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When a model shows up wearing leather and
carrying martial arts weapons, I begin to wonder if I said something wrong when
we discussed the shoot. However, the true problem is that you can never
anticipate what your subjects will decide to wear.
Several years ago at my studio in St. Louis,
we produced many family-group photos. At that time, the trend was to have every
family member choose clothing that coordinated with what everyone else was
wearing. Earth tones were the "in" thing. Since we were charging a
high rate for our services and we were "pushing" large wall-size
prints, we wanted everything in the final image to be as perfect as possible.
Each client was given personal attention, including our help in scouting
locations and selecting wardrobe items for all the subjects from their personal
collections.
A particular assignment comes to mind. Our
task was to create a family portrait for the president of one of the larger
corporations in St. Louis. So, we took extra pains to be sure the set-up was
ideal. We selected a conservative, dark blue business suit for the president to
wear and an attractive darker blue dress for his wife. His two sons were to be
dressed in dark blue slacks paired with medium-blue pullover sweaters and
light-blue oxford cloth shirts. We even went so far as to search out
coordinating shoes for everyone. When we left their home, we were silently
congratulating ourselves on the certainty of a great shoot to come.
The appointed time arrived, and we waited on
location, ready to shoot. Well, you guessed it. The president showed up wearing
a brown-and-green plaid sport coat. His wife had selected a white dress with a
green lightning-stripe pattern. One son had on torn blue jeans and a blue work
shirt. He was barefoot. The other son was wearing a bright yellow golf shirt and
tan slacks with white tennis shoes.
Attempting to be as tactful as possible, I
said, "We're all set--as soon as you get changed!"
The president answered with presidential
decisiveness. "Oh, we're ready. Everyone's wearing their favorite
clothes."
The lesson is, be prepared for anything! (We
did sell a 40" x 50" print from the session.)
So, when my subject Stacy showed up wearing
leathers and carrying whips, I was ready. With all of the detail work in her
jacket, gloves, and whip, I decided to use a relatively simple background. The
background is a velour material marketed by Photek as "Background in a
Bag." This one is a medium gray on one side and painted with a mottled
pattern on the other. It's fairly lightweight and can easily be stuffed into a
nylon carrying bag for storage or travel.
Two Novatron heads utilizing my now defunct
440Plus power pack (it died of old age after thirty years of hard use) supplied
the lighting. The fill light was provided by a 36" white umbrella, with the
key light being a 36" silver umbrella. Only one other light was used. That
was a small hair and backlight to bring out detail in Stacy's black hair and on
the black leather jacket. My hair light is an old Honeywell 52A slave unit,
probably one of the first "monolights" ever made. (I purchased it in
1965, and it's still in use today.) The output of the Honeywell unit is about
100 watts.
Sometimes, costume surprises can be fun. Just
be ready to be flexible as you create.

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