What is a Prop Stylist
What is a Prop Stylist?
Prop styling is big-picture vision paired with precise execution. It’s the art of arranging an engaging composition paired with the precision of clocking every single detail, down to noticing—and removing—finger-print smudges on the surface of a spoon. Much like an architect can see a fully-formed house as they walk through studs set in concrete, I can see the finished image, down to the single flower petal that’s fallen off the stem, all before anything has been put in front of the camera.
Prop styling pulls from a variety of skills, making it a perfect match for a polymath. It’s flower arranging and set-building, it’s ironing linens and hanging picture frames, it’s both waiting for that perfect light, and sometimes manufacturing that perfect light. It’s a little bit of art direction, a little bit of production, and a whole lot of fun.
How did you even get into this super niche gig?
I started a job as a Prop Stylist before I even knew what the term was. I had met with Amanda Hesser of Food52 , who was looking for someone to start merchandising and sourcing products for the yet-to-be-launched shop. Clearly out of my league, I called up my friend Phoebe Lapine, author/blogger/food photographer and she invited me over and helped me make an attempt at styling a broiled grapefruit breakfast.
I had no idea what to pair the grapefruit with. And for that matter, what plate should I use? On what table? And what else should I put in the shot? Flowers? Sugar? Coffee? It was WAY harder than it looked. Fortunately, Amanda saw something in my efforts and chose to take me on, even though I would never (ever) style something on that kind of table again.
^^ Here it is, in all its glory. Sugar and salt? Sure, why not. Coffee with no cream? Yep. Super busy table background? No take-backs now!.
A day in the life of a Prop Stylist
Prepping
Prep work for styling, much like prep work for cooking, is key to pulling off something fantastic. The more detail you can cram into your prep, the easier life is on shoot day. So let’s say I’m prepping for an iced coffee shoot. The first thing I do is create a mood board of the general vibe—yes, the vibe!—we’re going for. Is it cheery pastels, mason jars and gingham linens? Or is it marquis cocktail glasses that cast cutting shadows and metal straws, contrasted with hot pink hibiscus donuts? I generally use Pinterest, which allows boards to be both secret and collaborative. This is the place where I add everyone who has a stake in the shoot. This includes the photographer, any other stylists involved, and of course, the client.
Once everyone is aligned on the vibe of the shoot, I can start making my spreadsheet. This holds all the information for the shoot, from the number of shots per day we’re trying to get, to the image size ratios and, of course, the prop list for each shot. The more detail, the better. Spreadsheets are great for this because it’s easy to move shots around in the timeline to group them together for the sake of efficiency.
The last thing I make is a call sheet. The most important thing to have in the call sheet is everyone’s name and phone number along with the times people are supposed to arrive, and the time you’ll wrap the shoot.
The call sheet, the shot spreadsheet, and the top 10 mood board shots all get printed out and brought to the shoot to keep everyone on track.
Shopping
Possibly the most fun—and also most stressful—part is the shopping. The industry lingo for this kind of blitzkrieg buying is “sourcing,” a title fitting of the professional act of finding just the right item. Also, this means sometimes I “source” things from my chock-a-block credenza that holds a startling amount of dessert plates, vintage coupe glasses, flower frogs and cake stands. When shoot shopping, “options” are your insurance plan. Objects can and will look different through the lens of the camera. What if that glass that was PERFECT turns out to be too “cold” or “simple” or “complex” for the shot. What if it ends up being a smidge too tall or too wide and it overtakes the star of the shot? Fear not because; options! AKA the other 3 to 4 (to 5) sets of backup glasses I always have on hand. Over time my instincts for the “right” option have gotten better and better, and as I’ve had the luxury of working with the same team over and over, so I know their tastes as well as my own. Generally, I aim to have at least 3 options for each item, and when in doubt I bring more.
Schlepping
After the shopping comes the schlepping. And man oh man there is always so much to carry! During the halcyon days of styling at Food52, you’d find me schlepping a surfboard on the subway at 7 in the morning, and carrying huge parcels of eucalyptus plants back home with me in the evening. All in the name of getting the shot. In styling, more is more. The bigger the shoot, the bigger the haul. For most shoots, an SUV or larger car is all I need, although for interior shoots, it’s not a bad idea to have a UHaul on speed dial. Given all that, sometimes it feels like I’m moonlighting as a small moving company when I’m getting ready for a shoot.
Things that come in handy for this part include:
Packing blankets - anything soft but sturdy (no slippery silks or delicate cashmere)
Bubble wrap - bigger bubbles are best for protecting against impact, smaller bubbles are best for protecting against scratches
Packing tape - for taping that bubble wrap on
Sturdy canvas bags - I like tote shapes vs zip ups for odd sizes
Cardboard boxes - In case you really need to pack and stack
Another set of arms - I’ve roped in neighbors, friends, various assistants to help here
Magic aka Shoot Day
My motto for shoot days is lifted directly from Gustave Flaubert’s quote:
“Be regular and orderly in your life, so that you may be violent and original in your work.”
This means that I try to nail down every single thing that I can plan for, from prop options to lunch menus, parking spot intel for my crew and having playlists ready to go on my portable speakers. That way the team is free to create and make magic and not worry about logistics.
By the time the crew arrives, I have all the props and surfaces laid out by category, and all the mood board images taped up in a highly visible place. Then I can walk everyone through the imagery and props, noting what people are drawn to, and taking notes if there’s anything to remember about each photo when it’s time to shoot.
As far as timing goes, I always have one eye on the clock and one on the shot list—knowing that the second half of the day tends to run smoother and faster as the team starts to move in sync.
A big part of the day of, is organization. I carefully track all tags, stickers, packaging and bags, because everything purchased needs to be returned in excellent condition.
I also keep track of the shots we’ve completed, crossing out the ones that are done, and writing in extra ones that get taken.
A Note About My Toolkit
My toolkit shifts depending on what it is we’re shooting (food vs jewelry vs home goods), but it always includes the following:
Windex - for making sure glass stays smudge and streak proof
Goo Gone - for removing sticker residue
Sticky putty- for getting items to stay put
Cotton gloves - for handling shiny objects
Spray bottle - for condensation and/or ironing purposes
An iron - for linens and clothes
Salt - for beers than need to be foamier
Straws - for artful moving spice dust around
Paper towels - for cleaning up messes
Reusable cloths - for cleaning up items
T-pins and painters tape- for hanging up images and shot lists
Double sided tape - to get something to lie flat or stay put
Clamps - very multipurpose - for pinning back clothes or holding up art
Phillips and flathead screwdrivers, plus an Allen wrench - for putting things together, or taking them apart
Bottles of water - for everyone
Wrapping Up
All good things must come to an end. And shoots are no exception. Wrapping up is much like setting up, but in reverse. I make sure everything is cleaned, packaged up, and ready to return if necessary. I make sure we leave the studio tidy and clean, and that trash is taken out of the building, along with everything we brought in that morning. Always triple check for phone chargers, cardigans, and anything else that tends to get left behind.
Once back at my computer I send a cleaned up shot list to the photographer, noting any extra shots that got taken, or notes from the client, along with a reminder of promised deadlines.
Finally I send thank you notes to the whole team! Usually I send emails, but if it’s been a long or tough shoot, I go for handwritten notes.
In Conclusion
One of my favorite types of tension is that between strategy and execution. There’s nothing more exhilarating than having a big beautiful creative vision AND being able to execute it. This is what prop styling does. It brings the micro alongside the macro and allows me to flex between them. Plus, it brings me an unreasonable amount of joy to find just the right object to tell a story through, whether that is a handmade Japanese pinwheel atop a birthday cake, a Triumph motorcycle with a sidecar loaded with presents, or the simple beauty of a purple mason jar.
