| At booking | Ask for a short phone call. Send your list of uses and two or three portraits you like, with one line on why. | Koby, a London photographer, asks individual clients for a call first: messages only go so far, and the awkward warm-up shrinks once you have spoken. |
| One week before | Choose one main outfit and one backup. Send anything creased or stained to the dry cleaner. Moisturise daily, drink water and use lip balm. | Leigh Farmer, an Exeter photographer, notes that a single spot is easy to retouch but flaky skin and chapped lips are not. |
| A few days before | Book a trim if you need one, but avoid a new colour or cut. | A drastic restyle close to the date is a gamble you do not need to take. |
| The night before | Press everything and lay it out. Confirm the time, the route and where to park, and check the forecast if any part is outdoors. Go to bed early. | Fewer decisions on the day. Koby calls this removing decision fatigue. |
| On the day | Leave early, save the photographer’s number and carry clothes on a hanger. Eat breakfast. | Rushing shows on the face, and a creased shirt is hard to rescue in editing. |
| In the session | Expect conversation before the camera comes up. Ask to see frames as you go and say what you dislike while it can still be changed. | Koby finds the frames taken after a rhythm has set in are almost always his clients’ favourites. |
| Within a week after | Check each file against your list of uses and ask in writing what you may do with them. | A crop that does not fit is easier to fix while the photographer still remembers the session. |