I realize this response is a bit late but I have just been browsing the archives and found this thread. I have been going through a similar process over the last year or so beginning with 4x5 and moving up to 8x10. I have a small home studio with strobes and a seamless background. I use only single color papers (black, white, sky blue).

I began by finding a cheap and patient model. Our teenage babysitter agreed to sit for me at babysitter rates. She was flattered to be a model and found it easier than chasing after my kids -. I also shot a lot of 4x5 Polaroids (mostly type 54).

I also spend a lot of time studying portrait books from the public library, especially Karsh. Other favorites are Herb Ritts, Richard Avedon, Annie Leibowitz, and Arnold Newman.

I often return to the same book, checking for how a particular aspect is handled. For example, I recently began to deal with the problem of exaggeration of features that are closer to the camera. I first noticed this when I photographed a young girl sitting on a stool facing the camera with her hands on her knees. The hands seemed too large in relation to her torso and face. With the view camera we can easily fix that with some rear tilt.

I noticed a similar problem when photographing a large woman sitting in a chair with her body facing camera left and face turned toward the camera. Her left shoulder was closest to the camera, and because of its naturally large size as well as proximity to the lens, it just loomed too large in relation to the face. A bit of rear swing took care of it.

After doing a couple of these perspective corrections I returned to the Karsh books and began looking at all of his shots that must have had similar issues to see how he dealt with them.

I strongly recommend using flat lighting while working on the posing and shooting aspects. Also, try to have enough light to stop way down so you don't have depth of field issues. DOF can be *very* shallow with LF at portrait distances. Minor subject movement can move focus from the eyes to the ears and ruin the shoot. Don't fiddle with too many variables at once.

I also suggest working with very patient subjects to begin with. I start by explaining to the subject about the view camera and how it is different from a 'normal' camera. I also explain how once we find a comfortable pose that they will need to stay still for 'a moment' while I load the film holder and shoot the picture.

In my most recent sessions, I begin by shooting some MF Polaroids to check lighting, check pose, help the subject become accustomed to the strobe flashes, and to give them an idea of what they will look like in the setting. Sometimes I will also shoot a roll of MF so that they will also have some 'snapshots'.

Once all is set and the subject is comfortable I shoot an 8x10 Polaroid (usually 804). The reaction to that is usually a big 'wow' and then I tell them they can take it home. That usually convinces them of the value of LF. I then explain that I also want to shoot some 'real' film and I do some negs (TMAX 100) and maybe trannies (Provia or E100S). After seeing the Polaroid they understand the beauty of the format and are usually happy to sit for a bit longer to do the negs.

Very often I will talk with the subject or joke a bit when getting ready to shoot (film loaded) and press the shutter release when a nice candid look appears such as a laugh or an unposed expression. I have had some wonderful results with that technique, especially with kids.

Most of all, you will need to be patient. LF portraits are an art like any other and your technique will continue to evolve as you shoot more and study the work of others.