You've likely heard the adage that a good paint job starts with solid prep work. From my experience, the same holds true for photography. This is why I was excited to join Gregg Shupe on a recent walk-through for a client. A walk-through is a complete evaluation of the location and the client’s needs before a shoot. While many photographers conduct their walk-throughs on the day of the shoot, Gregg does his days or even weeks ahead. It turned out to be one of the most thorough processes I’ve experienced. I learned that great photographs don’t just happen—they're planned, prepped and staged in advance. Let me share what I observed.
This photo didn't happen by chance - from the neatly trimmed bushes, colorful flowers, illuminated firepit, furniture arrangement, and time of day - everything was thoughtfully planned.
Preparation
Many photographers opt for a same-day walk-through for efficiency, but that means they work with whatever conditions they encounter, often working around problems instead of fixing them.
Alternatively, Gregg's approach of conducting walk-throughs days/weeks ahead takes more time, but it offers several key advantages:
Goal Discussion – We had the time to thoroughly discuss the client’s goals, explore alternatives, and leave room for follow-ups.
Fixing Problems – This ran the gamut from making repairs to removing distracting objects and general cleanup.
Proper Staging – Gregg carefully considered composition: where to shoot, which angles to use, the best time of day, and how people would interact in the scene.
Lighting – He assessed how natural light would affect the shoot and planned accordingly.
This is not from my walk-through with Gregg but is a good example of what you would typically see during one. The amenity reads flat and gray - it looks a bit forlorn. The challenge for the photographer is to develop the right composition, create mood, and make it inviting.
Goal Discussion
My clients where not able to succinctly articulate what they wanted. Like most clients, they knew they wanted great photos, but weren’t sure how to get them. Gregg, a great listener, quickly understood their challenges and walked them through how he could meet their needs. I was particularly impressed by the time he took to understand the nuances of their organization and how that would be conveyed in the photos.
Problem Solving
As we toured the facility, Gregg’s eye for detail was remarkable. He pointed out elements that needed adjustment—things to be moved, repaired, or altered to enhance the shots. He even noticed potential OSHA violations and discussed what needed to be done to fix them. He referenced post-production, for example pointing out a large, colorful object outside a window that would draw attention away from the subject and explained it would be removed in Photoshop.
Since Gregg visited days in advance he had time to work with the client's decorator to discuss props and request that the maintenance crew clean hardscaped areas as well as landscaping next to the building. Furthermore, he ensured that there would be nothing distracting in the windows and that shades and curtains were appropriately positioned. Lastly, he requested that there be no personal items, toys, or extraneous items in the yard. On the day of the shoot, Gregg worked with the client's decorator to stage the picture including props, the fire, and composing the shot to make the space more intimate. Note he is shooting at dusk to make the fire the focal point of the picture. As the evening goes on the window lights would brighten and distract from the firepit.
Staging
Gregg’s thorough survey of the location allowed him to translate the client’s vision into a well-developed outline for the shoot. For exterior shots, he analyzed the landscape, lighting, client goals, and desired student interaction to determine the best shooting locations. For interior shots, he examined room layouts, exterior lighting, and window views, advising the client on what needed to be adjusted to prepare for the shoot.
Lighting
When it came to lighting, Gregg’s approach was equally meticulous. For outdoor shots, he would look at the location and say, for example, “I need the sun to be right there— so I’ll shoot this around 2:30 in the afternoon.” He plans his shoots around the sun’s movement throughout the day, ensuring the best lighting for each shot. I’ve seen many professional shoots where lighting was suboptimal because the photographer worked on their own schedule rather than adapting to the location’s natural light. Gregg’s method, while more time-consuming and complex, yields superior results, and it was easy to appreciate the difference.
This demonstrates what a little staging can do to help a shot. The bright colors on the grill and wall add energy to the picture as do the lights on the structure in the background. Without props and the right lighting this shot would look flat and dull.
The Art of Preparation
We all carry cameras in our pockets and take snapshots daily, it’s easy to think that photography is simple. However, there’s a significant difference between a casual snapshot and a professional photograph. Walking through the facility with Gregg was a constant reminder that great photos don’t just happen. At each location, Gregg discussed how to stage the shot, considering every detail: time of day, angles, what people would be doing, and the arrangement of furniture or props.
Many people associate staged shots with awkward poses and forced smiles, but Gregg explained to my clients that staging is about setting up the scene so that when people enter it, they can behave naturally while everything else is arranged for success.
I’ve worked with many talented photographers over the years, but I’ve never seen a walk-through as thorough as the one I experienced with Gregg. His attention to detail is exceptional, and after seeing his process firsthand, it’s easy to understand why his work is a cut above.