Photomezzo wrote:
I scout the location at the time I'll be shooting and look for both (a) interesting/dynamic shots and (b) problems.

I'm also on the lookout for cool people to include in a fashion shot for ambience if they are regulars.

Scouting is free!

Erik Lee Photography wrote:
What is the one thing (besides camera and model) that you can't do without that makes your images unique when shooting swim on the beach?

Compressed air and dust brush, weatherproof camera or use a plastic bag to seal out the water spray.  Use an assistant to hold the light stand and flag if needed.  I prefer calm day and late afternoon sun, why bother to battle so many harsh environment if I have other way around.

Erik Lee Photography wrote:
What is the one thing (besides camera and model) that you can't do without that makes your images unique when shooting swim on the beach?

The 2016 Beach Babes Calendar published by Zebra Publishing is now available at Barnes and Noble as well as many internet retailers like Amazon.Com. The calendar opens to a 12" X 24" page, with each monthly swimsuit image printed at 12" X 18".

The one essential thing to bring to s swimsuit shoot on the beach if you want really unique images is a photographer's eye. All the other stuff is nice, but if you have a camera and a speedlite, you are good to go. I have shot a lot (a really embarrassing lot) of published swimsuit images with just a camera and a speedlite.

Learn what the different styles are if you are shooting editorial, catalog, or glamour. Shoot an editorial layout like you are shooting for a catalog, and kiss your work good bye. I'm good (really good, now) at catalog and glamour swimsuit work, but when I see a swimsuit editorial shot by someone like Eric Striffler or Antoine Verglas, I want to set myself on fire.


Marion Vijar for Marina Pascale Swimwear

Learn your camera, and your lenses. If you are shooting full frame, maybe a long lens at f4 will work, but if you are shooting with a cropped sensor camera, your lens should be no more than f2.8 or faster. Backgrounds will kill you. A speedlite that will let you shoot with a faster shutter speed than your normal sync speed (high speed sync) is a huge advantage, but know what the limitations of your flash are when you go into high speed sync mode (it takes longer to recharge, the flash isn't as effective at distance, and your flash will heat up quickly). Learn your auto focus system, it's in the manual, read it. I hear all the time about this auto focus system isn't as good as that auto focus system. Nonsense, 99% of the time we are talking about "user error". One person in 100 actually reads their camera manual, and fewer than that read it close enough to understand it properly.


Model: Zuzana Hunova wearing a South Beach one piece bathing suit by Marina Pascale, carrying the optional accessory cover.

Learn the importance of a point of view. Get the fuck down. Lay down. On the sand. If you are taking pictures standing up, you have the same point of view as everyone walking by, and that makes your shots boring. Show people images from a point of view they don't have, it makes for a compelling story. Learn the sun, where is it? Most of the time it works best if the sun is behind the model, and what do you do if you have to shoot in the mid day? Sometimes it's a necessity, learn to deal with it. Read tide tables. You want to shoot at low tide, the beach is much cleaner then. Put the model right at the point where water laps up around her occasionally, that washes away foot prints and other crap. Or, conversely, have six assistants to hold scrims, put a towel down for you to lay on, and have brushes and brooms to sweep the sand clean. I have never had that, but hey, sounds nice!


Jade Perkins, March, 2016 (Zebra Publishing)

And then the model. You want unique compelling images that might get published? Write this down and keep it close to you. Guys will look at a girl with a great figure, but the images they hang on the wall are the girls with the great faces. Paulina Porizkova was on the cover of Sports Illustrated two consecutive years (she was 17 when she first appeared), and it would be generous to say she had a (small) B cup. But, her face would launch 2000, no, 3000 ships! Maybe the most beautiful face I have ever seen in real life. Have fun, but understand you are competing with every guy who owns a camera and thinks he can shoot swimsuit models. Some can, even if it's only by accident. But you have to stand out, and without the right model, it's a wasted day.

I love this, and with good luck I have lasted long enough to get pretty good. If I had paid attention, I would have gotten pretty good a lot quicker. (And I'm still working on that "read the fucking manual" thing.. Fortunately I have two good friends, Michael Fryd and Michael Bays who do read the manuals, and they take pity on me!)

Good luck, and good shooting!

John
--
John L. Fisher
700 Euclid Avenue, Suite 110
Miami Beach, Florida 33139
(305) 534-9322
http://www.johnfisher.com

Shot By Adam wrote:
The only time a UV filter goes on my lenses is when I'm shooting in dusty or sandy environments so be sure to have one on all your lenses. Sand and lenses don't mix.

If you are concerned about dust and sand harming your lens, the front element should be the least of your worries.  Cleaning dust off the front element is easy.  You want to protect the barrel of your lens to make sure no dust/sand/salt gets inside your lens, or under the focus/zoom rings.  If sand gets inside the lens, you need to send the lens in for servicing.

If you are shooting at the beach with a filter, you want to pay close attention to the location of the sun and other bright objects.   Digital cameras, filters and bright objects in (or near) the frame is not a great combination.   Make sure you use a lens hood.   If the sun is setting behind the model, watch for flare and lower contrast.  Consider taking the filter off for that shot.  Similarly, consider removing the filter for shots that contain bright reflections off waves or sand.

Francisco Castro wrote:
Graded neutral density filters. Great for lowering the f-stop of the sky, but keeping the sand nice and bright.

Model: Jenny Arzola, South Pointe, Miami Beach, Florida

How does this work with a model filling up a significant part of the frame in the picture?

John
--
John L. Fisher
700 Euclid Avenue, Suite 110
Miami Beach, Florida 33139
(305) 534-9322
http://www.johnfisher.com

John Fisher wrote:


Model: Jenny Arzola, South Pointe, Miami Beach, Florida

How does this work with a model filling up a significant part of the frame in the picture?

John
--
John L. Fisher
700 Euclid Avenue, Suite 110
Miami Beach, Florida 33139
(305) 534-9322
http://www.johnfisher.com

I would use a gradient ND filter to even out the light levels of the sand, water and the sky, You light the model's top half using strobes to increase the brightness of the part of the model in the darkened area of the filter. That will even out her exposure.

Francisco Castro wrote:
I would use a gradient ND filter to even out the light levels of the sand, water and the sky, You light the model's top half using strobes to increase the brightness of the part of the model in the darkened area of the filter. That will even out her exposure.

My concern with using a graduated ND filter when shooting a model is what happens if I am not perfect?

The Graduated ND filter will affect the model.  I need to exactly compensate for that with lighting.  If my lighting doesn't line up with the filter, I get a variance across the model.

Without the filter, I can shoot RAW, and adjust the background levels in photoshop.  If I am going to have a slight mismatch, I would rather it be with the background rather than the model.


Typically, when I shoot at the beach I don't want the model in direct sun.  This means the model is shaded by clouds, a scrim (which requires an assistant or stands), or I put the model in natural shade (under a tree).   

Typically, I will add fill light to the model so when she is properly exposed, the background is not completely blown out.  Fill light can be provided by an assistant with a reflector, or a flash.

Good Egg Productions wrote:
The one thing I cant shoot without, and I'm really surprised no one has mentioned it yet is a magnifying loupe.

When shooting in bright conditions, I've found a loupe absolutely invaluable to check critical things like focus and exposure on the LCD to know if I'm anywhere close to what I'm looking for.  It's always in my bag.

I'm certain that some of you will be pompous and state that you don't need to chimp to get it right, but my close vision isn't what it was 5 years ago.  I will take any advantage I can get to made sure I'm shooting what I'm seeing.

Yes.  it is difficult to see the rear screen in bright conditions.   

I use two types of loupes, clear sided and opaque sided.   


The ones with opaque sides are designed for viewing the rear LCD under bright conditions.     These are critical if you are shooting video in bright sunlight.


The ones with clear sides are designed for situations where you want to let in the ambient light (such as when viewing the details in a print).

Giacomo Cirrincioni wrote:
Additionally, I find a beach cart to be very helpful.  Something with big fat tires for transporting equipment.

I have one of these:

http://www.wheeleez.com/beachcart-folding.php

It makes getting a few Pelican cases from the car/hotel to the edge of the water much easier.

Michael Fryd wrote:

The ones with clear sides are designed for situations where you want to let in the ambient light (such as when viewing the details in a print).

Makes no sense that why do you need that on the beach shoot.  Do you bring a printer on the beach that you need to see the details on the print.

Connor Photography wrote:

Makes no sense that why do you need that on the beach shoot.  Do you bring a printer on the beach that you need to see the details on the print.

Sorry, I wasn't clear. 

I own both types of loupes.  The clear ones stay in the studio. The opaque sided ones get used at the beach.