Prepping for a different photo assignment on Thursday. Finally going to get some use out of three LED panels I bought on a whim. And why...

 

the protagonist of this story. Grasping a camera in the heat of the day...

As part of a series of questionable choices about work I agreed to do two jobs for clients this month. Both are "ten year plus" clients. I worked on a real estate project last Saturday and I've agreed to work on a portrait project for an Austin seminary this Thursday. While it's always pleasant to have cash flow I'm financially ready to retire --- but not turning down paying work is a hard habit to break. 

At least Thursday's job will take place indoors and we have control over the thermostat so while I'm working in the temporary portrait studio it will be chilly. Thursday's job is pretty much the same as one I did for the seminary about a year ago. I'll set up lights in their smallish video studio and photograph a number of faculty and staff people during the middle part of the day. I'll use a neutral background with the goal of separating the individual subjects from the studio background and adding each person into one of a number of location backgrounds that we shot last year for the original project. 

Once the lighting and composition are set  in the studio I'll welcome each person, get them comfortable on the set and then photograph as many frames as it takes to get a flattering but honest portrait of each subject. 

Last year I used flash equipment but because I'm about the farthest from being a creature of habit as you will find I'm switching up the camera, the lens and the lighting from what I used last year. There wasn't anything wrong with last year's results it's just that I hate repeating myself. I really do. There's a certain joy in mastery but there is a certain thrill in trying new stuff. And that's my intention for this project. 

I haven't settled on a camera yet but I'm thinking of using one of the rangefinders with a 75mm lens and also a 50mm lens. Choices, choices. I'll bring an EVF to check on stuff but mostly I'll use the camera in its most bare configuration. The part of the project that's more random will be the lighting. More following the image just below: 

A younger version of the protagonist fitted out with an ancient Leica M3.

Heading to Europe in a grand 747. Ah, the good ole planes....

The lights I think I'll use are all LEDs. Last year I bought three of the Nanlite Compact 100-B panels. They measure about 16x20 inches and are set up for vertical operation. They have ample output for studio portraits and have a completely diffused front panel. Color temperature control from 3200-6500 Kelvin. The output is steplessly adjustable from 10% to 100%. I like to use them close in so they look softer. 

Here's what they look like: 

This shows one of the units with a fabric grid spot on the front.

It keeps light spill to a minimum for more control. I have grids for all three lights. 

this is the rear view and shows how very simple the controls are. 

An on/off switch, a power adjustment dial and a color temperature setting

dial. Easy as can be. And no sync to worry about. 

As you are probably aware I like working with continuous light sources because, for the most part, what you see is what you get. And with LEDs there is very little heat generated, one doesn't need flash triggers and they don't misfire in cellular phone rich environments... I'll also bring a round diffusion disk that's about 48 inches round if I want to make the main light softer. But we'll see. I like things a bit crisper lately...

I'll arrive at 8:45, drag gear into the studio space, set up and be ready to welcome the first person scheduled right at 9:30 am. There will be a marketing person from the seminary to keep the schedule, find tardy participants and keep up with the logistics of getting people in front of the camera. I'm sure the schedule will be fairly loose so there will be gaps which are perfectly filled by the quest for coffee. And later, the search for lunch. I'm pretty sure we'll be finished by mid-afternoon so I'll be able to dodge the vicious rush hour traffic on the way back home. At least that's the plan. Everything is always subject to change. Flexibility is a good trait for photographers working on location. That, and patience. 

The continuation of the film "scanning" saga. Images from Paris in 1978.

Afternoon tea at the park.

L'Opera.

Tuileries. Reflection.

Sarah. Ready for an evening out.