?
Contact Ellie from our production team: eleanorgascoigne@speakmedia.co.uk