The full workflow at a glance
- BriefPurpose, audience, deliverables, constraints and the anchor frame on one page.
- RecceVisit or research the location: light, access, power, parking, noise, permissions.
- Shot listRows labelled must, should, could and open, each with a time window.
- Kit and call sheetEquipment matched to the list; times, addresses and contacts shared with the team.
- On the daySecure musts early, tick as you go, protect observation time.
- Ingest and back upTwo copies before any deletion; a third off-site when the job matters.
- Cull and selectPasses for technique, then content, then comparison.
- Sequence and deliverOrdered set, captions, metadata and agreed formats.
- ReviewWhat was missed, what was a surprise, what to change next time.
Build your coverage plan
Print this table or copy its columns into a spreadsheet. Fill it in the evening before the job, then carry it with a pencil. It works for portraits, events, places and editorial stories alike.
| # | Frame / moment | Priority | Time window | Position / lens | Fallback | Shot | Selected |
|---|---|---|---|---|---|---|---|
| 1 | Anchor frame from the brief | Must | ☐ | ☐ | |||
| 2 | Establishing context | Must | ☐ | ☐ | |||
| 3 | Key person or subject, close | Must | ☐ | ☐ | |||
| 4 | Supporting detail | Should | ☐ | ☐ | |||
| 5 | Alternative angle or light | Could | ☐ | ☐ | |||
| 6 | Protected observation time | Open | — | — | ☐ | ☐ |
The two tick columns matter. "Shot" means you believe you have it; "Selected" means a usable file exists after the edit. The gap between them is your most honest feedback.
On the day: working the list
Read the list before each phase, not during every frame. Secure must-have rows while energy, light and access are best. Tick them in pencil as soon as you have a sharp, well-exposed version — glancing at the camera's screen at full magnification is worth the five seconds. When the musts are done, put the list in a pocket and give yourself the open block. The list will still be there if you need it.
When the schedule slips
Drop could rows first, then shorten should rows to one version each. Tell your contact which must-have still needs time and agree when it will happen.
When something better appears
Photograph it. If it replaces a planned frame, note it on the list with a star so you remember in the edit, and so the client understands the change.
Ingest and backup
Copy cards to at least two separate drives before you start culling. Many photographers follow the 3-2-1 approach: three copies of your data, on two different types of media, with one stored off-site. Do not format a card until the copies are verified. Rename files with a consistent pattern, such as date, client and sequence number, so the edit and the archive stay readable years later.
Culling in passes
Software such as Adobe Lightroom Classic or Photo Mechanic lets you flag, rate and colour-label quickly. The tool matters less than the discipline of passes:
- Pass 1 – technique: reject missed focus, closed eyes and unrecoverable exposure.
- Pass 2 – coverage: walk the shot list and mark the best candidate for every must-have row.
- Pass 3 – surprises: look specifically for strong frames that were never on the list.
- Pass 4 – compare: view similar frames side by side and keep only the strongest.
Doing coverage before surprises protects you from a common mistake: delivering a beautiful set that is missing the one frame the client actually needed.
Sequence, caption, deliver
Order the selection so it reads as a story: open strong, establish context, vary scale, close deliberately. Add captions and IPTC metadata — creator, copyright, caption, location — before export. Deliver in the formats and sizes agreed in the brief, within the agreed window, and keep a record of exactly what was sent.
Review and improve
Within a week, spend ten minutes with the marked list. Which musts were hard to get, and why? Which open-time photographs made the final set? Add what you learn to your template. Over a year, your lists become shorter, clearer and better suited to the way you actually work.