We do a lot of business profile portraits, and often we shoot these on location at clients’ offices. Perhaps because of previous experiences, or lack of experience(?), clients are often surprised when they see our set-up, and I am surprised that they are surprised. They express amazement that our set-up is so “professional”. On a side note it occurs to me that this may be why some people expect professional photography to cost less…but I digress.
So, I asked assistant Ashley Senja to take a snapshot of me working at a recent shoot and here’s what you can see (this would be a fairly typical profile portrait set-up for us):
1 Soft box light modifier (for flattering portrait lighting) mounted on a professional flash unit
2 Large, stable tripod, tall enough that I can still shoot from a high, flattering angle even if the subject stands up. The tripod also allows me the flexibility to be able to move away from the camera quickly and easily to interact closely with the client without having to then waste time picking the camera back up, repositioning and refocusing over and over.
3 Step ladder to go with the large tripod, so I can shoot from a high, flattering angle and mitigate things like double chins
4 Laptop to shoot into from the camera which is tethered to it, allowing us to review image captures and “star” selects (within the capture software)
5 External monitor to facilitate client review of image captures as we work together to ensure we have a winning shot (or shots) and to choose the best frame(s) for retouching -- we always recommended ensuring time for this step if time allows
6 Background (in this case a green screen to facilitate easy and effective background replacement during retouching…could alternatively be white or gray if background replacement is not required)
7 Reflector to brighten the unlit side of the face
8 Basic grooming kit including things like blotting papers, hair spray, chap stick, combs, toothpicks, eye glass cleaning wipes, etc.
And things you can’t see: the stool the subject is sitting on (we bring that), background light (which happens to be hidden under the table, pointed at the background), back-up camera, extra lenses, extra batteries, back-up lighting…all so that there is no way we will ever be stopped or delayed by equipment breakage or malfunction…tools, fabric to covers windows or surfaces if necessary, cards and tape in case, for example, we have to cover up a pot light over a subject’s head that can’t be turned off, and other periodically useful things.
We never worry about natural, available light (or how that might be affected by weather)…we don’t need it. We never worry if the room is aesthetically pleasing…it doesn’t matter.
A hallmark of the professional photographer is that they can be counted on to consistently produce excellent results no matter the circumstances or the environment, and they can repeat their results in the future, regardless of different environment, timing, etc.
I’ll also just note that I personally like to scout the location prior to the shoot date almost any time we shoot somewhere we haven’t been before, to make sure there are no surprises for us the day of, and to ensure we have space to shoot conducive to best results, which is easier for me to determine in person than talking back and forth with organizers who might not understand the nuances of what will work best space-wise. I also like to know in advance where we are going to park etc. so we will never be scrambling with logistics on the day.
In summary, this is a version of the kind of set-up you should expect when hiring a professional. Here’s to less surprise, more expectation, greater understanding of the nature of and value of professional photography!
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kathryn@hollinrake.com
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