I recently decided I wanted to freshen up my portfolio so I gave myself a kick up the arse and arranged a studio day for myself. Living in the South West, when most of the models I want to work with live in the Midlands and the South East, is a pain when it comes to arranging and funding travel. So, in a flash of inspiration, I booked Saracen House Studio, just outside Milton Keynes for the day, lined up 3 models and even a professional make up artist. It made more sense for me to travel to the people I was working with than have them all travel to me individually. My goal was to get 6 portfolio worthy shots. I feel I came up short, but I did learn a few valuable lessons which made the whole day worthwhile.
When hiring out a studio for 8 hours my immediate thought was to shoot for 8 hours to get my money’s worth, so I arranged the arrival times of the girls to overlap. That way, when one was in hair and makeup, I was still shooting the previous model. This causes two problems; Firstly I don’t get to greet the model, sit down, have a chat over a coffee and talk thought what we are about to try. It all becomes a bit hurried and there’s no time to build a rapport before she’s in front of my camera. Secondly, and it didn’t even cross my mind when planning, there was no down time for me. I was working nonstop from 11am to 7pm. Admittedly that’s only 8 hours, a normal working day but even in the worst day job you get a lunch hour! Besides having no breaks, I was “on” constantly with no chance to freewheeling, even for a minute. I was driving the bus with everyone looking to me for what to do next. This is what really took it’s toll. It might be just me, but I can’t stay creative under those conditions. I can’t force it. I got tired, my creativity waned and I started doing safe things. Nothing new, just simple setups, things we have all seen a million times and that’s just not the sort of work I wanted to produce.
This is a simple one. I won’t use sets in a studio again, because even in a quality place like Saracen House, they still look like, well, sets in a studio. I’ll stick to a classic white/grey/black seamless. If I want to shoot in a bedroom, I’ll book a nice hotel suite and take my own lighting. The best images were the day were the ones shot against seamless.
Working with other creatives
Most models can do their own hair and makeup. In fact they’d be pretty limited if they couldn’t, but they will generally have a go-to look that they turn to. That’ll mean that most shots you see of them will be somewhat similar. That’s why I booked a make up artist (or MUA) to be on set all day. This is something I’ll definitely do again. Emma Stroud and I bounced a few messages and images of the models back and forth before the shoot and she was able to decipher my rather blokey descriptions of looks and come up with a style to suit each of the girls. Emma’s styling had a sizable impact on the shoot and led things in directions I probably would not have thought of on my own.
I went in to the day with quite a few lose ideas and concepts thinking they’d be jumping off points and things would organically evolve as the shoot went on. To some degree that worked, but you burn through more ideas in 8 hours than you’d think. I’m not sure what would have worked better. I should have either come up with more of those jumping off points or I should have taken along fewer, but more fully formed ideas. I am erring on the side of the latter as the last time I shot at Saracen House, I had a detailed concept in mind for my hour shoot and came away very happy with the results.
So next time…
I won’t shoot non-stop all day.
I won’t try and simulate locations in a studio.
I will definitely work with other creatives like MUA’s and stylists.
I will prepare more. Either more loose ideas, or a few fully formed concepts.
If you’ve spent any time on my blog, you’ll know I like shooting on location. I love all the choices I get when it comes to balancing strobes with the available light – juggling all the variables is so much more fun than shooting in a studio where you have complete control over the lighting.
Shooting at night takes that to the extreme. Capturing what little ambient there is can be tricky when your flashes want to nuke everything with light.
I came up against such a situation a couple of weeks ago, so here’s what I did to stop my model, Sarah, from floating in a sea of under exposed blackness.
The image above was taken out by Pendigo Lake at the NEC near Birmingham in pitch darkness. So dark in fact that I had to ask friends to light the area with mobile phones while I set up. Without some artificial light on her, Sarah wouldn’t register at all.
Before the Quadras got powered on though, I found my ambient exposure. If I went straight in with flash, I’d have ended up with a good exposure on Sarah but a dark background. I wanted the coloured lights on the other side of the lake as my background so I left the strobes off for now, slowed my shutter speed and cranked up my ISO. The sweet spot turned out to be 1/20th second, f/4 at ISO 1600. Obviously shooting 1/20th handheld is usually a no no but when using strobe, the very short duration of the flash will freeze anything it hits. Plus, as there was no ambient light falling on her, I knew Sarah was going to be free from any motion blur from camera shake.
Then came the lighting on Sarah: A Westcott 50″ Apollo softbox (review of this coming soon) camera right and a gridded strobe camera right, slightly behind her.
As you have to start somewhere I set both packs to 1/4 power and fired off a test – let’s just say it was a little over exposed! Even at minimum power (25 w/s) on the ‘A channel’ on the packs I was still going to end up with a glowing Sarah if I wanted to keep the detail in background. I could have closed my aperture or lowered my ISO 2 stops to restrict the amount of flash getting in but that would have forced me to go to shutter of 1/5th of a second – slower than I was comfortable with.
So instead I switched my Quadra heads over to the packs “B channel” and dialed all they way down to 8w/s – just enough power to balance the ambient light and produce this set of images.
Ultimate Street Car is one of the biggest weekenders on the modified car show scene and title sponsor, Marangoni Tyres had the busiest stand at the show. And on their stand they had Jen and Sarah who you may have seen on theblogbefore along with Torrs. I’d spoken with Sarah in the week leading up to the show and arranged to make a few pictures, but I have learnt that you can’t plan too much at shows like this. It’s a case of seeing what you have to work with and coming up with ideas on the spot.
In this case the idea was pretty clear on arrival. Marangoni were promoting the fact their tyres are available from KwikFit and to the side of the stage was a fully kitted out mobile tyre fitting van. I think you know where I am going with this…
If the people running the stand and paying the promo girls are going to let me take their girls away from their main job for a while, I need to try and give some value back. In this case, producing some images emphasising the Marangoni/Kwik Fit connection worked for Chris, the man in charged, and the KwikFit fitters on site.
Five minutes later, the KwikFit guys were tidying the van, I was unpacking my Quadras while the girls wielded lip gloss and hair brushes.
So after a quick explanation of what we were trying to achieve it was time to test the lights. I do this one at a time to simplify things, getting one right before moving on to the next. I this case I set my camera about 2 stops below ambient to stop daylight spilling to the van too much and set the power on the blue gelled Quadra in the back of the van. It only needed to be set just above minimum power to get a nice rich blue colour – any higher and the colour got paler.
That’s a bare Quadra head back there (no reflector) as I wanted light bouncing around in the van to fill in the shadows and the sheet of blue gel is held on with… chewing gum! Outside the van was a CTO gelled main light with a 30 degree grid spot in the standard reflector to keep it from overpowering the blue interior of the van. This light was moved quite a bit during the shoot to make sure it was aimed correctly and to maintain the flash-to-subject distance as the girls moved about the van.
And finally… the final images, one of which is to be used in an upcoming Marangoni/KwikFit flyer.