Needing clients for a series

[vintagesnaps]

I wonder if you'd need to try someplace where people have gone thru recovery maybe? I can't imagine with some of the incidents locally that you'd get people that are using to do a session in a studio.

(Over the weekend a guy robbing a woman at an ATM with people at the next door gas station yelling, couple of officers happened to be there, couldn't get the guy away from her and the car and had to tase him - he was halfway in the car, wouldn't leave her alone, desperate for the money she took out I guess.)

But then with trying to locate heroin addicts who have recovered there'd probably be confidentiality and privacy concerns. I think there'd have to be a purpose, a human interest story and use for the photos (but that's from having worked for a county agency and state rules and regs etc.).

 

[Derrel]

Avedon, yeah. Are you gonna build a tent?

Oddly enough, when I first read your post, my mind flashed back to those Avedon shots! I can envision how this might look. I think this would be a cool project.

You could do this a lot of ways, both gear-wise, and image-wise/processing-wise. I think it would be cool to drag a small hand cart around, and shoot these with a 45 inch umbrella, one light, set up at about 8 feet high to the center of the umbrella, so the very end shaft of the umbrella is right at eyeball level, with the light at about 30 degees to camera left, and shoot everything that way with the Speedo pack being run off of an inverter.

 

[kdthomas]

Oh a tent ... That makes sense and jibes with the lighting I see in those avedon shots... Would also minimize the dust it seems ... I would have to tweak it to get the lighting the way I typically do it. Don't want to parrot the guy (hope that's not what ive been doing till now , I just dig that shining-out-of-heaven look)

 

[Derrel]

I think keeping the actual light source used fairly large, and fairly consistent, and yet easy-to-use, easy to set up, easy to transport, would help tie this thing together. And also...there's this weird sort of power you wield over other people when you are shooting with a "pro-type" rig that has a softbox, or an umbrella, on-location...it separates you from 99.999% of other people who have been seen taking photos in public. It lends an air of authority, of artistic drive, an air of total seriousness, to whatever you're doing.

An on-camera flash means nothing. But studio flash shot on-location has a sort of subtext to it.

My location setup has the light stand bungee-cord attached to the cart's handle. The advantage of that is that the wind can actually move the umbrella a bit, and it doesn't tip over...it snaps back instead. The 402 + 18 pound inverter give me tremendous ballast, and I never have to set the lightstand "up"...I just raise it up...it is already lashed to the cart's handle. The whole thing can be dragged around, pack,cord,head, stand, it is allll in one place, on wheels.