Short answer: one to two months before your shoot date. Longer answer: keep reading, because your launch date will thank you.
The general guideline
For most beauty photography projects, I recommend reaching out 1–2 months before your target shoot date. That gives us time to review the brief, build the estimate, lock the schedule, book crew, and get products to the studio.
Two months isn't arbitrary. It's roughly the time it takes to do pre-production well without rushing. A month works for simpler projects. Less than that and we're in "let's see what's possible" territory, which is fine, but it limits your options.
When to plan further ahead
Allow more preparation time if your production includes:
Model casting, which needs agency outreach, options, and holds
Custom props or sets, which need design, sourcing, and fabrication
Multiple shoot days, which need crew scheduling across days
Combined stills and video, which needs a bigger crew and more planning
Travel, which needs permits, locations, and logistics
For a multi-day campaign with talent, custom sets, and motion assets, three months isn't unreasonable. For a clean product day with two SKUs, six weeks is plenty.
Work backward from your deadline
When you inquire, share both your preferred shoot date and your final delivery deadline. The shoot date isn't the finish line. Here's what happens after:
The shoot: a full day typically runs 8–10 hours.
Selections: you review images in a Pixieset gallery and choose finals.
Retouching: typically 7–10 calendar days after selections are confirmed.
So if your launch assets are due on the 30th, a shoot on the 25th is going to make everyone sweat. Even if the shoot goes perfectly, selections take a day or two, and retouching needs a week. Plan the shoot at least two weeks before your deadline, more if you want buffer.
Rush retouching is available for certain images or a full shoot with advance notice and an additional fee. It's a useful option when you need it, but a little planning is calmer and cheaper.
Don't forget product timing
Plan for three pristine units of each SKU to arrive before the shoot, with perfect labels and screen printing. Pre-production samples and shipping delays are classic schedule gremlins.
This sounds obvious until it isn't. Products arrive with smudged labels. A shipment gets held up. The final packaging isn't ready and someone suggests shooting with a mock-up "just for now." None of these are catastrophic, but they all cost time and sometimes a reshoot.
Build product delivery into your timeline as its own milestone, not an afterthought.
What happens during pre-production
Understanding the timeline helps you plan. Once we book, pre-production typically covers:
Reviewing the brief, references, and brand guidelines
Building the shot list and planning formats
Scheduling crew, studio, and any talent
Sourcing props and set materials
Confirming usage, deliverables, and approvals
Getting products to the studio
That's why two months matters. Each step is fast on its own. Together, they need room.
A sample timeline
Here's what an ideal typical project schedule looks like:
8 weeks out: Initial inquiry, brief review, estimate
6–7 weeks out: Estimate approved, dates locked, crew booked
5–6 weeks out: Shot list finalized, casting if needed
3–4 weeks out: Props sourced, products confirmed
1–2 weeks out: Final pre-production call, schedule confirmed
Shoot day: 8–10 hours, tethered, with live review
1–2 days after: Pixieset gallery delivered
7–10 calendar days after selections: Retouched finals
Remote and out-of-town clients
I work with brands all over the world. Some clients fly in, others join remotely through a live feed or frequent updates. I'm also happy to travel internationally, and I have teams in many locations.
Distance doesn't change the timeline much, but it does change logistics. If you're remote, we'll build in a few extra touchpoints so you're never guessing what's happening.
Booking early helps your budget
Early booking doesn't just protect your schedule. It gives us time to plan efficiently, which often saves money. A rushed production pays premiums for expedited props, rush retouching, and last-minute crew changes. A planned production spreads costs across a realistic timeline.
Have a date in mind?
Get in touch with your target shoot date and final deadline. I'll tell you honestly whether it works and what we'd need to do to hit it.