1st Post - LF Portrait Photography Biz

[carlaf]

I'll give a bit of backstory first!

I'm a professional photographer, do weddings, some commercial, bunch of creative work. People are always after me to do family photos, but I really hate the 'lifestyle' flavor of today, and wanted to do something different. Well, I figured out what I would like my different to be. LF work on a white backdrop outside. A little Avedon portraits-esque. The setup for these images is going to be pretty intense/impressive, and probably falls under the 'labor of love' category as far as sheer effort exerted on my part. I should mention that this will fall under the 'bonus cash' column of my biz. Not anticipating a heavy flow of traffic (although I am hopeful).

I am mostly comfortable with the camera itself (awesome eh?), although I don't have a lot to show for it other than tests of my husband. Since I've been working on this borrowed Linhoff my focussing has become pretty consistent, and while I'm still not totally fluid on the camera, I can operate it competently if I take my time. I have my little DOF table I made and feel like with that, a tape measure, and some breathing exercises I should be able to do this thing. I have a day coming up where I'm shooting some friends (with kids & pets) in my yard to get a feel for the process. (I have been shooting film for awhile, and am pretty cozy with b&w, hand processing and darkroom work - still have work to do of course, but I'm not abysmal. )


Wow! This got long. Sorry about that.

End of post, I'm really just looking for any general advice. Pitfalls, advice on preparing people them for the slow LF process that they are probably not ready for. I'm also a little curious about how LF shooters get past that 'awkward in front of the camera' time that always happens at the front of a session. Do you just wait em out, plunger in hand? When I'm shooting digital I pepper em with funny chatter and shoot till they drop the fear, LF = different story, with them just standing there. Waiting.

Thanks very much for reading my novel

[eddie]

there are various techniques to say the least.

so, 4x5? what lens? how many people per shot? tight heads? 3/4 or full length shots? arts wide open f4 shots or more often f11 or f16 type?

i ask as i have seen may photographers shooting at around f16. this enables them to set up the camera focus and "relax" and shoot. they do not mess with there focus or camera once set. at 1st i thought "what is he doing? he never focuses. this will never work" and after i thought about it i realized it could be a good technique to use. if you try this you can get the subject in place and do your "regular" thing of talking joking or threatening....

i shoot wet plate collodion often. as a result i shoot wide open at 3 and f4. people bob, weave, and sway....creating all kinds of focus issues. this is a bit more challenging, takes more explanation,.......and film to get it right.

have fun.

eddie

[jp]

I'm guessing something like this?



I'd suggest showing them what's on the ground glass; most people will never have seen through a big camera with bellows. Then you could do a few quick poses for them. Get multiple photos while you are working out your processing. Hope the weather works out. It looks more fun than difficult (Famous last words).

[carlaf]

Hey Eddie, thanks for replying!

4x5 with a 150mm and a 270mm. I'm thinking thigh up, or tighter bust type shots, depending on what people want. F8, F11, F16 -- something in there. I don't want DOF to be a problem. Shooting at F16 might be the impossible dream though. I'm shooting with their backs to the sun. Also, opening up to let an extra stop of light in for density I'm thinking I'll be around F8 more often than not. Too thin for my comfort level.

JP: Bingo! Thank you, I will take extras. I am thinking that blinkers will be the bane of my existance.

[cosmicexplosion]

Thats a great idea and funny enough i was just thinkin of the the same thing as i cant stand the digital print on canvass that is all the rage. (here in syney) so pixily and wishy washy. i would much rather a high quality shot of my son or daughter looking their cutest, than a hundred digitals. So I say GO FOR IT, offer it up as the rolls royce and you will get the market of the people who want the best. If you have a comparrison of a blown up section of a digital from the same shot people wont have to wonder why.

[Frank Petronio]

I don't think the camera format matters as much as the quality of the expression and feel of the portrait. Selling based on film size might appeal to some pretentious folks but it's not necessarily going to make the best picture.

But, having done a few large format portraits myself, I think it's the same as doing portraits with a little camera, you just need a little more time to fuss around so you might talk a bit, maintain eye contact, try to make sure they don't move out of focus.

Warming up with a little camera usually helps.

[Brian C. Miller]

I must agree with Frank, the expression in the photo is the most important thing. I was told about a portrait photographer who went to amazing lengths to get good expressions from people. She had a stereo in the studio with a huge rack of music. She would talk to the person, about what they loved and what they hated. She would change lighting one way and another. Finally, if the person was a complete lump, she would belt them across the face, and tell them to hold that expression. She would also make liberal use of a Polaroid back, to show the client how they looked.

She never learned to really use a camera. She hired an assistant to work the Hasselblad. I corresponed with her via email a few times. She was interesting. She had some pretty good advice. Instead of selling your photography, sell yourself. Just be a nice, engaging person. Eventually, everybody asks what you do. Then you say, "Oh, I make portraits." Then they might ask for your card, or refer you to someone then or later. I think she grossed about $250,000 per year.

[Ron Bose]

The only thing you need to be able to do is make someone comfortable in front of the camera. Speak calmly to them, be warm and friendly, let them relax.

I remember making some portraits of my then girlfriend's land-lady. While we were at her house, her elderly father showed up. We asked if he minded sitting for me, so he sat down. I set him up, ready to make a straight faced portrait, then he said "are you ready ?" I said 'yep' and out came the most film-star like smile I've ever seen in a male sitter. I never do smily portraits, but this one was magic ....

[Jim Michael]

I think Dakotah has the right idea. Sell legacy and quality to a select clientele.

[BrianShaw]

I think Dakotah has the right idea. Sell legacy and quality to a select clientele.

That kind of select clientele may be the only people left on earth who would sit for a LF portrait. Most folks are too impatient to wait through all of the fiddling unless they ahve an emotional interest in either the camera/film or the photographer.