My partner and I went back and forth for quite some time about whether or not we wanted to invest in a long or short term lease on a studio. In the Bay Area real estate is very pricey, much more so than other areas of the country. But that is not the primary reason we opted to NOT put our money into a studio. I think there are photographers who can easily justify a studio which includes much more than just the rent. Sure it would be so much more convenient for me to have a studio instead of lugging gear and assistants to and from locations. But, and this is a BIG BUT for me, I would get bored, completely and utterly in about 2 shoots. Why? I bore easily and shooting against seamless or bringing in props, constantly building sets, etc. would drive me to the point that I may decide to return to a corporate job! (No way really…)
For me the world is the best studio, the absolute best for my work. But sometimes for a variety of reasons my clients cannot arrange to shoot on location so I shoot in rented studios or spaces which are convenient to the client. Flying the talent in, housing them, using Union makeup/hair/wig/prop you name it staff is expensive. Transporting them to a studio far away is inconvenient to many clients. You’d be shocked at how some of the ‘studios’ I work in are crazy cramped or awful from a shooter’s standpoint. But a big part of being a pro is working with what you got.
But there are times when a client wants ‘more’ than just seamless but doesn’t have the budget to house or transport all of the talent to the perfect location. So a rented studio for the day or week, or better yet a warehouse is what I use. This is where light/atmosphere and theatrical type modifiers like gobos can make a scene more effective. Whenever people ask how I create different looks in studio I just say, “Watch movies, look at the light/environment and figure out how to make the scene you’re watching. Imagination is insanely more powerful than any new camera gear. And simply having an idea is not good enough. You need to actually make it happen.”
Recently a client ‘wanted’ to do their publicity shoot on location, but since scheduling of the talent and the availability of the venue didn’t jibe we shot in studio, a rented warehouse. By using atmosphere and special light modifiers the client was pleased.
The whole point of this posting is to help you decide if a studio is something you ‘have to have.’ In my case it is not simply because the type of work I do constantly demands new looks and feelings for my client base. Every shooter has different needs and there are no ‘right or wrong’ answers.
UPDATE January 26 2018
I’ve recently written a post about my use of the xPLOR600/eVOLV200s with several different modifiers for a session. You can find that post here.
UPDATE September 10 2017
I recently posted an article on my use of all Godox units in one session. The article includes the use of this product. You can view that post here.
UPDATE September 8 2017
In my post about the Parabolix 35D I have some of my recent client work and how I used the xPLOR/eVOLV units during the session.
UPDATE: July 29 2017
I have written an article about how I achieved using the Xplor/Godox 600 and 200 strobes in HSS with my Pentax 645Z. You can read that article here.
Prior to using the Xplor/Godox line of strobes I shot exclusively with PCB Einsteins. Paul’s t:1 performance combined with his Vagabond line of batteries, the Cybercommander controls were bulletproof. Combine that with his customer service and well….for me it was a winning combination. But with Paul’s unfortunate passing years back, PCB’s innovation has lagged behind other strobe/modifier manufacturers. I adored Paul and I was so fortunate to have him as a sponsor for a short time. In my mind he was a true genius and yes, a bit of an eccentric fella, but geniuses are so often an ‘acquired taste’ but thank gawd for them.
Paul’s Einstein line never included HSS so for my outdoor workflow I simply used ND filters of various brands and types when I wanted to reduce ambient light. Variable ND filters were convenient, but I found that the color shift took a bit of post processing to reduce. I did find nanotec’s ND filters to be the best for my needs, but by reducing the ambient it also reduced the power of my strobes.
So I was an early adopter of the Godox line of strobes starting with their 360 line, moving onto the Flashpoint Xplor600/AD600 line and finally to the eVOLV200 units I found my niche. Having all of the units that communicate from one trigger along with the flexibility of combining several strobe bodies to create higher WS output…..gosh what could be better? The innovation of Godox combined with the service in the US of Adorama or Cheetahstand is a wicked combination. There were two instances early on when I purchased Godox AD600s on eBay when I could not get any service. But when both Cheetahstand and Adorama started rebranding the Godox line under their own names, well customer service in the States changed for the better.
I certainly realize that every photographer’s needs are different and mine differ from job to job. Sometimes I may use only two lights, sometimes three and sometimes 7 or more. It always depends on what my clients want for the mood of the shot. By having the ability to combine two lights into one, or to change my Xplor strobes from a monoblock into a pack/head design is so innovative. I have read opinions that other shooter’s clients ‘insist’ on specifying brands of strobes/cameras/lenses, but I have never encountered that situation. My clients care primarily about these issues:
- The concept of the shoot.
- The quality of the image
- Does the image convey the intended mood?
- Will the image help sales?
- Does my demeanor keep the talent engaged, thereby obtaining the expressions needed for the shot?
- How easy am I to work with?
Not ONCE has a client asked me about what brand of gear I plan to use. Nor do they ask me about the brand/model of vehicle I own. Or the brand of clothing I wear. My client’s jokingly say “Oh Mark is using his little magic Instamatic..” whenever I decide it’s the right time to use my Fuji X100T. The reality is I find photographers seem more concerned about what other photographers feel/say about gear than how their clients feel about their product. In my business I’m only as good as my last session. And if my clients don’t like ALL ASPECTS of my work, then I’m not asked to return to shoot another session.
I had a client who I shot four years ago ask me to do another shoot for his cover band. I delayed answering simply because I felt they wanted a typical band shot, which I was not willing to do. As we talked he said “I want you to shoot whatever and however you want to do the shoot.” So we began. And in this case I knew I was going to use multiple lights of varying power, with multiple modifiers. And guess what? The Xplor/Godox line of lights could not have been a better combination. I literally used every Xplor/Godox light I own for this session. The smallest number of lights used at one time was four and the most was nine.
My whole point to this post is to say that the Xplor/Cheetahstand/Godox line of lights is the most valuable lighting system I’ve ever owned and used. In my mind innovation in lighting is moving much faster than camera bodies and I love that! Find what works best for your style of shooting.
My clients have released their season brochures so I can now share the final results along with a short BTS video of the Hillbarn session. All of the images were shot using the Flashpoint Xplor 600 and Evolv 200 line of strobes using various modifiers and gels. All shot with a Pentax 645Z utilizing a 45-85mm MF lens.
My shots often appear in print, but today was special and unusual. On the front page of the Seattle Times, my publicity image for Village Theatre’s 2017-18 Season Brochure appears above the fold. Then two of my publicity shots for 5th Avenue Theatre’s world premier of Romy and Michele’s High School Reunion – the Musical appears in the entertainment section. Fun!
I have always liked the look of ringflash portraits. There have been several times in my career that I wished I had one. But because I find their use in my work so specialized I didn’t want to commit to purchasing a studio unit. My partner had tried several of the on camera flash types but I didn’t like their light output. So to replicate the look of a ringflash I often used my 86″ diffused parabolic reflector, stood directly in front of it and photographed the talent.
This small tutorial has little to nothing to do about camera gear. I’m on a bit of a rant these days about photo forums. The inane banter that goes on there does little to help photographers who wish to improve their craft. In most cases I find the loudmouths are have to be right trolls and there simply to be….right. At least in their own minds.
For seven years I taught men and women how to navigate their motorcycles around California racetracks. I’d hear similar things like “Oh if I buy these pipes/Powercommander/520 chain/blah blah blah it will make me faster.” Invariably those same individuals would leverage their credit cards to buy the latest titanium bits to lighten their bikes. Did their lap times fall….uh not much if at all and why? Because they’d rather BUY and brag about their gear than learn and practice. How about getting in better cardio shape and losing 15 pounds instead of spending thousands on titanium parts to save 5 pounds of sprung weight? How about listening and implementing what your instructor/coach is telling you instead of justifying why your BIKE is holding you down? Oh well….
So if you’re looking for the latest MTF chart or DxO results here, do yourself a favor and close this browser window now. Occasionally I may mention the type of camera I was using and WHY, but beyond that this article is all about improving your imagination and ability to improvise at will. And in my work, that’s what separates the men from the boys. (No offense to women, you often already practice those qualities…but like most things there are exceptions!) There’s a big difference between TAKING or CREATING a photo…
David Allen Cooper, Principal Horn – Dallas Symphony Orchestra.
David commissioned me for a two day portrait session and although he resides in Dallas, TX he agreed to travel to San Francisco along with his manager to conduct the session. I was free to completely art direct his imagery. His only request is that they were different than traditional symphonic musician portraits and conveyed a younger more relevant look.
Some of my recent dance photography at the OSA – Dance Emphasis group. Shot using PCB Einsteins, a Westcott Zeppelin and Elinchrom Rotalux Deep Octa light modifiers. Canon 1DX EF24-105 L f4.0.
Photographers often ask, “Mark what’s your favorite modifier? Is it a softbox, umbrella, shoot through or bounce?” My answer is always the same – My favorite modifier is what I think is the best one for a specific job. Sometimes it’s a softbox, sometimes it’s an umbrella, sometimes a cone or in quite a few cases it’s a combination of several.
As I often like to do, let’s go back a few years. One of my teachers, actually the man who taught me about using artificial light was thankfully VERY hard on me. No namby pamby talk it was mostly, “You must not be listening to me because that looks terrible, here’s why!” And he would go over EXACTLY why it was bad and he was always right…..back then. After a bit my photos moved from terrible to a preverbal “Nice” which in Greg’s speak meant crummy but not horrible.
In January 2014 I photographed publicity imagery for Village Theatre‘s 2014-15 Season Brochure marketing materials. Some was done against seamless, others done on location. We were able to collaborate with the Company’s principles on concepts and messaging prior to beginning the shoot which made a huge difference in consistent messaging and impact. This was a wonderful experience of complete collaboration.
Dallas Symphony Orchestra’s 2014-15 Season Brochure
In order to put an entire marketing campaign together it first takes vision. The Marketing VP at Dallas Symphony Orchestra had a very specific vision for his 2014-15 Season Brochure. His concept was to carry a “Date Night” theme throughout his brochure, creating an experience which would attract new as well as existing patrons. He also wanted a theatrical and dream like quality to the individual performances, one that matched each symphonic piece.
Keep in mind that whenever you’re hired to create commercial imagery there is quite a bit at stake. Beyond your own reputation, there’s the talent, scheduling, venue logistics, graphics gurus, administrative help, travel, blah, blah blah. And although an Art Director may have a specific shot they have in their own minds, it’s up to the photographer to execute that vision, one that often only exists in the AD’s mind.
Publicity photography for Oakland School for the Arts – Dance Emphasis. These images feature seniors from their 2014 Class. This is my third year working with this remarkable company. They are choreographed and coached by Reginald-Ray Savage and Alison Hurley.
The VP of Marketing at the Dallas Symphony Orchestra is really shaking things up! Earlier this year I collaborated with the DSO’s Marketing Department to create imagery very different from what the Symphony has used in the past to promote their Beethoven Festival.
Bringing in new patrons is his goal and I’m proud to be part of the DSO’s new effort. Building excitement is well, exciting! Thinking and DOING what is ‘outside the box’ is both challenging as well as rewarding for us. There’s plenty more to come, stay tuned!
Mark Kitaoka Photographs has been contracted as the Dallas Symphony Orchestra’s publicity and production photographer