Studio Anywhere A Photographers Guide to Shooting in Unconventional Locations by Nick Fancher

STUDIOANYWHERE
APhotographer’sGuidetoShootinginUnconventional
Locations
NICKFANCHER


STUDIOANYWHERE:APHOTOGRAPHER’SGUIDETO
SHOOTINGINUNCONVENTIONALLOCATIONS
NickFancher

PEACHPITPRESS
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Copyright©2015byShutter-ThinkPhotography,LLC
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Indexer:JamesMinkin
CoverImage:NickFancher
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Trademarks


Manyofthedesignationsusedbymanufacturersandsellerstodistinguishtheirproducts
areclaimedastrademarks.Wherethosedesignationsappearinthisbook,andPeachpit
wasawareofatrademarkclaim,thedesignationsappearasrequestedbytheownerofthe
trademark.Allotherproductnamesandservicesidentifiedthroughoutthisbookareused
ineditorialfashiononlyandforthebenefitofsuchcompanieswithnointentionof
infringementofthetrademark.Nosuchuse,ortheuseofanytradename,isintendedto
conveyendorsementorotheraffiliationwiththisbook.
ISBN-13:978-0-134-08417-6
ISBN-10:0-134-08417-9
987654321

PrintedandboundintheUnitedStatesofAmerica


Thisbookisdedicatedtoanyonestartingwithnothing.Letnoonetellyouthat
youcan’tcreateyourownpathorthatyouneedtofollowacertainformulato
achievesuccess.Rulesareconstantlybeingbroken,rewritten,andbrokenagain.
Enjoyyourjourney.


Acknowledgments
IwanttothanktheteamatPeachpitPress,whomadethisbookareality.Specifically,I’d
liketothankTedWaittforgivingmeachanceandstickingwithmeastheideaofStudio
Anywhereevolved.ThankyoutoValerieWitte,whoseamlesslytookovertheprojectfrom
Ted.ThankstoLindaLaflamme,mypatientandthorougheditor;tothefabulous
productionteamofLisaBrazieal,MimiHeft,andWolfsonDesign,whoperfectlymarried
theimages,diagrams,andtexttothepage;andtoPatriciaJ.Pane,myproofreader.
AbigthankyoutoLindaRinglerandRickKocks,myhighschoolphotographyteachers,
whogavemetotalcreativefreedomandtaughtmemoreaboutphotographyand
alternativeprocessesthananyofmycollegeprofessors.Youtrulyareunsungheroes,andI
willneverforgetthepassionandknowledgethatyouinstilledinmyclassmatesandme.
I’dalsoliketothankmyfamilyandfriendswhoarenothingifnotsupportiveand
encouraging.Iamveryfortunate.
Finally,I’dliketothankmywife,Beth,forherfaithinmeandsupportovertheyears.You
areawonderfulmothertoJackandMargotandwisebeyondyouryears.Youhelpkeep
mehumbledwithoutcrushingmyspirit.


Contents
Introduction
PARTITHELIVINGROOMSTUDIO

1WhiteLight,WhiteWall
EditforEffect
CheckYourWork
LitBackground
2It’stheMoodThatMakesItGood
AestheticDecisions
FinishingTouchesinPost
OnceMore,WithFeeling
3WindowLight
SubjectDirection
RuggedSophistication
4UsingExistingEnvironments
AestheticDecisions
Editing
Quiz1:DeconstructtheLighting
PARTIITHEBACKYARDSTUDIO
5HeadShots
SoftLight
DirectionalLight
6WhenIt’sGoodtoBeShallow
LegendaryPinkDots
AlleyCat
7IntheGarage
DirectionalLight
8KiddiePools.Who’daThunkIt?
Blackout
ApplyingtheExperiment
9ShootingProduct

Quiz2:DeconstructtheLighting
PARTIIITHEBASEMENTSTUDIO
10SoftLight
OnWhite
OnGray
11MoodyLight
TheFirstRuleofMoodyLighting…
BlackonBlackonBlack
AreYouGellin’?
12CreativeBackdrops
NoParis?NoProblem.
Channelingthe‘80s
PegboardPinlight
13ShootingProduct
LightingaProductwithaReflectiveSurface
ShootingaProductonaReflectiveSurface
Re-creatingWindowLight
Quiz3:DeconstructtheLighting
PARTIVTHEOFFICESTUDIO
14PortraitsonWhite
TravelLight
It’stheWoodThatMakesItGood
15EnvironmentalPortraits
GettingtheDroponNarrowSpaces
CurtainCall
16ShootingProduct
TimetoReflect
Put‘emontheGlass
Quiz4:DeconstructtheLighting
PARTVTHEPARKSTUDIO

17StillWatersDon’tNeedtoRunDeep
AftertheRain


BridgeOverDappledWaters
18TransformtheWeather
Gettin’ShiftywithIt
FakeIt‘TilYouMakeIt
19EclipsetheSun
AGunataKnifeFight
Quiz5:DeconstructtheLighting
PARTVITHESTREETSTUDIO
20OntheBeatenPath
DancerintheDark
HomagetoStreet
21GetonUp
UpontheRoof
WelcometotheThunderdome
22ConcreteJungle
CreatingaStory
OneWall,TwoLooks
23ParkingGarages
AGQView
AlwaystheSun
Quiz6:DeconstructtheLighting
EpilogueWhat’sNext?
TestingNewWaters
EditYourself
BuildingYourSEO
QuizAnswerKey

Index


Introduction
What’syourdefinitionofaphotostudio?Isithavingawhiteseamlessbackdroporacyc
wall?Maybeit’sanyplacewhereyouhavetotalcontrolofalllight.Perhapsit’saplace
whereyoucancreatedynamicproductshots.Inaperfectworld,whereeverydayisa
breezy72degreeswithpartialcloudcoverage,wewouldallhavea5,000-square-foot
studioinNewYorkorLosAngeles.We’dalsohavetheentirecatalogofB&Hinour
equipmentlockups.Butthatisn’treality.
RealityisthatyouhaveanoutdatedDSLRwithtwodecentlenses(whichtookyouseveral
yearstosaveupfor),andyoumanagedtosneakoutofyourofficejobanhourearlyto
shootanunderpayingclientinapublicparkonagray,45-degreerainyday.Ormaybeall
youhaveatyourdisposalisanunfinishedbasement.Oragarage.Ortheempty
conferenceroomatyourofficedayjob.That’sthepointofStudioAnywhere:toshowyou
howtoachievetheshotofyourdreamswhileworkinginsomeofthemostproblematic
scenariosimaginable.

NoStudio?NoProblem
Overtheyears,I’veslowlydiscoveredthatatraditionalphotostudioisn’tnecessarytoget
studio-likeresults.Ifyouareshootingaportraitofsomeone,forexample,youneedonlya
fewfeetofblankwall(especiallyifit’sacroppedshot,suchasaheadshot).Recently,I
wasinNewYorkCityonashoot,andIdecidedtotakeanextradaytodoafewtest
shootswithmodels.BecauseIdidn’tknowthecitywell,nordidIhaveapermittoshoot
onthestreetorthebudgettorentastudio,Ithoughtitwouldbeeasiesttojustmeetthe
modelsattheirhomes,shootingbothintheirapartmentsandaroundtheirbuildings.I
likedtheelementofunpredictability.WhenIpunchedtheaddressesintomyGPS,Ididn’t
knowwhetherIwaswalkingintoapenthousesuitewithanamazingviewofthecity(it
happened)oranunpolishedartlivingspace,occupiedbysevenartistsinWilliamsburg
(alsohappened).IknewthatIhadthetoolstoovercomeanylightingissues,however,soI

welcomedthechallengeandwasexcitedtoseewhatkindofscenariosI’dencounter.


Theshootthatstarteditall.ItookthisshotatoneofmyfirstshootsinNewYorkCity
andrealizedthatIwasbetteroffmeetingmysubjectathisplaceratherthanrentinga
studio.
Thisbookisadiaryofsorts,ofmyexperiencesinworkingwithouttheuseofatraditional
photographystudio.Whethershootingacorporateportrait,atestshootwithamodel,a
promoshootwithaband,orawedding,Ialwaysseemtobeonlocation—evenbackwhen
Ihadastudio.Staringatthoserentbillseachmonth,IcametorealizethetimeIdidspend
inthatexpensivespacewasspentsittinginfrontofmycomputer,editing,ormeetingwith
clients,whichcouldjustaseasilybedoneatcoffeeshops.So,Iditchedthetraditional
studio.NowwhenIneedtoshootaportraitonablankbackdroporIneedaplacetoshoot
productionshots,Igetcreative,asyou’llseeinthechaptersahead.
Mygoalinwritingthisbookisnottoteachyouhowtoreplicateoneofmyphotos.My
goalistogetyoutothinkoutsidethebox,orstudio,inourcase.Thisbookisaplace
whereIsharethetechniques,tips,andshortcutsthatI’velearnedalongtheway.
RemembertheendofTheLastCrusade,whenIndianaJonestossedthefistfulofdirt
acrosstheinvisiblebridgetomakeitvisible?Thisbookismyfistfulofdirt.
Iseethisbookasaresourcewherephotographerscangleantechnicalinfofrombehindthe-scenesphotosandlightingdiagramsfrommyphotoshoots.However,Idon’tstop
there.Becausepicturetakingisonlyhalfoftheprocess,IalsolayoutwhatmyLightroom
andPhotoshopworkflowlookslike.Finally,IletyouinontheaestheticdecisionsImade;
directingaphotoshootismorethansimplyknowinghowtowieldacameraorprocessa
rawfile.Thisbooktakesaholisticviewofthephotographicprocess,startingat
conceptualizationthroughtheexecutionandpost-productiontocompletion.


TakeControl:Gear
Whetheryouareworkingwithaharsh,sunnyday,agrayrainyday,asmallhallwaywitha
whitedropceiling,oralarge,darkroomwithablackceiling,youmustbeableto

overcomeless-than-idealscenarios.Oncetheshootisover,youneedtoknowhowtotake
therawimagesandpolishthem,usingeditingsoftwaresuchasLightroomandPhotoshop.
Thismeansthatyouneedtohavetherightgeartoaccomplishthesethings,andyouneed
toknowhowtoproperlyuseit.Thankfully,there’sfarlessgearrequiredtoaccomplish
thisthanyoumaythink.
Myperspectivehasalwaysbeenoneofusingwhatyouhave.Ifyouarejuststartingout,
youhavenothingornexttoit.IboughtmyfirstDSLRatBestBuy,backin2005:aCanon
20Dwithakit18–55f/3.5–5.6lensanda1GBmemorycard.It’sajokeofasetupnow,
butImadeitwork.Iusedthatsetupexclusivelyforthreeyears,untilIcouldaffordtoget
aSigma70–200anda430EXstrobe.Istillcouldn’taffordadecentwide-anglelensor
eventriggersformyflash(thiswasbeforethemarketwassaturatedwithcheapwireless
triggers).Still,IusedwhatIhad.Occasionally,IwouldbookagigwhereIneededbetter
gear,soIwouldrenttheadditionalgearfromafellowphotographer,billingtheclientfor
theexpense.
Ioftenreceiveanemailfromsomeoneaskingmetorecommendwhatgearabeginner
photographershouldpurchase.Myresponseisalwaysthesame:Itdepends.What’syour
budget?$500?Saveupyourmoney.Ifyoumanagetobookapayinggigandneedgearfor
it,useyour$500torentthegearfortheshootandbilltheclientfortheexpenses.You
needatleast$1,000togetahalfwaydecentstartuprig,inmyopinion.Buyaused,fullframesensorDSLR,ifpossible,suchasaCanon5DMarkI,andbuyadecentlens,likea
Canon851.8.Yournextgoalshouldbetopurchaseadecentwide-anglelens,suchasa
Canon351.4Loranicezoomlens,likea24–70f/2.8L.Afteryouhaveadecentbodyand
acoupleofreliablelenses,youcanstarttoconsiderpurchasingaflashsetup.Thatmaybe
oddtohear,sinceIamastrobeguy,buthonestly,youcanaccomplishquiteabitwitha
reflectorandsomesunlight.
Idon’thaveatonofgear,butIhaveallthetoolsthatIneedtogetthejobdone.Like
DavidagainstGoliath,Iforgolargerweaponsandoptinsteadtousesomethingsimpler
withwhichIamfamiliarandaccurate.AlmosteverypieceofgearIowncanfitinmy
Pelican1510case,whichat22x14x9inchescanfitintomostairplaneoverhead
compartments(FiguresI.1andI.2).

A.PowerexAAbatteriesandbackupbatteries
B.Backupbatteryandcharger
C.Backupcamera(CanonRebelXS)
D.Memorycards(86GB)
E.Canon70–200F/4LIS
F.Sustenance
G.Gelkit
H.Butterflyclipsforstyling
I.1/8to1/4syncadaptor
J.Synccordsandflashstands
K.LumoProLP180s
L.PocketWizardPlusXTransceivers
M.Canon35F/1.4L
N.Cardreader
O.Canon5DII
P.RocketBlasterairblower
Q.Polarizingfilter
R.Honlgrid
S.Tripodmount
T.VariableNDfilters
FigureI.1Mygear.Itmaynotlooklikemuch,butI’vegotitwhereitcounts.


FigureI.2AlmostallofmygearfitsinmyPelican1510case.
Asyoucansee,Ihavetwogoodlenses:onewideprimeandonelongzoom.Ihaveafullframe,DSLRcamerabodyandacheaperbackupDSLR.Forlighting,Ihavethree
LumoProLP180strobes,whicharedurable,manualflashes(noE-TTL).Ialsohavetwo
neutral-densityfilters(oneforeachlenssize),acoloredgelpack,astrobegrid,a
polarizingfilter,anairblowertoremovesensordust,andatonofAAbatteries.Besides
whatyouseeinthecase,Ialsohaveacouple15-footlightstands,anumbrella,a5-in-1

reflector,andatripodthatIrarelyuse.
Tip
AlthoughIpreferPowerexrechargeablebatteries,Ialsokeepabackupstashof
disposablebatteriesinmycase.Bettertohavethemandnotneedthemthanthe
alternative.
Whetheryou’reaseasonedproorjustbeginning,asaphotographer,oneofyourmain
prioritiesshouldbetogetpastthenoveltyofyourgear.Whetheryoudon’tknowhowto
properlyuseyourgearoryouaremorefocusedongettingtheimagetechnically
immaculate,youwilllikelymissoutonthewholepurposeoftheshoot:toconnectwith
yoursubjectandcapturetheiressenceasyouperceiveit.
Toillustratemypoint,considerFiguresI.3andI.4,whichfeaturethesamesubject
photographedwithtwodifferentcamerabodies.ForFigureI.3,Iusedmysemi-probody:
aCanon5DII.IshotFigureI.4withaCanonRebelXSi(whichcurrentlygoesforjust
under$200oneBay)thatIkeepinmycaseasan“Oh,shit”body.The5Dhasafull-frame
sensorand21megapixels;it’sanall-aroundbadasspieceofequipment.Weighinginat
justover10megapixels,theRebelisastartercamerawithacroppedsensor.IfIwereto
pullthatoutofmycaseatacommercialshoot,theartdirectorwouldlaughatme.When
usedtocapturegoodlightatalowISO,andincombinationwithadecentlens,however,
thecamerabodiesprovidecomparableresults.Evenwhenviewingtheimagesat100%,


it’shardtotellthedifferencebetweenthetwofiles,otherthanthe5D’slargerfilesize.

FigureI.3ShotwithaCanon5DII.Takeacloselookatit,andthencomparethisimage
toFigureI.4,whichwasshotwiththeRebelXSi.


FigureI.4ShotwithaCanonRebelXSi.AlthoughtheXSiisafarinferiorcamera
bodytothe5DII,you’llhaveahardtimetellingtheresultsapartwhenyouuseagood
lensingoodlight.

DeconstructtheLighting
Whenitcomestolighting,asmallflashistypicallymorethansufficienttogetthejob
donewell.ThelightingdiagramsincludedinthisbookwillletyouinonhowIlighta
varietyofsituationswithnothingmorethansmallflashes.Unfortunately,alighting
diagramorbehind-the-scenesphotowon’tbeavailableformostimagesthatyoucome
across.Forthisreason,knowinghowtoproperlydeconstructthelightinginanimage,
sometimesreferredtoasreverseengineering,isaninvaluableskill.Ifyouknowhowto
readthequalityoflightinaphotograph,you’llbeabletotellquiteabitabouthowitwas
created,suchashowmanylightswereused,whetherthelightsourcewassoftorhard,and
whetheritwaslargeorsmall.
Somephotoscanberathereasytodeconstruct,especiallywhenyoucandiscernthelight


modifierinthecatchlight(thespecularhighlights)inasubject’seyesorontheshiny
surfaceofaproduct.Thetaskgetstrickierifmultiplelightsourcesareinvolvedorifthe
subjectisinascenewithmixedlighting—nottomentionphotosthatarecomposites,
whichopenawholeothercanofpixels.Butpayattentiontoafewoftheseconstants:
Heightanddirectionofthelightsource
Hardnessorpresenceofanyshadows
Numberofapparentlightsources
Onceyou’vesharpenedyourskillsatreadinglight,you’llbeabletoglanceataphotoand
know,forexample,thatitwaslitwithanumbrellaoverheadandareflectorunderneath,or
withtwosoftboxessandwichedtogetherinfrontofthesubject.Then,ifyouoryourclient
wantssimilarresultstoaphotoyousee,youhaveaheadstartonideas,knowingatleast
wheretobeginwiththelighting.
ConsiderFigureI.5.Thisisaone-lightportraitwithahardlightsource:justabare-bulb
strobeonalightstand.Theflashheadiszoomedoutto24mm,whichallowsforawider,
moreevenlightspread.Notethetinycatchlight,thehardqualitytothelight,andthe
definedshadowsonthesubject’sface.Thesimilarshadowsonthebackgroundmeanthat

thesubjectisalsoclosetothebackground,aswell.InFigureI.6,thedistanceoflightto
subjectandfromthesubjecttothebackgroundaswellasstrobeoutputlevelareallthe
same,butthezoomisnowsetto70mm.Asyoucansee,thespreadisnotaswide,leaving
thecenteroftheflashhotter,orbrighter,thantheedgesofthelight.Thistechniqueof
zoomingtheflashheadincanbeusefulifyouareshootingasubjectoutsideorinasetting
withoutabackdrop,wherelightfalloffisnotapparent.Inotherwords,itallowsyoutoget
themostoutofyourflash,becauseit’sfocusedintotheareawhereyoursubjectis
standing,ratherthanoffintono-man’sland.


FigureI.5Thesubjectisstandinginfrontofawhitebackground,whilethelightsource
isabare-bulbflash,zoomedoutto24mm.Notethetinycatchlight,thehardshadows
belowhisjaw,andhowdefinedandclosehisshadowistohim.

FigureI.6Thesubjectisstandinginfrontofawhitebackground,whilethelightsource
isabare-bulbflash,zoomedinto70mm.Therearestillhardshadowsonthesubject,
andhisshadowisstillcloseanddefined.Thelightspreadisstartingtofalloffinthe
cornersoftheimage,however,leavingaslighthotspotinthemiddleoftheframe.
FigureI.7showstheflashzoomedto105mm,whileFigureI.8zoomsto105mmwitha


gridadded.Thequalityoflightisstillhard,butwiththefocusallthewaytothemiddle,
sothereisalmostnolightspread,andthecenterofthelightisnowtwotothreestops
brighter.Again,thisishelpfultokeepinmindwhenyouareoutside,tryingtooverpower
thesunandyourflashneedsallthejuiceitcanget.Nottomention,ifyoursubjectis
outsideandnotagainstabackdrop,usingawideflashzoomisjustawasteofpower.
Instead,focusthezoominandjustworryaboutproperlylightingthesubject.

FigureI.7Thesubjectisstandinginfrontofawhitebackground,whilethelightsource
isabare-bulbflash,zoomedinto105mm.Thelightfalloffinthisimageismuchmore

apparent.


FigureI.8Thesubjectisstandinginfrontofawhitebackground,whilethelightsource
isaflashzoomedinto105mmwithanaddedgrid.Thelightisnowalmostlikea
spotlight.
Whenitcomestosofteningyourlightsource,youhaveseveraloptions.FigureI.9waslit
withastrobezoomedto24mm,justlikeinFigureI.5,butwithawhiteumbrellaaddedto
thelight.Whendeconstructingthephoto,lookforacircularshapeinthesubject’seyes
(theumbrella)andalsonotethequalityofanypresentshadows.Whenthelightisdiffused
byanumbrellaoranothermodifier,theshadowswillappearsofter,withtheedges
featheredratherthandefined.FigureI.10waslitthesameasFigureI.9,exceptthatthe
subject’sshadowisnolongervisibleinthebackground,whichmeansthathe’snolonger
standingrightinfrontofthebackdrop.


FigureI.9Thesubjectisstandinginfrontofawhitebackground,whilethelightsource
isaflashzoomedoutto24mmwithanaddedumbrella.Thecatchlightisabitlarger,
andtheshadowsaremuchsofter.

FigureI.10Thesubjectis3feetawayfromawhitebackground,whilethelightsource
isaflashzoomedoutto24mmwithanaddedumbrella.Hisshadowisnolongervisible
becauseoftheincreaseddistancebetweenhimandthebackdrop.
Ifthecatchlightisasquareoranarrowrectangle(FigureI.11),youcandeducethatthe
lightsourcewasasoftboxorastriplight,respectively.Addasecondlightontheother
sideofthesubject,leavingasmallgapbetweenthem,andyouhavealightingeffect
similartotheoneMartinSchoellerhasmadefamous,asseeninFigureI.12.


FigureI.11Thesubjectis3feetawayfromawhitebackground,whilethelightsource

isaflashzoomedoutto24mmandbouncedintoa40x60-inchwhiteboardtocreatea
largelightbank.Thecatchlightisabitlargerandisshapedlikeasquare.

FigureI.12ThissetupissimilartotheonethatMartinSchoellermadefamous:two
softboxesplacedinfrontofthesubject,about2feetapart.It’sasoft,flatteringlightthat
leavesacoolcatchlightinthesubject’seyes.
Sometimestheremaybetwocatchlights,onebrighterthantheother,asisthecasein
FigureI.13.Thebrightercatchlightisthelight,andthelessvividshapeisjustareflector.
Ifyoumovethesubjectseveralfeetoffofawhitebackground,themainlightwon’tspill
ontoitasmuch,turningthewhitetoamediumgraytone,asseeninFigureI.14.Also,


notetheadditionofthehairlightintheshot,whichhelpstoseparatethesubjectfromthe
darkerbackground.IfIaimthesecond(hair)lightatthebackground,poweringupthe
outputsothatit’shigherthanmymainlight,Inowhaveapurewhitebackground,asseen
inFigureI.15.

FigureI.13Thesubjectis3feetawayfromawhitebackground,whilethemainlightis
zoomedoutto24mmandshotintoanumbrella,withafillreflectorbelowthesubject’s
chin.Therearenowtwocatchlights:onecircularandbright,andonewiderandless
vivid.


FigureI.14WhilesimilartotheprevioussetupinFigureI.13,thishasanaddedhair
light,whichseparatesthesubjectfromdarkerbackgrounds.

FigureI.15Hereyouseealargemainlightandanilluminated,whitebackground.
Ofcourse,allthisdeconstructiveadviceisnottosaythatyoucanonlyachievecertain
resultsbyreplicatingthelightingortechniquesthatanotherphotographerused,orby
replicatingwhatyouseeinthepagesofStudioAnywhere.Rather,onceyouunderstand

howlightworksandhowtomanipulatethelightthat’savailabletoyou(beitnaturalor


manufactured),it’syourprerogativetousethatinformationinfreshandcreativeways.
Justremembertoalwayscheckthedirectionalandqualityofthelight,andespeciallythe
eyes,becausetheeyesdon’tlie.OnlyPhotoshopdoes.