Pinterest To Portfolio #4: Why Preparing For a Shoot, Can Be More Important Than The Shoot Itself
The Art Director’s Guide to Building Teams, Casting Models, and Nailing the Details.
As the world winds down for the festive season, I’m still in full swing—this year, my only days off are the 30th & 31st. That said, I’m looking forward to a proper break from my full-time job when I go on holiday in January, which actually begins with an exciting project: shooting PS25 abroad. Being deep in the trenches of pre-production for this shoot has me reflecting on the next chapter in this series—the stage that can truly make or break your vision: preparing for the shoot. Or as most call it, the pre-production stage.
Early in your career, it’s easy to get caught up in the thrill of dreaming up ideas, curating moodboards, and nailing the client pitch. But the hardest part? Turning all those ideas into reality.
Execution is where the real art direction magic happens—or falls apart. Every decision in this phase carries weight, and one misstep can throw the whole thing off. You might have a water tight concept and the coolest boards with the dreamiest inspo. But if you don’t prep, and wing it on the day, you’ll risk your shot at bringing your vision to reality.
That’s why, in this article, I’m diving into the nitty-gritty of what it takes to prepare for a shoot. Here’s what I’ll cover:
Choosing Your Team: This deserves an entire article of its own, but for now, I’ll touch on the essentials—how to find photographers, makeup artists, stylists, set designers, and more, and why nurturing those relationships is key.
Finding Your Model(s): From honing your vision to live castings and writing model briefings that deliver exactly what you need.
Building a Shoot List: Think of this as the art director’s holy grail. It’s your blueprint for the entire team to follow on shoot day.
Mapping Out Your Timeline: How much time do you really need to prep for a shoot? I’ll talk deadlines, final delivery dates.
If you’re new here—hi, welcome! I’m thrilled you’ve joined me. I’ve linked the first three articles in this series below so you can catch up. If you’re a regular, thank you for coming back! Substack feels like my creative home. I’ve loved speaking to you all!
Pinterest To Portfolio #1: Coming Up With "The Big Idea"
Okay, let’s dive in.
Step One: Choosing Your Team
So, you’ve got your concept, visual language, and the client is officially sold. Now comes the part that truly defines great art direction: building your team. Your vision is only as strong as the people who help bring it to life, so choosing the right collaborators isn’t just important—it’s everything.
Photographers
In an ideal world, you’ve already come across potential photographers during the moodboarding phase. When I’m hunting for the perfect set of images, I try to include work from photographers I could actually work with. Or perhaps, I found the perfect image, which led to me discovering a treasure trove of others in the talent’s portfolio.
For example—If I’m working on a UK shoot, I skip Pinterest and dive straight into Instagram or agency portfolios, looking specifically for UK-based talent. I’ll also scroll through the accounts I already follow or have saved, looking for someone whose visual language matches the vision brewing in my head.
Often, I’ll have the one—the photographer who feels like the perfect fit. Their portfolio already aligns with the style I’m after, so working with them feels seamless. They’re not having to stretch beyond their natural aesthetic. That said, I always keep 2–4 backup options in mind. Why? Budgets.
Budgets are the reality check no one wants, but everyone has to deal with. Depending on where you work, a producer might handle these logistics—reaching out to your suggestions, discussing day rates, and negotiating terms. But if you’re like me and working within a small in-house team, this part might fall on your shoulders.
Once I’ve exchanged a few emails with the talent, confirmed their rates fit within our budget, and checked their availability, I like to set up a quick meeting—usually a Zoom call. It’s a chance to connect, share the pitch deck I presented to the client, and walk them through the vision. I always ask for their feedback. Are they excited about the project? Does it resonate with them?
Once I’ve spoken to my shortlist of talents, it’s decision time—a moment that always feels high stakes. My advice? Trust your gut. A great portfolio is important, but so is the relationship. Are they excited by your vision? Will they collaborate rather than dictate? Will they elevate your ideas in ways you hadn’t imagined?
When I really click with someone—when we’re bouncing ideas off each other and they’re just as excited as I am—that’s usually my pick. And from there, the relationship doesn’t stop at the first call. I keep them in the loop, checking in weekly as the shoot evolves. Collaboration is key, and keeping that connection strong is how your vision comes to life.
Models
Once the photographer is locked in and the shoot date is set, it’s time to dive into casting. Let me warn you—this part can be a waiting game, so the sooner you send out your briefs, the better. You’ll have time to follow up with agencies while continuing to piece together the rest of your dream team.
If there’s one aspect of art direction that has the power to make or break your concept, it’s casting. You can assemble the most talented crew, perfect your moodboard, and craft an unbeatable concept, but if the model doesn’t align with your vision, everything falls flat. PSA: casting starts long before you start scrolling agency sites. You need a crystal-clear idea of what you’re looking for. Is this campaign about edge, elegance, rebellion, timelessness? Or perhaps the brand you’re shooting for has a distinct look that you need to honour.
Casting through Agencies
When reaching out to agencies, whether it’s you or the producer handling it, you’ll want to provide as much clarity as possible. Start with the basics—your vision, shoot dates, and budget—but don’t stop there. Include a moodboard that captures the “vibe” you’re after. The more specific you are, the more likely you’ll receive a package of models who truly fit the brief. I tend to actually go through the agency’s sites myself, and select headshots from their existing pool of talent.
The agency ‘packages’ will come flying in, and after reviewing their suggestions, you can “option” your favourites, reserving them for your shoot. You might get a:
“first option”— meaning they’re yours if you confirm them
Or a “second option”—which means another brand has first dibs but could release them. It’s like playing a strategic game of model chess.
If You Can, Always Hold A Live Casting
There’s something you get from seeing a model in person that just doesn’t translate through digital portfolios. You’ll see how they move, how they interact with the camera, and—most importantly—you’ll have a chance to connect with them. Use this time to explain your concept, align on the vision, and gauge their excitement about the project. I once had a shoot where a lot of the poses required a model with good movement, so a live casting was essential. And If your budget allows, schedule a live fitting once the model is confirmed. Even if you’re confident you’ve found the one, a fitting lets you see how they wear the clothes, how the styling aligns with their look, and whether they bring the energy you need. Think of it as a dress rehearsal—it’s an added layer of preparation that can save you from day-of surprises.
Collaboration Over Transaction
Often, casting involves working closely with a producer (who handles logistics and budgets) and sometimes a casting director (who has their finger on the pulse of emerging talent). These collaborators are invaluable, but don’t underestimate the importance of building your own relationships with models and agencies. Casting doesn’t have to be transactional—it’s an opportunity to foster long-term connections.
Some of the best campaigns come from trust and familiarity built over time. When you’ve worked with someone before, there’s a shorthand, a level of comfort that makes everything flow. Be respectful, communicate openly, and acknowledge the value models bring to your shoot. They’re not just faces—they’re collaborators.
When models feel seen and appreciated, they’re more likely to show up with their A-game—and they might even contribute ideas that take your shoot to the next level. Treat them as part of the creative process, and you’ll see the difference.
Finding the Rest of Your Team
The talent you’ll need depends entirely on the type of shoot you’re planning. For a straightforward photoshoot, here’s your standard crew lineup:
Photographer
Photography/Lighting Assistants (usually recommended by the photographer)
Digi (short for digital operator, often supplied by the photographer; they use Capture One to manage files and control display screens)
Stylist
Makeup Artist
Hair Stylist
Set Designer
Producer + Assistants
Retoucher (for post-production, which could be handled by you or the photographer)
Where to Start?
If you’re new to this process, lean on your photographer—they’ve likely got a network of stylists, set designers, and other collaborators they love working with. Drawing from their existing relationships can make your shoot run smoother, as familiarity within the team often translates to better communication and workflow.
But if you want to start building your own network or the photographer doesn’t have suggestions, there’s no shortage of ways to find fresh talent. Instagram and agency websites are your best friends.
When I was starting out, I’d dissect my reference images, find where they were posted, and dig into the talent credits. If a brand or creative is good, chances are they’ll tag their team in the caption. Agency websites are another goldmine—look for talent whose portfolios either match the aesthetic you’re going for or show versatility that proves they can adapt to any vision.
Here are my favourite agency websites:
CLM Agency—Based in London & NYC, representing photographers, filmmakers, stylists, set designers, set designers and so much more
Dust Bunnies—Founded by Bobbie Notcutt, the agency represents next gen photography talent and movement directors.
One Represents—A classic agency representing a broad range of talent across fashion, still life and interiors.
Kintzing—Another great agency that represents photographer/director talent and also owns Kintzing Licensing.
Booking Your Team
Once you’ve built your shortlist, the next step is the same as with photographers: schedule calls. Talk them through the pitch deck, explain your vision, and gauge their reaction. Do they seem excited? Are they confident in their ability to execute the idea? Pay attention to their energy—are they offering thoughtful comments or bouncing ideas back? These are the people you’ll be relying on to bring your concept to life, so chemistry and shared enthusiasm are crucial.
Step Two: Building a Shoot List
So, your dream team is in place. Everyone’s available on the shoot day, and the budget checks out. You’ve reached a major milestone—but now comes the part that separates a good shoot from a seamless one: the shoot list.
This step, surprisingly, isn’t second nature for all art directors. But let me tell you, the number of times I’ve been praised by crews for presenting a detailed shoot list has made it a non-negotiable in my process. Sure, it might seem a bit A-Type, but it’s far from a rigid rulebook. Think of it as a springboard for inspiration on set, not a creative straight jacket. I always try to make it clear: this is our starting point, not the final word. It’s there to guide us, not limit us, allowing room for spontaneity and magic to happen on the day.
What to Include
Each page of the shoot list is designed with the entire crew in mind—everyone should have the information they need at a glance. Here’s what I include:
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