After a much wetter than average Spring we're on record for one of our driest Julys. As of last week the first big high pressure system rolled in and it's been driving out clouds and driving up temperatures every day. Yesterday it was over 100 and now the weather people are forecasting afternoon temperatures over 102(f) for the foreseeable future.

Funny thing is that I've been booked on more outdoor shoots than anything else for the last month. Some of them are executive portrait assignments and so far we haven't lost anyone from the heat. I try to get to locations by 7 am and get set up and ready to work by 8 am. Most shoots don't go much past noon which still means that we're loading up sandbags and gear in the hottest part of the day.

It's times like this that I envy the still life shooters all nestled into their chilly still life shooting caves with the air conditioners throbbing and the music pounding.

Our mantra for shooting exterior in the Summer is: Stay hydrated. Stay in the shade. Carry less stuff on each trip to the and from the car. Wear your hat. Keep some sunscreen in the camera bag. Keep light color "hats" on the cameras when not in use. Go home early. A couple weeks of the high pressure system and we'll be back to normal.

To the above list of "survival tips" I'll also add: Wooden tripods, no black light stands, umbrellas can be used to create shade. More water. And, stay in good shape.

Hope you are staying cool....

All images: Olympus EP-2 camera.

I think it's funny how some photographers use the same exact gear for everything they do while others use different gear all the time. I count myself in the second camp and I'm starting to see a pattern in my use of lights. It starts when a client decides they need to do photographs outside with people. They want the people well lit and they want the lighting on the people to blend with the direct sunlight falling on everything else. 

We bring out scrims or flags to take the direct sun off the subjects and then use a powerful flash in a nice softbox or umbrella to put more controlled and flattering light back on the subject. And since we need power without squinting and blinking we tend to use electronic flash. But the simple truth of Murphy's law is that the nearest outlet for that big flash pack will be just a few dozen feet further away, outdoors, that the longest extension cord you have.  Or there will be no A/C power anywhere in sight. 

That's when we bring out our Elinchrom Ranger power pack and its two companion heads. We can put 1100 watt seconds on a subject about 250 times in a row before we need to recharge the internal lead/acid battery or change the battery out for our back-up battery. With both batteries in tow we've got the potential to do over 500 full power, sun matching flashes in big soft boxes or big umbrellas before we need to call it quits. And if we work that light in close and drop the power down to a bit less than half, along with a slower recycle setting, we can knock out thousands and thousands of sun challenging flashes out in the middle of nowhere. 

So, once the exterior projects start up in Spring our minds wrap themselves around the Ranger pack until every project looks like a candidate for the Ranger pack treatment. Interior, exterior, whatever. It doesn't hurt that the well designed system puts out beautiful quality lighting that's amazingly consistent either. 

Eventually we'll get side tracked by a hybrid video/still photo assignment and that will lead me away from the flash and on to something in the tungsten, fluorescent, LED zone and the Elinchrom Ranger system will end up back in its case waiting for the next CEO portrait with the Austin skyline in the background. 

It's nice to have choices.

60 inch white/black umbrella on location.

Ranger RX AS at low power for almost endless flashes and fast recycle. 

And what project photographing people for advertising would be complete without
the make up person?

This is me. Or at least it was me this past Spring on a rainy day inside Zach Theatre. I'm sure you're wondering why I am standing in the frame with a loony grin on my face and the word "dream" over might right shoulder. Well, I am not really trying to fill up my selfie portfolio, I am trying to make sure the lighting I've set up, and the composition I've set up for my interview with singer, Jennifer Halliday is exactly what we need and want for the video interview we'd be doing ten minutes later.

I was using four fluorescent light fixtures and trying to make sure that the levels were correct and that the color matched the look and feel of the background without any weird color casts. I'd arrived about 45 minutes before the interview was schedule to start and the first thing I did was to put up the camera I'd be using to record a 5 to 10 minute program. It was a Nikon D810 with and 85mm f1.8G lens. Once I had the background framed I started working on how I would frame Ms. Halliday. The next step was to put an "X" of gaffer's tape on the floor to market the "sweet spot" of the composition so I'd be able to move Ms. Halliday into place with a minimum of indecision.

When the composition and camera position were set I started setting up the lights, aiming for a nice bright interview area with lots of soft and flattering light. I've set up lots of portrait lights and interview lighting designs but I always want to see how the end product will look on a human face before I have my subjects walk into the set and get started. I think it's rude to do a lot of fine tuning while everyone waits on you.   So I put the Nikon into its still mode, turn on the self timer and set it to a ten second delay, manually focus by intuition and then step onto the "X" on the floor.

A few seconds later and the shutter fires. Now I have an image I can look at, dissect, etc. which gives me a reference for fine-tuning the lighting, the composition and everything else. I might go back and forth to the camera a handful of times doing an iterative process of correcting and verifying, correcting and verifying, until I am satisfied that what I've done will work for the job.

I leave all the lights on while waiting for the subject to arrive. I want the room to appear as it will be throughout the interview. No changes = less resistance.  Once we've got the tech set I do one more self-timer shot to double check all the final adjustments and then switch the camera over to video capture.

Lots of people work with crews of three or four (or more) people. I dislike having lots of people on sets. There are too many places for our subjects to look; too many eyelines, too many distractions. Certainly I'll bring along enough people to help if there are lots of moves to be made, lots of gear to be transported, and lots of things happening almost simultaneously, but I think a lot of photo and video shoots are wildly overpopulated by "staff" and that photographers and videographers are fooling themselves if they think having a bustling entourage is always helpful. A full room diminishes your hopes for any sort of intimacy or connection with your subject.

This is why the self-timer is an integral part of my set up. It allows me to have control over the look and feel of my lighting and composition without the need for a bevy of warm bodies wandering about the sets.

The way I like to work is very dependent on one thing in particular: I want all the set up, the sausage making, to happen before my subject(s) steps into the room. An actor, model or real life human should be able to walk into your shooting environment, find their mark and do their part of the job without waiting for you to get ready. I guarantee that this sort of pre-production makes everyone happier.

Self-timer. Set lighting. Composition.  Finally, a constructive use for the "selfie."

How to position off-camera flash

One of the most frequent (but easily corrected) mistakes I see when photographers use off-camera flash, is that they didn’t position the flash in relation to their subject. They simply place the flash to the side (and often at a too-extreme 90 degree angle from their own position), with the flash too low in height.

Your subject’s pose and their position most often dictates how you should place the flash.

We perhaps instinctively expect a light source to come from above somewhere, because that is where the sun is, or the light is coming from a clouded sky. Even with window light as used in paintings, the light source is slightly higher than the subject. Hence we get the light patterns which are standards in photography lighting – loop lighting and butterfly lighting. In other words, the light comes from somewhat above.

With this in mind, it is always a good idea to have your flash or additional light source placed higher than your subject.

Where exactly, and how high, will depend on your subject. Looking at this example of dancer, Anna Russell, in mid-leap – we can compare the photos where the flash was too low, and where the flash (as in the main photo above), is placed more correctly in relation to her position and movement.

My brave assistant, Jessica, holding the Profoto B1 up on a monopod. For this, it really needs to be a tall monopod such as the Lastolite LS2453 monopod (affiliate). Another option I use is the more expensive, but sturdier, 75″ tall Gitzo monopod (affiliate).


With the flash held as if for a more normal portrait, the light came from too low an angle when Anna leaped up in the air.


This cropped image will show how the shadow of Anna’s nose is higher than her nose itself, and starts to cast a shadow over her eye. This really isn’t good. It’s now starting to look like horror movie lighting – light from below. You can see similarly bad examples if you have the bright idea to bounce flash off the floor to light your subject from below.

Fortunately, all this is avoidable, by holding the light at a subject-appropriate height.

The difference between the lighting here, and the more appropriate lighting, is clear.

camera settings & photo gear (or equivalents) used for the main image

  • 1/1,200  @  f/3.2  @ 160 ISO  … with Profoto B1 off-camera flash

Regarding the lighting used here:
Shooting around various parts of this location, the Profoto B1 flash (affiliate), was brilliant. Lots of power, and the potential to use high-speed flash sync. But in this instance, the softbox killed too much light, so I went with bare flash. This meant that this particular sequence could most likely have been achieved with a speedlight as well. The results would not have been too dissimilar – because the Profoto B1 disperses light widely when used bare bulb. For more info:  comparing the output of studio lights vs. speedlites. Of course, using something like a Profoto 7? Grid Reflector with the Profoto B1 would’ve enhanced its power by concentrating the beam again.


video tutorials to help you with flash photography

If you like learning by seeing best, then these video tutorials will help you with understanding flash photography techniques and concepts. While not quite hands-on, this is as close as we can get to personal instruction. Check out these and other video tutorials and online photography workshops.



Very often, detailed lighting diagrams don’t really help for on-locaiton shoots, because the positioning of the light is so inter-dependent on your subject’s positioning and pose. Specific diagrams don’t always take into account how your subject is posed.

The best advice then is to just look at your subject and the placement of your light. At the same time logically break down your decision as to why *this* particular way of working would be the best, and whether it would be possible to improve it. It really becomes that simple, yet that nuanced and intuitive.

An anecdote about following instructions too closely – at a meeting with a photography group, someone told me how they had kept to my advice to have the light at 22.5 degrees above their subject. It worked very well, and they thanked me. I was confused – I didn’t recall giving anyone such a specific numeric value. An angle of exactly 22.5 degrees. Weeks later it dawned on me – during a previous talk, I answered their question by saying that holding the light directly in line with your subject, parallel to the ground – i.e., 0 degrees, would be too low. Similarly, 45 degrees from above might be too high again. So I advices to just hold the light at an angle somewhere inbetween. Not too low; not too high. So they divided 45 degrees in half, and concluded that 22.5 degrees would be perfect. It probably would be, except that such exactitude is unrealistic of course.

So how do you position your off-camera flash? Not too high. Not too low. Just right. Just right, in relation to your subject’s position and pose.


related articles

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Jennifer Halliday on the Topfer Stage at Zach Theatre in Austin, Texas

I really enjoy photographing live theater. The stages and performances are usually beautifully lit by premier lighting designer, Michelle Habeck and that's such an important part of the success of the photos. Then there is the hard work of set designing which was done in Sophisticated Ladies by J. Aaron Bell. I have to credit the action/choreography to Dominique Kelley and the costume design to Susan Branch Towne. Takes a real collaboration to make this all work well for the photographer. And, of course, for the audience. 

There are so many other people involved but these are the ones that make the visual stuff shine and that's the biggest help when it comes to getting good photographs for publicity.

I shot these images with the Nikon D810 and the older, push/pull version of the 80-200mm f2.8 D lens. I've pixel dived down to 100% and I must say that not only is the D810 an impressive performer but so is the ancient lens I've put on the front of the camera. 

If you live in Austin and love live theater this play/musical is another one to love.

flash photography workshop

recap: Photography workshop – Charlotte, NC (2015)

A group of photographers in Charlotte asked if I would like to present a flash photography workshop there. We arranged a really nice venue – The Getty Center, in Rock Hill, SC –  and settled on a date, July 25th (Sat). Everything in place for this, the first workshop away from NJ / NY since the workshop in Amsterdam two years ago.

With two models, and a relatively small group of 8 people – just how I prefer the workshop size, we could cover the photography workshop syllabus in a relaxed tempo, and be sure everyone had the opportunity to shoot and learn. With the focus on balancing flash with ambient light, we spent time on off-camera flash, as well as best techniques with bounce flash.

Thank you to everyone who attended, and our two models, Courtney and Madi. And an especially big thank you to Jeni B for making this happen.

In the evening we worked with on-camera bounce flash in the lobby area of the venue. Those old mailboxes make an interesting background.

  • 1/125  @  f/3.5  @ 1000 ISO … on-camera bounce flash


Bouncing flash off those mailboxes was a bit of a challenge – occasionally there would be an unpredictable hot spot … yet, the results were really good for such an unusual bounce surface. Of course, the white balance had to be tweaked to get around the color cast introduced by the bounce surface.

Here is a pull-back shot to show the environment, and the surface to the left of the camera that was used to bounce the flash off. The BFT was necessary to get directional bounce flash for this portrait of our one model, Madi.

  • 1/125  @  f/3.5  @ 1000 ISO … on-camera bounce flash



An example from the setup shown in the behind-the-scenes photo right at the top. The lighting gear used in the workshop, allows for 4 speedlights with different configurations (or doubled up.) This is the result the relatively small softbox gives.

  • 1/160  @  f/2.8  @ 100 ISO … off-camera flash


photography workshops

The post recap: Photography workshop – Charlotte, NC (2015) appeared first on Tangents.

A random visual observation from the Hope Outdoor Gallery a few months ago. Love the catchlights in the eyes...

When I first got interested in photography, back in college, the choice of cameras didn't seem nearly as extensive as it does now. I don't mean that there were fewer brands or fewer models to choose from but that for every serious beginning photographer no  matter which brand you decided on you were +98% likely to choose a model that used 35mm film. Leica M, Canon G17, Nikon F2, Canon F1, Olympus OM-1, even the old Pentax Spotmatic were all using the same, spooled, 35mm film and creating negatives and slides that were 24 by 36mm in size.

To be sure, there were outliers who were using medium format cameras and a few precocious beginners who went straight to the large format cameras, but a walk across campus or a stroll through town would quickly convince you that almost the entire world was working in the same basic format size. There was also no such thing as the 18 month product cycle with most of the SLR cameras. Nikon updated their professional camera body about once every ten years which generally created an even stronger demand for their previous models. Canon extended their line with more gusto but even they were measured when it came to changing their flagship product.

The uniformity of format even extended to the most basic point and shoot cameras. The Olympus Trip35s and later, the Stylus cameras, tiny though they were, still took the familiar 35mm rolls of Fuji, Agfa and Kodak film. Another commonality was the fact that the focal lengths of the lenses had the same "meaning" across all lines of 35mm cameras. A 105 mm on a big, pro camera had exactly the same angle of view as the 105 mm setting on the zoom on the lowliest point and shoot.

I owned a number of different 35mm camera bodies from Nikon, Canon, Leica and Contax. The common thread between most of them was the uniformity of construction and operation. The bodies were all built from solid metal, had a certain heft in your hand and all worked in much the same fashion. From a quality point of view all of the top cameras from the top brands were equally capable but just as today there were rabid fans of the optics from each brand.

It is against this background that I select and embrace the cameras that I use in the business. I am used to the DSLR form factor since it is the direct descendant of the many cameras I have used over the years in the SLR form factor. While I keep pushing and pulling and stretching the various mirrorless cameras with their addictive EVFs I seem to have come full circle to re-embrace the capabilities of the traditional cameras. (Note: I have not sold or given away the Olympus EM5.2 cameras and use them extensively for my personal work!). The primary reason for me to use the full frame Nikon cameras that I do use is for the quality of their sensors and the more rapid retreat of focus with fast lenses.  The newest Sony sensors are visibly better than previous generations, and also better at the ISOs that I am used to using when compared to the Canon
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Jana shows off her cover portrait on Guadalupe St. in Austin, Texas

©2014 Kirk Tuck

©2015 Kirk Tuck. The Blanton Museum.

©2015 Kirk Tuck. The Blanton Museum.

Both images above: Sigma 50mm Art lens.

Both Lloyd Chambers and Ming Thein have been known to gush about the Zeiss Otus 50mm lens from time to time, and I have no doubt that it is a magnificent lens optically. Especially in the hands of a very careful worker who spends most of his time carefully making photographs with his camera on a stout tripod and with the mirror firmly locked up. But I'll venture to say that most people would be able to get within 5% of its capabilities, in the normal world, with the breathtakingly good (especially for the $$$) Sigma 50mm f1.4 Art lens. While the Zeiss might have a small advantage in terms of potential image quality the Sigma has it all over the Zeiss Otus when it comes to handling and general, daily use. Why? Well, the biggest thing is the fact that the Sigma is an autofocus camera in an age of autofocus cameras while the Otus depends on the mediocre focusing screens of the same cameras to achieve its highest levels of performance. 

I get where they are coming from. We'd all the like the confidence boost of shooting with a known ultimate optic. If I had money to burn you know I'd have one right now and I'd be figuring out how to write future blog posts rationalizing both the cost and my passion for the Otus. But I know how these things work out for me and for most other photographers. We reason, during research and shopping period, that we'll be disciplined enough to always whip out that carbon fiber+titanium tripod for every single shot. We'll convince ourselves (after a good amount of frustration trying to focus through the optical finder) that we need to buy a Zacuto Loupe for the back screen of our Nikon D810 or Canon 5Dr so we can fine focus at high magnifications in live view. At this point we'll start passing on shooting living people because so few will put up with the plodding routine of the photographer getting ready to push the shutter button. Eventually we'll start cheating and come to depend on the green "focus confirmation" light in the finder and  then we'll get so frustrated by the vast number of front and back focused images we get when trying to use the lens wide open that we'll eventually just start shooting the darn thing at f5.6 in an attempt to cover the focusing errors. 

After several months of shooting static stuff at f5.6 we'll start to wonder why we're carrying around $4,000 disguised as 2 pounds of glass and metal when a less expensive lens might be almost as good so we'll start testing lenses. We'll find that the f1.4 and f1.8 lenses from most cameras companies are really darn good when used at f5.6 and we'll start comparing images from the plastic fantastics to those made with the German Miracle at 200 % in a vain attempt to convince ourselves that there really is $3850 worth of difference between the two. Our egos will gain a respite while we go back and examine the wide open images we made, on a tripod, with the magnified focusing with the Otus lens. We'll comfort ourselves with the obvious evidence that the lens blows away anything from the big camera companies 50mm lenses when also used wide open.

At that juncture we'll grudgingly start listening to what all the other people on the web have been saying about the Sigma Art Series 50mm and we'll try one on a Nikon D810. It will focus perfectly at f1.4. We'll shoot all the stuff we've been shooting on the Otus with the Sigma for a more direct comparison. And then we'll relearn the term: Within the margin of error.

In exhaustion and resignation we will sell our Zeiss Otus to the next starry eyed perfectionist at a great loss and begin the process all over again. Rationalizing our expenditure on the Sigma lens over the camera maker's stuff. But in the end we'll really know what we've known all along: There might be incredible stuff out there but we'll end up dumbing it down because in the end we're lazy enough to believe that "good enough" is good enough. Especially if it doesn't cost us a fortune and actually works for the kind of images we enjoy taking. 

I've owned plenty of Leica M and R 50mm lenses as well as the Zeiss 50mm ZF and many different brands of macro lenses. The Sigma is at least as good and wide open it's more than good enough for me. If you are a fast 50 shooter you should get one. They hit a sweet spot between poverty and performance. 

Order one here and make me rich!

If you have to know that you own the best then step up and buy the Otus. 

Only want to spend $5 or $6? Try the novel instead....

©2013 Kirk Tuck

I've tried it lots of different ways and I always come back to using longer lenses for the portraits I like. There are always situations, like environmental portraits, where you might want to include more of the background but when shooting in the studio or making portraits for myself nothing beats the extra reach.

Many of my clients like the idea of having portraits of their key executives made outside, in nature. It seems like an easy thing to do unless you want control over the quality of light and control over your backgrounds. This is a quick post about shooting outdoors in the sunlight. 

If clients gave you a blank slate you would probably find a place with ample open shade and a lovely background that was also in open shade. Then you'd have controllable contrast and consistent color in  your images. You would also have comfortable portrait subjects because they wouldn't be looking into bright areas that make people squint. 

Even though I prefer photographing people in my studio I understand the need for many corporations to stage photo sessions either on their premises or close by. My client was looking for nice, saturated greenery in the background, a location one block from their H.Q. and someplace adjacent to air conditioning and restrooms.  We found a location just outside the front door of the LBJ museum in "downtown" Johnson City, Texas.

I had scouted the location previously and had a good idea what a series of portraits, made across the space of four hours might call for, logistically. We'd need a powerful flash to match direct sun falling on the trees in the background. We'd need a large silk panel to cut the direct sunlight as the sun marched up over head and we'd need some black flags to both cut direct light and give the subjects something dark to look at in an attempt to prevent squinting. I also decided to toss in a silver reflector panel to add some fill light to the shadow side of peoples' faces. I knew I would need a medium telephoto focal length in order to get the camera to subject distance we wanted and to render the background sufficiently out of focus. We might as well combine all of that with a high dynamic  range camera in order to help prevent blown highlights on skin and grouchy shadows.

Our first subject was scheduled to be photographed at 7am which meant leaving Austin at 5 a.m. If the trip timed out right I'd have an hour to set up and test before we needed to get rolling. A 5 a.m. departure means that I pack the night before. Easier to navigate my checklist when my brain is still relatively engaged.

I arrived to a dark location right at 6 a.m.  I set up a Fotodiox 508AS LED panel to use as a work light for the area I wanted to work in and proceeded to set up panels and lights.

My basic lighting was this: One medium soft box, powered by an Elinchrom Ranger RX AS power pack on camera right, positioned high enough to cast a shadow under each subject's chin. The box is about 35 degrees to the right of the camera. That's my main light source. Next I put the silver panel to the subject's opposite side (to the left of the camera) to grab some photons from the main light and redirect them into the shadows. So far, so good. 

Once I get this all metered (yes, I still use a meter. It's helpful to know you are in the ballpark before a stand-in is even there to stand in) I start bringing in 4x4 foot flags that are black on one side and white on the other. I want to use one of these panels (with the black side facing the subject) to block any direct light from the sun on the subject. I use a second 4x4 with black facing the subject to give my portrait sitters (standers today....) a place to rest their eyes. This panel goes directly behind the camera. 

I put my panels on C stands and used a 30 lb. sandbag on each light stand. The combined weight of the largest C stand and a sandbag is about 50 lbs. That makes for a good anchor against the kind of light (and welcome) breezes we had this morning. The main light in the softball is on my favorite, heavy duty, Lowell stand and it's also anchored with with big sandbag.

The view from the back/side of our temporary set showing all the components surrounded by benches.

Side view of the set. Note the two flags to the left. The lower one just behind the camera is to set to show black to the subject which helps them keep from squinting. The taller of the two blocks any direct light from the sun onto any part of the scene not covered by the large scrim. The silver fill flag is in the middle at the far side of the set.

The main light is an Elinchrom flash head in the softbox. The head is powered by the Ranger RX AS pack. We shot from 7-11:30, made portraits of ten people, twenty to forty images per person, and the pack power indicators still showed "full power" at the end of the shoot. Five years on with the Elinchrom system and not a single failure! (Hope I didn't jinx myself...).

Note the heavy duty sandbags on all light stands with flags and softbox!

Sandbags draped over tall legs on C-stands are easier to set up, easier to take back down. And C-stands don't cost much more that the shitty light stands you get from the regular sources.

Yes. I own multiple sets of radio triggers. Yes, in spite of that the camera and flash are hardwired. 
Can you say, "Interference free!"?

The soft silver fill panel. The least sexy component on the set. But helpful in its own way. 

This is a view from the left and back of  the camera position. We didn't need the big scrim first thing in the morning but it sure came in hand for the sessions we did between 10:30 and 11:30 am. The sun was high up and raging. The scrim blocked direct light and provided shade for the portrait subjects. 
The 77 x 77 inch scrim is anchored to the park benches with bungie cords. Before we started shooting I roped the front and back of the frame to the benches as well so it couldn't move even with a stout gust of wind. No sense spending time nurturing a client only to end up clonking them on the head....

The clamps are nice and tight but I like to make sure nothing can slip so the connection to the panel is wrapped in a couple loops of gaffer's tape. Just to be sure...

I like bungie cords because then give a little and then restrain. Nothing held down by bungies ever seems to break. And they disconnect quickly when you are done. 

The nice thing about using super powerful, professional lighting gear instead of hot shoe strobes is the fact that half power still gives you nearly 600 watt seconds per flash but you also get pretty fast (1.5 sec.) recycle times. And if you need short duration flash to freeze fast moving executives you can use a Ranger "A" head for durations like 1/3250th of second. 

It would be difficult, exhausting and time consuming to try and work with 100 pounds of sandbags, multiple stands and frames, heavy duty flashes and more without the trusty cart. It certainly earned its meager pay today.... (Client: Thank you for the water, the coffee and the lunch. All were needed and just right!)

This is a Fotodiox soft box that I bought from Amazon. It was cheap, can be used with 500 watt tungsten lights, sets up quick, seems impervious to unintentional destruction and also puts out a nice quality of light. Less than $100. Used for well over a year. No wear visible.

Once you get wood you'll never go back. I grabbed my black C-stand and quickly let it go. Sitting in the sun heated it up quickly and well. Not so with the aged, white ash, hand made German tripod. Grab a wooden leg and you find the rig to be "temperature neutral" even in blazing sun. I want another one --- just in case they go out of business and stop selling them. They are that good. 

This view is a bit behind where the subjects stand. Just want to show you the collection of flags and reflectors from a different direction. Nice, huh? 

Since we kept following the sun we kept changing configurations to make sure we were able to keep our subjects out of direct sunlight. The images above and below show the final settings for the images taken around 11:00- 11:30 am. 

We photographed ten different people today and tried to get them in and out quickly so they would not wilt in the heat. After the last person trudged back to the office I took everything back down, took the frames and the softbox apart, loaded the cart up with all my stuff and re-packed the car. 

It took about 45 minutes in the early morning to get everything set up and ready for the job and it took about 30 minutes to collapse it all, pack it and stow it for the trip home. 

Once I packed my car the art director and I sauntered off to a well deserved lunch. 

I always laugh when someone suggests we take a "quick" portrait outdoors. There is no substitute for control sometimes. And that requires some stuff. 

Here's an image the client took of me being my own stand in for the lighting:

I should have used the make-up kit.

Below: seen on the way to lunch...

Camera used for project: Nikon D810
files: raw, 12 bit losslessly compressed
lens: Nikon 24-120mm @120mm
ISO 64.

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