Because Studios Are Not Sexy

Not long ago, someone asked me why I no longer use a studio. My answer: Because studios are not sexy. There are the occasional exceptions, of course, but the typical studio camera room is purpose built to satisfy the requirements of the person behind the camera, not the one in front of it. It’s a space where all the gear is right where the innately obsessive-compulsive photographer expects it to be. It’s a controlling controlled space where we believe we can guarantee the outcome.

When you’re shooting private clients for boudoir, that’s a recipe for what I call “the frozen look of intimidation.” Try this: Walk into a strange studio, turn on the modeling lights, and you walk in front of the camera wearing something particularly revealing. How do you feel? Believe me, she feels a hell of a lot worse.

So here’s what I do now. I rent a warm inviting bed and breakfast. It makes everyone smile: me, Patty, my hair and makeup artist, and most of all, our client. There’s real furniture, which we use not only for relaxing and planning the day’s work but also for props. There are windows for fresh air and light as well as for the occasional needed distraction. There’s a kitchen for lunch, and the shower, hot tub, and pool for the wet scenes. The client can even spend the night after the shoot. Perfect? For the client and the outcome, absolutely! But for the photographer accustomed to their studio, cutting that umbilical cord can be a painful experience.

In the beginning, I thought I could ease that pain by bringing it all with me, you know, sort of the hairshirt approach. I’d haul a trailer loaded with enough gear for two or three studio setups plus everything needed to shoot a Ms. Fitness World or Natural Olympia contest in Las Vegas (because that’s what I did back then). It was a real back breaker for a boudoir shoot, though, because invariably what I needed was in the middle or the back of the trailer, you know, behind a couple of 150 pound cases, or worse, behind a slew of weight bags.

And naturally, everything had to be set up just like the studio I left behind, which took hours and hours, leaving little time for the actual shoot. It was both exhausting and exasperating.

To save myself, I had to make drastic changes. I decided to pare down to what would fit into the back of our Passat wagon. For a self-proclaimed gear geek like I am this was an excruciating ordeal. I fretted about every tool, clamp, cable, stand, modifier, or widget left behind. But over time, I got there. These days, I’m down to one rolling case, a backdrop bag, and a couple of carry bags for stands and fabric frames. We’re in the door with two trips and ready to shoot in under two hours. For me, that’s a miracle.

And less gear dictates simpler setups. These days, my typical setup comprises three lights: a key light, generally a small or medium octobox; a fill light, usually an umbrella; and a back/hair light, either a small umbrella or a reflector with barn doors. This simple setup works out well for boudoir because it’s all about the woman in front of the camera. If the viewer notices my lighting before noticing her, then I screwed up.

In terms of brands, I use Paul Buff monolights (Alien Bees and White Lightnings) because I can adjust individual light output without leaving my shooting position; Pocket wizards because they always work; light modifiers from Photek USA because of their high quality and fair pricing; and light panels from Photoflex because they’re easy to set up.

The changes I’ve made have allowed everyone to have more fun at the photo shoots, but what’s most important—the really beautiful part of all this—is that the new environment encourages and enables the client to be the sexy, provocative woman she wants to see in the final pictures.

Today’s image: a recent client shot on location using the lighting setup described above. She’s leaning on a copper fireplace flue—something I haven’t seen in even the best equipped studios.

Comments

[jordax]

As someone who has used a studio for a while, I'm discovering the advantage of moving on location more with compact flashguns. I well appreciate your point!

I've not gone as far as hiring a hotel/B&B room yet for a shoot, mostly using outdoor locations. I'm wondering though - do you warn the B&B that you'll be using their room for a photoshoot, or do you just leave them guessing why five people plus luggage for an army are sharing a room? Does it make a difference to the price to use the room this way?

[WillT]

When it comes to B&B locations, we're usually looking for a long term relationship, so letting them know what we do is part of our initial conversation. In fact, we always bring a portfolio with us to show them the kind of product we deliver. We've not had one turn us down yet.

With hotels, which we use far less frequently, it depends. If it's a place like Las Vegas, probably not. With local hotels, where it's likely we'll return, then always.

A short note about compact shoe-mount flash units. For the most part, they don't work for my style of shooting: They're just not built for too many thousand-frame days. I learned this the hard way after burning out the circuit boards in my Canon 580EX units--twice. That said, I do bring them for that occasional scene where I need to clamp one to a window or door frame.

[Lin]

Interesting post. In complete contrast, I love studios. They are like a second home to me. Once the studio lights come on, I relax instantly, and feel more myself than I would if I were in a strange unfamiliar hotel. Maybe I've simply seen enough studios for their familiarity to relax me. I'd probably feel differently if I were a private client shooting boudoir.

Goood post, Will. It really made me think.

[Jessica Plumley]

A friend of mine had JUST got me into photographing boudior photography in my home studio and i do notice that the past two clients had been VERY nervous. It took them about 30 minutes to loosen up and an hour to really let-go. I would bet that a hotel room they had been in for a night plus the enviroment would allow much greater pictures in a much quicker and uninhibited way. My only question is do you have them pick out a hotel if they are staying there or do you have one picked out? Does it come out of the package price or is it additional?

[WillT]

Jessica,

There are two things you can do to reduce that "very nervous" time: first, hold a pre-shoot interview in a relaxing and comfortable environment; second, create a warm and inviting photo shoot set. That set doesn't have to be in a hotel or bed & breakfast, but I find them a great deal more convenient because they have everything I need: a place for hair and makeup, privacy for changing, a bathroom, and real furniture--and most important, if you've chosen the right place, an ambiance that can't be replicated in a photo studio.

As to your two questions, we pick the place, and it is included in the photo shoot cost. The one exception: If they choose to have the shoot in their home.