A lookbook is a set of photographs that presents a collection as a whole. It shows what each piece looks like, how the pieces work together and what the range feels like as a body of work. That’s different from a folder of good individual photographs, and the difference is easy to underestimate.
Something I’ve noticed is that photographing ten garments well isn’t the same as producing a coherent collection. You can end up with ten lovely pictures that look as though they came from ten different shoots, with different light, different distances and a different mood in each. Every frame works on its own, but together they don’t hold.
A good lookbook does three things. It shows the garments clearly, so the viewer can see the cut, colour and detail. It shows how the pieces work together, so someone can picture the whole outfit. And it keeps a consistent style from the first frame to the last.
Most of that is decided before the camera comes out. Here’s how I plan it, starting with the clothes.
[Image: one strong opening photograph from a fashion collection.}
Before I think about locations or lighting, I want to look at the clothes. Seeing the actual garments, or at least a clear line sheet, tells me more about how the shoot should run than any discussion of mood or style.
These are the questions I work through:
The answers shape almost everything else: how many photographs we need, how the outfits should be styled, how many models we need and how long we’ll need in total. If you’re not sure how much a day will cover, this is where it becomes clear. It’s also much easier to adjust the plan at this stage than halfway through a shoot.
If there’s one thing I’d encourage every clothing brand to do, it’s to write a shot list. It doesn’t need to be complicated. For each look, I decide what set of photographs we need, and then I use the same core set of photographs across the whole collection. That’s what gives a lookbook its consistency.A typical set for one look might include:
The aim is consistency without repetition. If every look is shot in the same way, the lookbook feels coherent and easy to follow. If there’s no variation at all, it can feel flat. So I keep the core set the same and leave room for a few frames that respond to the garment, the model and the moment. Insert real example
This is also the best way to protect the shoot. If the essential photographs are listed, we can check them off as we go, and nothing gets missed because we were enjoying a good idea.
[Image: a sequence of four photographs showing different compositions of the same outfit.]
Here I want to focus on how these three choices affect the consistency of a lookbook.Locations. A location has to work for several outfits, not just one photograph. A spot that looks great for the first look but fights with the colours of the third is a problem by mid-afternoon. I look for places that suit the whole collection and have enough variety that the images don’t feel repetitive.Changing backgrounds. A change of background is one of the easiest ways to add variety without losing continuity. The same light, the same style of framing and the same colour palette keep it coherent. I’ve found Leeds particularly good for this. Within a fairly short walk, you can find brick, concrete, doorways, steps and open space, which gives you several distinct backgrounds without losing time travelling between them.Models. The models should suit the collection and be comfortable in the clothes. If someone isn’t comfortable in a garment, it shows. A relaxed model who moves naturally will always show clothing better than a perfect pose that feels stiff.Styling. Accessories, footwear and layering are what help separate pieces work together as outfits. A consistent approach to styling, such as the same type of footwear or a similar level of accessories, ties the whole collection together.[Image: two photographs of different garments taken in the same location, or two different backgrounds from one shoot.]
A well-organised shoot doesn’t limit creativity. It’s what makes room for it. If the practical side is under control, we can spend our energy on the pictures.Garments and changes. I ask for the clothes to be organised in shooting order before the day begins, with each look’s accessories and footwear kept together. It saves a surprising amount of time between changes.The order of photographs. I plan the sequence so the essential looks and the most important pieces are covered early, while everyone is fresh. Backgrounds and lighting changes are grouped together, so we’re not moving around more than necessary.Time for lighting. Light changes between locations and through the day, so I allow time to adjust. Rushing it is one of the quickest ways to end up with a set of images that don’t quite match.Reviewing as we go. I use tethered shooting, where the camera is connected to a laptop, mainly as a checking tool. With the shot list next to me, I can see quickly whether every garment and every required composition has been photographed.Essentials first, experiments second. Once we know the necessary photographs are in the bag, we can try different ideas, with the confidence that the lookbook is already covered.[Image: a behind-the-scenes photograph, or an example showing two different compositions created during the same setup.]
After the shoot, the next step is selecting and editing a set of photographs that work together as a collection. My role is to produce the images, but I also consider how they will sit alongside each other when the brand puts its lookbook together.Choosing the strongest images. For each garment, I look for the frames that show the clothes clearly and have the best expression, posture and movement. Often the strongest image isn’t the most dramatic one, but the one where the garment and the person look right together.Consistent colour and editing. I edit the whole set in the same way, so colours, contrast and tone are consistent across the collection. This matters more than any single retouching decision, because inconsistent editing is one of the most noticeable things in a lookbook.A balance of image types. A good selection mixes full-length, detail and environmental photographs, so the viewer sees both the clothes and the atmosphere.A sequence that works. I look at how the images sit next to each other, because a lookbook is read as a series, not as individual pictures.Files for your use. I prepare the final images in the formats you need for your website, social media or other uses, so they’re ready to use.[Image: a small gallery showing four or six final images from one collection.]
Four points to keep in mind
Short FAQHow many outfits can we photograph in a day?
It depends on how many frames you need for each look, how complex the clothes are and how far apart the locations are. Tell me about the collection and I’ll help you work out what’s realistic.Can we shoot a lookbook outdoors?
Yes. Urban locations work particularly well for many collections. We’ll plan for the weather and agree on a backup, so the day isn’t wasted.Do we need professional models?
Not necessarily. Someone who’s comfortable and suits the clothes matters more than experience, and I’ll guide them through the shoot.Let’s talk about your lookbookIf you’re planning a lookbook, I’d be glad to talk it through. Get in touch with BR Photography, tell me about your collection and what you need the images for, and we’ll plan it together.
