JWilsonphoto
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Mark's suggestions are worth considering for sure, good eye. When you begin adding people to the compositions, lots of additional factors are introduced. I find that it is very easy to become rushed and distracted by the fact that people are waiting/staring at you waiting for direction, etc. I have to remind myself that I'm in charge of the outcome, the subjects are there for me (the end client actually), and that it takes whatever time it takes to notice all the details and deal with them. Some of this is determined by budget and the desires of the end client.
This is where the photographer has to determine what the client expects, what his personal talent and vision lead him to see as the finished product, and what the budget will stand. Each of Glenn's compositions could, in ideal circumstances take several hours to compose, style, coordinate fashion, light and capture. If that gels with the client's desires, you're golden, but many times they want the best you can come up with in a couple of hours, for five hundred bucks +-, and you have to tell them it won't be a Robb Report ad, because you can't get an Aston for the price of a Camry. And sometimes a nice solid Camry is what they are looking for.
One thing I've learned over the years, you can't second guess the results of a photo shoot, unless you were standing there through the whole process, because you can't begin to know the constraints they boxed the photographer into. Rarely does one have all the time and all the budget required to produce impeccable images, it's always a dance filled with limitations and compromises.
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z wrote:
Keep rockin it 
anything hurts when dropped on your head from a reasonable height 
