Jim works closely with salons all over the UK producing images for hairstyle magazines and national hairdressing competitions. Each year many of these salons become finalists in competitions such as British Hairdressing Awards, L'Oreal Colour Trophy and Wella Trend Vision. Many clients have gone on to become winners with Jim's work.

Several British Hairdressing Hall of Fame members have shot one or more winning collections with Jim.

General guidelines for hairstyle photography.

With over twenty years of hairstyle photography experience, Jim has plenty of advice for clients embarking on their first hair shoot.

It all starts with developing a concept for the shoot. The concept will then determine the style of clothes, make-up and the direction in which the photography should go. Magazines will want to see a theme running through the images so that they work well together if printed as a collection over several pages.

Models
I cannot over-emphasise the importance of stunning models for the shoot. Skilful photography will not overcome problems with an unattractive model with poor makeup and awful clothes. This is particularly important in competitions such as the British Hairdressing Awards were standards are very high.

Professional models are a must for high-end shoots but if non-professional models are being used then the following must be considered.

Bone structure is very important since the camera will add about 20 lbs (yes, that much). And remember skin and complexion should be excellent, there is only so much a good make-up artist can hide. Thin lips or lips that turn down slightly can give the appearance of sadness and should be avoided. A petite nose will photograph better than a broad bulbous nose. Eyes must be big and bright. Tall and thin are the final desirable attributes.

Clothes styling
The Clothes Stylist can make or break the shoot, inexperience can lead to disaster. Great images are easier to get from unusual clothes or items of strange material used in place of clothes. Bare shoulders should be avoided on models that do not have the broad, square well defined shoulders of a super-model.

Even professional models can have blotchy skin on arms and legs, it is best to cover up as much as possible. Remember that a model appearing in Vogue over a five or six page shoot has been picked because she has an amazing look that suits all of the clothes. However, a hairstyle shoot is likely to have four or more models and the clothes stylist should have a variety of fantastic clothes that can cater for the different looks and shapes of the girls, especially if one or two have blotchy arms or other features which need to be covered.

Jewellery is a tricky one. You will see looking through hairstyle magazines that very few of the models are wearing jewellery. Jewellery should only be used if it is required to achieve a desired effect for a particular concept and in such cases large costume jewellery is best.

Make-up
Imaginative and striking make-up which suits the feel and theme of a shoot can produce excellent results but an attempt by an inexperienced make-up artist to produce avant garde looks can be disastrous. The safest option for an inexperienced make-up artist is to make the model look attractive without trying anything too adventurous. Foundation may need to be heavy (but not dark) to cover up all blemishes and lipstick must be absolutely perfectly applied. Use of shimmer or glitter type products only sparkle when the model is moving, but a photograph is a still image and therefore most of these products do not photograph with the desired effect. Blusher can sometimes make a model look as if she has raw cheeks from being slapped, it is best to avoid blusher until the photographer has decided on lighting.

Hair styling
Jim cannot tell you how to style hair but years of experience in hairstyle photography has taught Jim what gets published and what doesn't.

Context is important, try not to create a hairstyle on a model if she simply does not suit it in conjunction with the clothes and make-up being worn.

It is important not to overwork the hair to the point where the model becomes tired and wishes she could escape. Non-professional and even some professional models can perform badly for the camera if they feel the process has been a bit of a struggle or if the end result diminishes their sense of attractiveness.

Over use of hair spray causes problems, use scissors to snip off the odd hair sticking out.

Carefully assess the model when a hairstyles is designed to be photographed "only side-on" especially if its the models "bad side", you must remember that although models may look fabulous front-on only a few of them will have a fantastic profile and even this will be one side or the other, rarely both.

Photography
Before the shoot Jim will discuss the concept with you and make a decision about lighting.

Shoots can be done in a photographic studio or in your salon if there is a clear area of at least 20 feet by 12 feet. The advantage of this is that you will have everything that you need within easy reach. Jim will bring studio lighting and backgrounds with him. Approximately half of the hairstyle images in the Portfolio section of this website have been shot in Salons.

Great results can also be achieved from location shoots in venues such as night clubs or buildings with unusual architecture or fascinating interior design. Even outdoor shoots can work under the right circumstances.

On average you should try to achieve two looks per model. Make-up can be under way while Jim sets up. Most hairstylists with photo shoot experience work fast and can dress hair for an alternative look in only 5 or 10 minutes. These stylists can sometimes get up to 3 or 4 very different looks from one model. Wigs and hair extensions are used during many shoots to get an additional look which can completely change a model from say a short blonde into a fantastic looking redhead, or a brunette into a blonde. There are a number of examples of this in the Portfolio section of this website, see if you can spot them!

Do not book all of your professional models to arrive at the same time, for example, it is best to have two in at 9am for a half day and two arriving at 1.30 for the remainder of the day.