7. Schedule a prep day in which your photographer may not be shooting, but the assistants accumulate what they need for the shots. On prep day, send your catalog’s art director to review everything that’s being photographed. This potentially could save downtime during the actual shoot to fix unforeseen problems that may crop up.
8. Hire more assistants. They can work on the setups while the photographer and your art director adjust and fine-tune lighting and setups.
9. Set up two or three surfaces simultaneously for increased speed in shooting time.
During the Shoot
10. You may want to have your art director stay at the shoot to assist and approve photographs, so there’s less chance that items will have to be re-shot.
11. If your art director can’t go to the shoot, e-mail to him or her PDFs or jpgs for instant approvals of setup and backgrounds. Do look-sees with models and send as PDFs to get approvals.
12. All digital shots must go through a match print or similar highest-resolution process to show color integrity in their final printed states. This will be costly, but it must be done (see next step). What you see even on the very best computer monitor still won’t reflect its printed look or color integrity.
13. Using high-res “scatters,” or patch color, will save you money in the long run. They’re an added cost initially, but if only a color correction needs to be made, a small patch of color proof is less expensive than a much larger proof.
14. Gang up your photos on larger documents for proofing. This will save on labor for the patches. Proof them the same size as (or very close to) the final. If they’re much larger or smaller they may inaccurately show color integrity and detail.