Have studio, will travel.

How I work with a portable studio.

The studio before I got the photo backdrop.
Grey blankets served as a neutral background,
although I often would hang a decorative
Celtic knotwork panel for a portrait.

When I started doing portraiture, I saw a niche in the many events that my history club puts on, and few formal ways to document the effort and comportment of the participants.

We have a regular summer event, Warriors and Warlords or WW, which regularly draws over 600 participants from all over the Midwest, upper Plains and parts of southern Canada. My idea is to have a studio that I can literally set up in the middle of a field, control the light with various methods (which incidentally kept the studio a little cooler than outside--a plus when the Heat Index approaches or passes 100 degrees F!), and photograph my friends in their finery to display on their walls and for their friends via social media. The big plus for many was that each had an 8x10 print of their portrait within an hour at most to take home and put on his or her wall. All this for the low, low price of $40. More goodies were available if they wanted them.

Yes, I'm working cheap here. I expected an average of two sessions per hour when I was open, to amount to a score a day. I never achieved that volume. The most I ever did was eight in one day for a winter event that had a charity component, and nine for the whole four-day run of WW. There were two years at WW that I didn't have any clients! The summer heat and humidity aren't conducive to people wanting to wear layers of finery. I actually had one family rush in and settle down for their portraits, then rush out so they can change to cooler clothes! I actually have better sales during winter events, when people are already showing off their finery and are willing to be posed in a warm, comfortable space.

Such is the adjustment of my business/service model. More winter events.

To offer this service at such a ridiculous price means I have to be creative with my equipment. The most expensive pieces of my set-up were of course my camera and lenses, followed by a robust notebook computer and quality photo printer. I'm a Pentax fan from way back, and have an assortment of compatible manual lenses. I started with a K-01 body, 18-55 mm f4.5 and 50-200 mm f4.5 lenses, Tambon 65" tripod, Toshiba 15" Satellite and HP Photosmart 5220 printer. I later upgraded to a 17" Toshiba Satellite and a Pentax K-3 II body. I found a Manfrotto 100" studio tripod and three-way head in the local Pawn America for $100 and snapped that up.

For lights, I use a 68" dual 500 watt halogen work light tower bounced into a 42" reflecting umbrella for my fill light, two 1000 candlepower LED work lights and two more 1250 CP LED spot lights in hot light fixtures for my main light, all daylight balanced. I use either three colored CFL bulbs in clip lights or another 1000 CP LED daylight flood in a clip light for the backdrop light. My decorative lights and general work lights are all LED. When shooting, I use all of 7 amps, an advantage when you are limited to 15 amps.

The studio itself is a Coleman 10'x 10' canopy with a swing wall, effectively giving me a footprint of 10' x 17' with the wall raised up. I purchased a 40' wind wall set for the canopy, under which I use an assortment of power cords and junctions to redistribute power where I need it.

Lyn admiring her ring. At this point, she'd dropped over 100
pounds from the previous year, and wanted photos to show
  off her new figure.

Sunlight was first controlled with the use of fleece blankets, an outer layer of white to reflect and an inner layer of black to absorb. I've largely traded the white blankets for black-out curtains, to cut down on bulk. You can't argue with the texture of the black polyester fleece when you want a dead-black background, so I kept them. I use a photo backdrop frame that can expand to 10' wide and 10' tall with a 10' x 12' linen mottled grey backdrop. I paid full price for the backdrop and never regretted the cost.

Most of this packs into three tubs (It used to be six!), with four long bundles for the light stand, tripod and backdrop stand. The canopy has its own bag, as well as the walls and backdrop. There is a folding table, a rigger's bag with electrical cable and connections, a bushel bag of spring clips (and that still isn't enough!), folding stools and chairs.

The whole thing takes about an hour and a half to set up outside, a little less inside as I don't have to shield the walls as much.

It does make a satisfying space to work in, and was well worth the time I put into making it.

The Photographer's Hat

ASMP Portrait taken at the
Strictly Business 3 Conference in
Chicago, April 2011.
Copyright 2011 Shawn Henry

The other day, I’d posted a new FaceBook profile picture of myself taken by a fellow photographer, Shawn Henry. It was a ¾ portrait taken in front of a white background and rendered into a black and white. The series was taken a few years back, but I asked and got permission to use the images for inclusion on things like my bio page on this blog and my website. FaceBook came later.

When my various friends saw the image for the first time (and it was the first time I used that particular image), I got the usual likes and positive comments. One stuck out: My friend and advanced amateur photographer from South Dakota, Jon “Fiskr” Larsen, mentioned that all I needed to be a photographer was a cool hat. (It is a nice looking hat, even if I say so myself.) There was the usual banter back and forth about how adding a hat instantly made a photographer and such. However, the comment got me to thinking about how much my broad brim hats are part of my photography kit.

When I started, film cameras were what we had. I had a basic SLR in my trusty Pentax K100. It was fully manual, and a work horse if there ever was such a camera. One of the foibles of pentaprism viewfinders, common in optical viewfinders like my K100, is that light can intrude from eyepiece and skew the exposure meter, making the meter read more light than there actually was coming in the lens. One simple trick to counter this is to wear a wide brim hat to eclipse the light coming in from behind you. So hats become part of my kit.

As the years rolled on, I also worked for the US National Park Service, with their famous “Smokey Bear” campaign hats. That cemented my liking for broad brim hats. I never liked the ever-present ball cap, common in the US, as they never fit my oblong head shape. Also, I didn’t like how ball caps allow my ears and the back of my neck to get sunburned. So, I was in constant search for broad brim hats that were durable, good looking and still functional to keep the sun, rain and light in control around my head.

A self-portrait while photographing in the "field,"
Olbrich Gardens in Madison, WI.
Copyright 2012 W. Clinton Hotaling

The hat pictured is one I got from Duluth Trading Company. It’s their “Albert’s Hat.” The hat is made from oiled cotton and has a fleece liner, so it’s a good winter hat for all but the most severe conditions. I have a variety of hats for summer months, but none of them are waterproof. However, they still fill the need for shade and blocking light.

My current digital cameras don’t have an optical viewfinder. They both use a two and a half or three inch LCD view screen, depending on the camera, for that purpose. The hat helps me see what on the screen in full sun. Without shade it’s almost impossible to read, something many smartphone users are finding out.

So, between the practical functions and stylish elegance, I wear hats and enjoy it. They are a permanent feature of my identity as a photographer.

Working with Models or Talent

Stephanie and my Hat

In still photography, they're models. In motion imagery, they are talent. In either case, they are the people (and sometimes animals) you put in front of your lens to help you tell your story. They are also a big factor in your collaborative effort to deliver a product for your client.

Sometimes the hardest part of the whole process is simply finding the model or talent that you need. Most beginning photographers and videographers recruit from their circle of friends and family. My most reliable model is my lovely wife. She'll complain, but she models very well. College acting classes, small local agencies as well as nationally connected talent bureaus all are sources for recruiting that person that will work in front of your lens. It's just a matter of how much time and budget you have.

The first step in making sure you have what you need is to ask very specifically for what you are looking for: approximate age, gender, hair color, facial hair (men), hair length, height, body build, secondary talent (dance, singing, horsemanship, etc.), and/or anything else that would be what you have in mind for your imagery. Also, be specific in what type of role this person would play. For instance: "Physical comedy as an always ready to please, clumsy husband for a competent, but indulgent wife." Hopefully, from your listing you'll get a set of people willing to audition for you.

Quite often, with models for still work the selection process gets done through head shots, resumes, portfolios and availability checks. Motion talent usually must be "tested" to see how well they fit the ideal  for your project. (Benedict Cumberbach was the only one tested for the role of Holmes in "Sherlock". Martin Freeman was one of many who were tested for the role of Watson, but the instant chemistry between him and Cumberbach during Freeman's test cemented the role for him.)

Hannah: "This is awkward!"

Make sure that responsibility for secondary items like wardrobe, hair styling and makeup are clearly spelled out before your talent arrives on the set or studio. Almost always, you are responsible for any props or products, but these other considerations, if fairly basic, can be covered by your talent. (They should tell you if they don't have something specific that you asked them to bring, i.e. ripped jeans. If that's the case you will need to supply it for them. Be sure to get the correct size. Whether they keep what you supply them is up to you.)

Once your talent is decided, make sure they understand exactly what you want them to do. They are quite willing to do so if they know what you are after. For a commercial I shot, an actor deliberately fumbled the large assortment of tools he was holding. It was marvelously fake, and you could see that it was fake on the recording. I explained to him that the many items in his hands will naturally fumble when he selects just one to use, just let them do so. It looked much better (and was funnier) when he relaxed and just let the pieces fall.

How tight of control you use is up to you. I tend to be more collaborative, and only correct or re-do when something didn't work. Annoyingly for the talent, that might be something other than what the talent did. I've been known to retake a scene for minor corrections (see above), but I do enjoy letting my talent run with an idea.

Don't forget to make sure the appropriate releases are signed.

One last thing. Most models or talent are part-timers in this. Be sure to feed them.

The Busy Client

Photo booth ready for customers.

My photo booth was set up in the middle of the merchant area, ready for clients to have their portraits done and printed on site.

In spite of the summer sunshine and heat, I had effectively created a cool cave in the middle of the field.

Alas, business was slow--as in nonexistent. A conflict with another larger event kept many of the event participants away. Few had the funds or interest in getting a portrait done, despite favorable comments about the sample pictures. Even other merchants noted the lack in their sales.

Busker entertains the "crowd"

So I wandered the site, taking personal photos. I enjoyed the ambiance. I checked out the wares of the other merchants. I even bought a few.

Main Pavilion lit up for evening activities

Interesting scissors masquerading as a dagger

Nobody was interested in getting a portrait.

We had a big awarding ceremony on the last night. The local chapter executive (our "Baron") just recently stepped up to the High Seat. Robert, the Baron, never had a portrait done in his finery.

Perfect.

I set up an appointment with Baron Robert for just after the ceremony.

I knew Robert could get distracted, so I came up with a plan to make sure he came to the booth:

Right after the ceremony, I borrowed the Baron's High Seat and lugged it with the help of a friend (It's made of oak and quite heavy.) to the booth and set it up. I made no secret that I did this. Sure enough, Baron Robert strolls in looking for his Seat. He admitted that my kidnapping the Seat was a sure way to make sure he made it to the shoot.

Baron Robert the Stout

We had a good shoot with three very good portraits.

Afterwards, I helped Baron Robert disassemble the Seat and pack it up for transport. It seemed only fair.

Sometimes a little subterfuge can be a good thing.

Preparedness

Clint and Arch - Self Portrait

One of the biggest beefs I have with customers is that they don't do the most basic homework when they come to me to get something they want. It's astounding how often they don't even know WHAT they want. I've found I'm very good at helping them figure out what they are after, and then helping them get it or doing what they need to do.

This also applies to showing up to work or the project conference with no idea who your client/customer is or what they do. When working with the public retail, this comes with the territory. However, when I got a call from a client or photographer to work with them, I make an effort to at least find what kind of work they do and how it looks so I can start planning on how I can help them achieve their goals. This has paid off so far, so I'm going to keep at it.

Basic preparedness includes, for instance, dressing for the weather. At the project that resulted in this self-portrait, I'm dressed in layers, with gloves that allowed me to work the controls on my camera. I specifically wore clothes with the idea that snow will get into crevasses if allowed. Hence the overlapping layers. My camera pouch is set up to quickly access the accessories I need, yet it doesn't scream, "Camera Bag!"

Simply preparing properly pays off in increased comfort, less frustration and hopefully, happier customers.

Bringing Things Together

Edgewood Park and Pleasure Drive

A friend reminded me of some basic things that need constant, well, nagging: Practice, balance, responsibility and caring. I am notorious for being scattered, impulsive, often absent-minded, and usually procrastinating chores. However,...well, my accomplishments will have to wait for later.

There are times when a rather ephemeral idea keeps showing up in my head, and it's a good one, making me excited about it. The problem is the connections that led to that idea are fragile at best, so keeping that idea in mind isn't easy. What made it easier is a mild setback with my left knee.

As many of you know already, I've been fighting sciatica in my left leg, caused by a bulging disk in my lower spine and osteoarthritis in both knees. My recent weight loss has taken a lot of stress off of my joints, but the damage is done for my knees. Last October, my left knee "loosened" (my word, but it accurately describes the action) in the middle of a fencing bout and caused me to seek Urgent Care and physical therapy. The good news is that my knee should heal at least as good as it was last summer. The bad news is that I am more dependent on a cane for walking until the knee heals. I also have a lovely 20-30 minute twice-a-day (not counting swim work) exercise routine to rebuild the muscles around my knees and tighten up the joint. I also can't sit/stand/walk for more than a half hour before requiring a change in state. At least that gives me an excuse to refill my coffee or water while at the computer.

That was ten months ago.

The real joy is that the culprits are the cartilage pads (meniscus, menisci?) in my knees. They are best described as tattered. Beyond healing on their own. Come November, my left knee will be changed over to metal parts. The right knee, which was the bad one, should cruise on for years with a better leg to stand on the other side. With diligent physical therapy, I should be mostly restored to a pretty much normal life by early in the new year.

Meanwhile, I'm exploring more with my photography aided by new toy: the Pentax K-01. It's the less expensive mirror-less version of the K-5 I've been lusting after the last couple years. I'm having a lot of fun learning its quirks and how to manage my old (and the new two) lenses with it.

My lovely bride

Mattias and Seonag

The new tool is part of an experiment in portraiture. On the go: a 10x10 portable shelter, LOTS of blankets, even more spring clamps, a couple sheepskins, a couple stools, a bench and a handful of CFL and LED spot lights and a knowledge of stage lighting and away I went to two camping events photographing and printing portraits on site. I've yet to make back my investment, but this has proved interesting and fun!

Now that I'm taking portraiture at Edgewood College, I've already started to refine my techniques and strategies. I just need to keep developing my stable of models....

More next month. I promise!