Setting Up a Small In-Home Studio on a Large Budget

[DwightMcCann]

I am in my new house, finally. I have my own den, finally. I also have been granted exclusive use of an "extra" room by my wife for use as a studio. It shares a hallway with my den and a full bathroom. I have not managed to unpack/find my tape measure yet, but the room is about 10' wide, 20' long (more or less) with a 9' ceiling. The room has two windows, one south and one west with entry door on the east. It has a darkish wooden floor and "contractor white" walls.

I have a Bowens QUADX 3000 w/s studio flash unit with four heads, two with extension cords. I also have a few light stands, a softbox, a couple of umbrellas, reflectors with grids, etc. I also have a PhotoFlex three roll adjustable backdrop setup with white and black seamless paper and one neutral gray muslin backdrop with some innocuous design.

I would like to do individual portraits and maybe a little glamour work along with occasional product photography for things like wine bottles/glasses (I have a winery client.)

I am interested in getting input on such things as possible light support fixtures, camera stand, and any/all manner of accessories. I may not do anything to the room immediately (won't even be unpacked for a couple of months I guess) but don't want to do anything I will regret quickly, such as painting the walls black.:lol: Also, I guess I would like to know if this room just isn't going to be useful and I should set it up to do matting and framing rather than screwing with it to make it a studio. I know there is a full range of opinions and I would like to hear them all. Oh, I added that bit about "Large Budget" more as an eye catcher than anything else, but I will, over the longer term, have ample funds to do whatever looks the most useful.

Surfkahana is going to come over tomorrow night to show me how to clean my sensor and we could take some pictures of the room, although it has a few boxes sitting on the floor.

[tim]

I wish I had a room like that!

It's not answering your question, but if you plan to do many glass photos the book "light science and magic" is a great help. Things like light and dark field lighting, not too hard but not something i'd have worked out myself in a hurry.

[DwightMcCann]

Thanks, Tim. I will try to get some pictures of the room up before too long ... some of the things I am wondering about are those frames that attach to the ceiling that allow you to place lights, suggestions on backdrops, floor/plexiglass coverings, storage units, etc. I'm surprised I haven't had more input or questions but it may turn out that I will need to ask very specific questions.

[chtgrubbs]

In a smallish room such as this the ideal would be an overhead rail system which would eliminate lightstands and free up a lot of floorspace. I've used a camera stand for large format tabletop work, but I'm not sure they are the most practical things for digital cameras. Good ones are REALLY big and heavy and expensive, and smaller ones are pretty awkward to use. What I liked about them was the ability to swing or slide the 4x5 out of the way to make adjustments to the set and then just slide the camera back into position. But for portraits I don't think they are flexible or fast enough to make it worthwhile.

[DwightMcCann]

THANK YOU, chtgrubbs ... that's exactly the kind of info I need. I will do research on a rail system ... open floorspace is certainly a premium in this long narrow room. BTW, there is wiring for an overhead light in the center of the room (currently holding a chandellier that I will be removing) ... any thoughts on what I should replace it with? Track lighting, and if so, what sort?

Surf came over last night but after cleaning sensors we didn't make time to shoot the room. I will be very busy processing Steve Miller Band images tonight. Tomorrow night I am shooting ZZ Top. Friday night I am hoping to shoot a high school football game with Surf. So it will likely be the weekend before I can post any images.

[PhotosGuy]

there is wiring for an overhead light in the center of the room (currently holding a chandellier that I will be removing) ... any thoughts on what I should replace it with? Track lighting, and if so, what sort? I'd suggest that that should be your "work light". Bright enough so that you can see everything in the room well.

[DwightMcCann]

Yes, but what sort of light? That's why I thought I might do track lighting since it allows a lot flexibility in positioning lights and/or changing the configuration.

[PhotosGuy]

To me, track lighting is a lot of iddy bitty spots. That's why I said I'd use whatever lights the whole room.

[DwightMcCann]

Track lighting comes in a huge variety of heads, like studio lighting, and can include both spots and larger area lights. So while I guess I could stick a 300 watt bare bulb in there and light the whole room I don't think I will.:D I'll defer this for a while!

[chtgrubbs]

Most of the studios I have shot in were industrial type setups with large overhead flourescents which were turned off during the shooting. Track lighting would probably work well if they were not in the way of your overhead track system.

[DwightMcCann]

Ah, an excellent observation, chtgrubbs, if I am going to install a rail system then track lighting might well pose an issue. I'll hold off doing anything other than removing the hideous beast hanging there now and still with a floor lamp or two.

[scottbergerphoto]

Dwight, the problem as I see it, is that large budget you have. It gives you too many options. Just think how much easier it would be if you sent us each 20-30 dollars. You'd be heading down to Home Depot for some work halogens. Besides, you're already a great concert photographer. Why waste all that money on a studio? ;)

[Doug Rowan]

If I had that room, time, money and inclination...I would rig the center light as a pull down unit, hollow center, square framed, 8-48" bulb 5000K-daylight florescent bank (2 bulbs per side).Have it mounted on a swivel frame so it's flush against the ceiling until you use your James Bond remote to drop it down to turn it & shoot through the center opening. Heck, if you did it right, it wouldn't even be in the way of your rails (plus you'd have another, cool, lighting option)!

[DwightMcCann]

Oh, Scott, how could I have missed the obvious ... too many options killing the project. Hmmm, well, I think the 'correct' thing to do is suffer the "natural consquences" of my indecision and take responsbility for my failings rather than the easy way out by sending money to all my fellow photographers and reducing my options to a manageable number ... guess I'm just a glutton for punishment.:rolleyes:

I actually won't have any money to do much until next year. I am awaiting an Epson 7800 printer at the moment and will need to build lots of storage into my garage and office first. I also have my eye on a few lenses, remote gear and maybe Wi-Fi. And in all seriousness, you are correct that it isn't an area I'm into currently. I am really positioning for the day when I retire from my day job and have the time and perhaps need to expand my commercial services. But on such a project, getting early ideas is critical. I expect when I finally get my butt in gear and post some pictures that there will be even more suggestions.

Anyone have a clue on where to start researching rail systems? Doug, any place I see what kind of lights you are talking about?

[Doug Rowan]

Doug, any place I see what kind of lights you are talking about?
Here's a link to a video showing the photographer using something very similar (actually, his is a triangle rather than a square):

http://www.leafamerica.com/3701.htm

A square one would be very simple to make by building a frame for 4-48" double bulb flourescent shop lights.

[akiwi]

I think circular is better.
Definitley the daylight balanced bulbs are worth looking into as you can probably leave them on whilst shooting

[DwightMcCann]

Doug, very interesting! I have studio strobes but I can see what you mean about the daylight fluorescents and I will certainly keep thinking on it.

[HKFEVER]

How about:

- Area lamps
- Mini Flamingo stands
- Booms
- Ceiling Rail System
- Special Effect Lamps: ringflash, spot profil...
- Special Reflectors: Staellite reflector.....
- Constant color temperature power packs + lamp heads that can provide 6400J and 0.04S fully recharging time....
- Hasellblad H2 with latest digital back and Hasellblad wide angle lens....

Just trying to help you spend your budget :p :p

[DwightMcCann]

HK, I know I may sound silly, budget-wise, but so long as my business keeps booming and I have my day job and my bride has her day job I will have a considerable amount ($10-20K) on studio infrastructure over the next two to three years and could probably divert more into it if necessary. Of course, the problem I have is that I know almost nothing about studio work and I don't want to launch off on a wrong direction. I will get some pictures of the room this weekend. And, BTW, I actually discussed the Hasselblad/Digitalback issue with the Calumet manager and he thought the 1Ds Mark II would be all I could really use ... but I am open to contrary (and we have a lot of that at POTN) opinions! :-) Don't hold back on my account!:cool: :)

[PhotosGuy]

And, BTW, I actually discussed the Hasselblad/Digitalback issue with the Calumet manager and he thought the 1Ds Mark II would be all I could really use ...for individual portraits and maybe a little glamour work along with occasional product photography for things like wine bottles/glasses I'd guess that even the MkII might be overkill, but only you can decide just how much "quality" you really need. By the time you get up & running, another supercamera will have come along... ;)

[DwightMcCann]

Frank, so long as I can subsidize the studio from my work at the casino I expect to acquire the best I can without consideration of the need ... this is about the only place and time in my life that I can do that. The 1Ds MII is off on the horizon a year or so and I would expect that Canon will come out with something better before I am ready to buy and I will get the latest/greatest. While this is now a business for me the operant condition is still "fun".

[HKFEVER]

Get the Hasselblad H2 or 503CW with Phaseone P25 back.... This will serve you for a long time.

[DwightMcCann]

I couldn't easily Google a price for the Phase One P 25 ... they don't seem to want to mention it unless you telephone, so I'll guess about $30,000USD, which puts it out of even my budget for at least two years, HK. None-the-less, I am certainly not blowing it off. At this point, I have no idea where my photography is going to take me. Tomorrow night I shoot Seal at the casino and may then be whisked away to shoot Sugarland at Gainey Winery for my Nashville to You client and on Saturday I will be shooting my Casa Cassara Vineyard and Winery client at the annual Harvest Festival where they participate each year in this Vintner's Association faire. Two or three years ago I didn't have ANY clients. And, sigh, I am still planning on taking pictures of the room, but discovered yesterday that my 50mm f1.4 lens that I just took out of the box won't focus, manual or AF, so I need to deal with that, too.

[DwightMcCann]

Finally shot a quick image of the studio room. I expect to replace that lovely chandelier with an overhead fan/light initially, although I will need something pretty unobtrusive in the final version. The room is 10' wide, 9' high and 17' deep. The window on the far wall is looks West and the side wall South.

[tim]

I'd just take the overhead light out and use the modelling lights on the strobes ;) A lamp at the end of the room opposite the model might do the job, and it has the added bonus of keeping the pupils small, so less chance for red eye and you see more of the colored part of the eye.

[DwightMcCann]

Tim, I wasn't planning on using the overhead light to light the model ... I have studio strobes.

[tim]

I realised that! I was suggesting that you don't need an overhead light at all, it could just get in the way of tall light stands, just use the modelling lamp in your strobes instead of the ceiling light.

[DwightMcCann]

Yes, but I need some light in the room at night! :-) I'm hoping not have to use my light stands but have an overhead rail system instead ... we'll see ... I'm just gathering opinions right now ... I've got enough essential house projects to do to last a few months.

[pcasciola]

Well, since you said on a "large budget", I'll let you know I'm thinkng of trying a 5000K daylight fluorescent setup. The newer systems avoid the white balance issues typically associated with fluorescents, and with the constant source of light there is less chance of blinking, and a more constant light which is nice. Fluorescents are extremely efficient as well and don't put off much heat, and can be used as the main source of lighting for the room when it's not being used as a studio. The 5000K bulbs are much easier on your eyes as well.

The downside is, they are pretty expensive. Bowens and Rololight have a couple of setups I am having a look at. I have some of the cheaper $20 Home Depot fixtures I was thinking of playing around with, but I haven't had a chance to pick up the daylight fluorescent tubes. I've tried the daylight fluorescent screw in bulbs though, and they do work pretty well.

[tim]

How's the light intensity of fluro's compared with strobes? You wouldn't want it too bright or you'd blind people, but you want lots of light for nice sharp photos.

[pcasciola]

Some of these systems use a TON of bulbs, and softboxes and umbrellas as well to soften it on the models. One for one I don't think they are even close to strobes, but if you check out the Rololight setup, each box I think holds 4-6 bulbs. Fluorescents are so energy efficient though that you are still only talking about I think 12-14 watts per bulb.

[DwightMcCann]

Philip, someone else suggested fluorescents, too, so even though I have $5K sunk into a Bowens QUADX strobe system, I will certainly look into them. I think my biggest problem is going to be using the confined space well. My goal is being able to shoot portraits, perhaps glamour and products (meaning wine related items such as bottles and glasses for one of my clients.) Hmmm, I also need to take/show a photo of my livingroom space which is plenty large enough with 16' ceiling and a staircase that overlooks it ... I'm already prepping my wife to expect that I will want to use it from time to time.

[pcasciola]

I know fluorescents are gaining popularly for product shoots, but I'm not sure about portrait work.

Either way, sounds like you will have an awesome setup when you're done. I'm looking forward to seeing it.

[DwightMcCann]

I know it has been a few days since I last visited this topic but I have been busy ... oh, yes, BUSY. Anyway, you can see there have been a few changes since the picture on page two of this thread. I have replaced the overhead chandelier with a fan/light ... with the 9' ceiling there is plenty of room and we really need the fan in the summer. OTOH I will replace it in an instant if it becomes a problem. A big chunk of the area to the left of the door is now a storage rack. On the far wall is my three roll backdrop setup ... fits like a glove with 9' paper rolls! And the rolls block light from that window which faces West. I usually don't have trouble with the other window. The table nearby on the right is nice ... it is a stylized drafting table with tilt top but it takes up too much space so I am likely to move it elsewhere. That's a "beauty dish" and muslin in its plastic holder on the table. I'd like to put in a smaller work surface and a wall mounted rack with a stereo system with some wall mounted speakers.

The studio isn't very studio like right now. I was doing a series of 17 portraits at the casino and after #11 my Bowens QUADX 3000 generator exploded. The one you see on the floor is a floor model demo I bought as I can't wait for the original to go to Chicago to be repaired! I haven't decided yet whether to start writing terrible reviews everywhere until I see if they are going to repair the old one for free ... it was just out of warranty but it was clearly a short of some sort and the two fuses were completely protected!!! When working the one I had was really pretty damn good! Anyway, all light stands and heads are packed (except for the one I used to test the new unit) to back over Monday to finish.

So, why am I bothering you? Good question! I am hoping to make a little headway on further improvements this summer. Now that I have two generators I am thinking of using two wall mounted boom arms on the right hand wall with one generator. These would allow easy hair/background lights while the other generator and pair of heads would be main and fill. Would also work for the occasional product shots I do for my winery client. Anyway, I am committed to the QUADX system at this point so the lights are determined. But does anyone have suggestions for wall mounted booms? Vendors? Anyone still think a rail system would be best? If so, vendor recommendations?

On a related topic, I have two umbrellas, two soft boxes (3' x 4', approx.), two flash head reflectors with barn doors and four flash heads (plus stands.) I am considering a bigger soft box, maybe 5' to 6', to get full body soft light ... is this reasonable/right?

Finally, the image of the six guys is a band I do a website and photography for. I had to clone in the wall behind the right hand guy because the shooting angle required to avoid the light stand on the right side ... this image is what got me thinking I would use boom arms on that side so I could shoot from much farther back. I needed a higher light near the middle but then it would have blocked shooting!

So, I am once again open to suggestions and bloated ego comments! :rolleyes: I still have a substantial budget over the long term although I have thoroughly researched the H2D with 39MP capacity and it just doesn't work for me right now. :lol:

[MDJAK]

You seem to have it completely under control. I'm certainly no expert, but one piece of advice I can offer, if you decide to go with stand mounted lighting, is to buy high quality stands. They make a big difference.

Also, when you say glamour, are you intending on bringing models into your home? I know your wife is a cool person, and so is mine for that matter, but it's just something I personally wouldn't be comfortable with.

With business booming as you say, and more power to you and may it continue to get better, have you considered a studio space outside the home? That room is kind of narrow, though if you remember way back when, when I shot with Nilologist, her studio was quite small also and it worked just fine.

mark

[DwightMcCann]

You seem to have it completely under control. I'm certainly no expert, but one piece of advice I can offer, if you decide to go with stand mounted lighting, is to buy high quality stands. They make a big difference.

Also, when you say glamour, are you intending on bringing models into your home? I know your wife is a cool person, and so is mine for that matter, but it's just something I personally wouldn't be comfortable with.

With business booming as you say, and more power to you and may it continue to get better, have you considered a studio space outside the home? That room is kind of narrow, though if you remember way back when, when I shot with Nilologist, her studio was quite small also and it worked just fine.

mark

I think the booms or rails are a must in such a small space. As for stands, I have three low end ones and three mid end ones. Big difference between them as you say.

Bringing the glamor models into my house. Hmmm, never thought of that being an issue. Actually, when I say glamor I am leaning more toward portraits of neighborhood ladies that lean into glamor rather then nude, implied nude or erotic. Perhaps more like fashion or magazine style. And I certainly have occasional shots like the band or kids or stuff like that. But, as you say, my wife knows it is about photography and making pictures and providing a product and I wouldn't do anything that I wouldn't want my five year old daughter to see ... I'm just not a very secret guy. OTOH, I would let her watch me shoot nudes as I don't have much in the way of nudity taboos ... which is, of course, different from things with sexual/erotic implications that I wouldn't permit her to see ... but I won't debate that here (or anywhere as I doubt I will change anyone's mind.)

My photography is just part time at this point and 95%+ of my work is "on location" Live Entertainment and other types of location work. The studio portrait/glamor stuff is mostly for fun or experience. Also, I live in a very small town ... 5000 ... and there aren't many buildings that lend themselves to being a studio. So, while the casino does have me do some things that clearly benefit from a bigger studio space, they provide me with use of their stage as a studio which is quite extensive and will bring or setup anything I need beyond my studio kit ... stools, chairs, ladders, or even stands or trusses and stage lights if needed. I really have the best of all possible worlds for what I am doing these days.

Yes, I remember Frederique quite well ... if I recall I wierded her out somehow ... oh, well, she has a lot of talent and should do well as she builds her experience and portfolio ... I haven't got enough years left to do that. :lol::lol::lol:

[DwightMcCann]

Man, am I slow! Essentially nothing has changed. But I did want to report that my Bowens QUADX 3000 that exploded a while back has still not come back from repair! Rather unbelievable that it has been almost three months. Much as I like using the Bowens I really have to strongly recommend against them at this point due to the repair turnaround issue.

So, I am now looking at using drape material to cover the walls when I want black rather than white. Anyone have suggestions on a good way to do this? I have a place to get great (expensive) material, same as the casino uses on their stage, but I am not sure how to hang the material so that I have it cover the walls or not.

I have contacted Bowens and gotten some feedback on their rail system which seems to have a good reputation, but until I get that generator back I am not likely to do much of anything, although I am getting two more flash heads (for a total of six) since they are apparently prone to failure occasionally and I can't wait for months.

[bieber]

Just saw this thread for the first time, and thought I'd mention one piece of equipment you probably hadn't thought of; a set of wood or foam blocks that people can stand on. One of the most important things to do in group portraits, like the one you posted above, to create interest, is to vary the heights of the people in them. Having a straight line across the tops of peoples' heads just doesn't look terribly interesting.

[DwightMcCann]

Just saw this thread for the first time, and thought I'd mention one piece of equipment you probably hadn't thought of; a set of wood or foam blocks that people can stand on. One of the most important things to do in group portraits, like the one you posted above, to create interest, is to vary the heights of the people in them. Having a straight line across the tops of peoples' heads just doesn't look terribly interesting.
Wow, you're right, never thought about it but I need to. The band in the image is defunct, but as often occurs another had grown from their ashes like a Phoenix and I will be shooting them soon in the same location. I'll have to keep my eye out for such props although I have very limited storage space.

[bieber]

Wow, you're right, never thought about it but I need to. The band in the image is defunct, but as often occurs another had grown from their ashes like a Phoenix and I will be shooting them soon in the same location. I'll have to keep my eye out for such props although I have very limited storage space.

I don't know where to find them, but at a seminar recently, Hanson Fong showed off a set of foam blocks he sells, different sizes, and they all pack together nicely. Light, compact, and so on.

[mkuriger]

i wish I had a room like that too! I'm using my living/dining room (and since there is no wife there is no problem!!)

good luck!

[DwightMcCann]

I don't know where to find them, but at a seminar recently, Hanson Fong showed off a set of foam blocks he sells, different sizes, and they all pack together nicely. Light, compact, and so on.

Apparently Hanson keeps his sales secret ... but the blocks are call "Apple Boxes" and you can get them lots of places, including B&H. I'm gonna have to put some on my wishlist.

[TMR Design]

Yup, I was just at B&H today (Spent the better part of the day. There's no way for me to just get in and out. :D ) and saw the Apple Boxes. They look pretty nice.

[DwightMcCann]

Yup, I was just at B&H today (Spent the better part of the day. There's no way for me to just get in and out. :D ) and saw the Apple Boxes. They look pretty nice.

I went in on a visit to NYC (where I was born) a few years ago (maybe 12) and literally couldn't catch my breath ... a salesman saw me and when I told him he laughed and said he would get me catalogs of whatever I was after and I could go back to California to make my selections. I've spent about $50K there since!

I will definitely be getting half a dozen apple boxes after my generator gets back, I get the new flash heads and a couple of more soft boxes. And I really need to move on the rail system and drapes.

[PhotosGuy]

Have you tried theatrical supply houses for the drapes?

[MDJAK]

For a minute, I thought this was a new thread.

I cannot believe you have not received your generator back. That is unbelievable. Whether you need it or not, you've got to escalate that to the top of the company.

mark

[René Damkot]

Never noticed this thread before either...

Small (as in: not wide) room...
That's going to give problems with group shots (as you noted), and options for light setup.

I think the rails are a good idea.
Manfrotto makes the SkyTrack system. Nothing on their site but this pdf (http://www.manfrotto.com/webdav/site/manfrotto/shared/pdf/catalogues/lighting_sky_track.pdf). You might have trouble getting lights far enough into the corners / wall though. (Will be a problem anyhow ;))

Another (removable) option might be this: Click (http://www.manfrotto.com/Jahia/news/site/manfrotto/pid/8834). New, no experience with it, but looks nice.

Studio stand can be usefull, but might be a bit overkill for a 35mm DSLR ;)
Combined with a good ballhead, it's very nice when doing set up portraits IMO, and *more* flexible then a regular tripod IMO. It is more akward to initially set up however.

I prefer the handling of Foba over Manfrotto, but that's a personal choice.

On the medium format digital: Completely different from even a 1Ds2. Quite different images, different DoF and transition to OoF. Different color (a bit), because the use of a 16Bit CCD. Obviously way different handling and price. Also, quite a demand on the PC.

[DwightMcCann]

Have you tried theatrical supply houses for the drapes?
Frank, I have a connection through the casino for the drape material but I need to figure out how I will hang them first ... if I get time I will talk with the guy and see if he knows about it.

[DwightMcCann]

I'm just reporting that my Bowens QUADX 3000 Generator is not back from repair (defective capacitors) after three months and several "in the mail" promises. I have complained to Bowens. I am about to start doing "reviews" on all websites, posting to my blog, and generally sharing my experience with Bowens worldwide ... it is really outrageous. And the longer it gets the less willing anyone is to even tell me what is going on ... they are all horribly embarrassed ... but not enough that they are going to do anything about it, of course.

[DavidW]

Dwight - I think the only way ahead at this stage is to say you want a new unit in exchange for yours - and/or say that you'll contact your attorney. I realise the unit isn't new (after all, you mentioned you had it in 2005), but that kind of service on professional gear is a joke.

Have you tried phoning Bowens in the UK?



David

[DwightMcCann]

Dwight - I think the only way ahead at this stage is to say you want a new unit in exchange for yours - and/or say that you'll contact your attorney. I realise the unit isn't new (after all, you mentioned you had it in 2005), but that kind of service on professional gear is a joke.

Have you tried phoning Bowens in the UK?



David
I have an open service ticket. I have been in contact with both Bowens UK and Bowens USA. They don't want to discuss it. I am guessing that they hope the unit will get repaired this year and then I will simply go away but they have abused me much too much for that. I am going to share this episode in the hopes that others will consider repair times when buying equipment in the USA. As I say, if I treated my customers the way Bowens has treated me I would have no clients ... and expect "word of mouth" would also get around.

[Edit: I just checked at Bowens UK ... my most recent complaint about this situation is "unassigned".]

[wannabegood]

Hey Dwight, you might look at a place called Cinetactics for your peripheal equipment, the rails and beams for the ceiling where you'll mount your lights and accessories. They specialize in this style of work and would probably be able to help you out with suggestions as well. My only experience with them comes from a lens hoodie to screen the lcd of my camcorder for veiwing in daylight (soccer games). Good luck with that and keep showing us your progress!

Happy shooting!

[DwightMcCann]

Hey Dwight, you might look at a place called Cinetactics for your peripheal equipment, the rails and beams for the ceiling where you'll mount your lights and accessories. They specialize in this style of work and would probably be able to help you out with suggestions as well. My only experience with them comes from a lens hoodie to screen the lcd of my camcorder for veiwing in daylight (soccer games). Good luck with that and keep showing us your progress!

Happy shooting!

Excellent ... I will check them out now that I am unlikely to do any business with Bowens!

[DwightMcCann]

Well, here's the update on my "repaired" Bowens QUADX 3000 generator: it's worse than ever! I had a POTN BBQ at my house over the weekend. Had a couple of moderators and a few real photographers. I had a paying portrait shoot Sunday afternoon so I decided to unpack the repaired generator and show 'em how nice these things are when they work. I tested my setup on the replacement generator I had to buy because I couldn't wait three months for Bowens EXPEDITED service and all was perfect. I then swapped cables and settings over the "repaired" unit and powered up. The ready light flashed, went solid, flashed, for a while so finally I said, "What the heck" and fired the unit manually. BAM, POW, KABOOM! Steve Montoya jumped about six feet. Johnny Thunder held his nose. Stinking electrical smell everywhere! Skip Souza tried to draw his weapon (but thankfully they've taken it away from him!) All observers in stitches laughing. I replugged into the replacement unit and everything was fine as was the portrait shoot later in the day. The still broken BOWENS QUADX 3000 generator will go back to Calumet and then to Bowens USA this week ... they can use it as a boat anchor. I would use the "incompetent" word but I'm not qualified to judge.

[DwightMcCann]

Time to update this thread again. First, Bowens came through with a new unit, finally. I now have two generators and six heads ... for backup if nothing else. If these units blow, I'm throwing them overboard and getting Profoto I think.

But on other fronts: I got the quote for drape material which wasn't too bad and am working on getting my middleman to put the order in: four 10' x 12' panels with grommets on one side. I also got two additional sets of Autopoles and may hang the drapes between poles. And I got an assortment of clamps and will be trying to see how I can mount flash heads on SuperClamps on the Autopoles to save space.I'm hoping to have the drapes by the middle of the month.

Since last I posted here I bought a 1DMIII. Haven't used it much and have no opinions and I am likely to continue to shoot with my 5D in the studio. I also have a pre-order in for a 1DsMIII but I expect it'll be Christmas before there's a chance of getting that.

Finally, I took Frank Doorhof's L.A. workshop. I was saturated after two hours with way more than could absorb. I have changed the batteries in my light meter and will finally be trying to learn to use it with the studio strobes. I never knew you could calibrate light meters, duh! Anyway, I will be trying a couple of Frank's simple lighting setups as time permits. And I have the best of intentions of taking pictures of everything I do and sharing it ... I may even get back to my blog although I was never sure anyone even looked at when I did it regularly before, sigh.

[DwightMcCann]

My black drapes have arrived, complete with fire retardant certification. I hope to get some pictures this weekend because it looks like I'm going to want some suggestions on supporting them. They are heavy, 10' x 13' panels with flat binding and grommets on one side. I thank you all for hanging in here with me through all these adventures which will continue for a while.

[Inspired Photography]

Good to see your thread is still moving Dwight :D

So have you taken your Bowens gear outdoors yet? You keep saying you will ;)

Rob

[DwightMcCann]

Good to see your thread is still moving Dwight :D

So have you taken your Bowens gear outdoors yet? You keep saying you will ;)

Rob

Yes, this thread will keep moving slowly. I have the drapes. Yesterday I "cleaned house" in the studio and did some organizing. I have established that the Magic Arms will work very well holding flash heads from Autopoles. Today I will be working on hanging some of the drapes for the walls. I promise to post some new pictures, probably this evening.

Bowens outdoors: I am really anxious to do this but I need to learn to work with my light meter in the studio and it now looks like my budget will have to push off the acquisition of the portable power pack until the first quarter as I have an Epson 7880 printer and new laptop currently scheduled in before that. If I can find a place with power, which is quite possible, I will try them sooner .... maybe in the local park with my niece or band!

[DwightMcCann]

As promised I am attaching some photos. The two "interesting" or "upgrades" here are: (1) several new Autopoles with Magic Arms to hold flash heads, (2) new Autopoles to hang new black drapes. This post will be in two parts as I have four images. In the first which is shot from the doorway, there is a wire basket set on the right. On the other side of it is an Autopole holding up one end of a drape (there is a silver/blue lamp but that doesn't count.) At the far end of the drape, on a Magic Arm attached to the Autopole that the drape is hung from at the far end is a beauty disk on a Magic Arm without the diffuser. The far wall is my gray muslin. There is an Autopole in the middle of the floor with a couple of clamps on it including a Magic Arm with nothing on it ... I was experimenting. To the left of the Autopole, high to the right of the softbox is a snoot on another type of arm that I don't really like ... when I am done I will shoot images of each piece and give an evaluation. To the left of that are my three softboxes. To their left is a window with wooden venetian blinds (there is another such window in the center of the far wall but it is heavily masked off at the moment.) At the left of the whole image is a large three shelf storage rack.

The second image is shot from the far side of the window seen on the left wall of the first image, with the Autopole in the middle of the floor. You can see the drape more clearly ... is is just stretched from the two end points ... it is fairly heavy which is why it is so droopy. The softbox in lower left is a 36" x 9" strip light.

[DwightMcCann]

The first image here was meant to show the Magic Arm with beauty disk on flash head ... not very useful, sigh. The second image shows the setup from a bit closer in giving a better idea of what everything looks like.

My plan after experimenting today is to get more Autopoles and double SuperClamps and Magic Arms (all ordered today from B&H.) I will put a pair of Autopoles against each wall to be draped. I will put a double SuperClamp at the top of each Autopole. I will then clamp a cross pipe onto the Autopoles from which I will suspend the drape. This will reduce the droopiness and allow me to stretch them with clamps to the Autopoles if I want to tighten them up. I have four drapes so I can cover the three walls and have a drape left over ... which is for the ceiling if I can figure out how to hang it ... any thoughts?

I am actually more stoked by seeing how well the Magic Arm/Autopole setup handles the flash heads than the drapes as it will greatly reduce the light stands which are a huge pain in that small room. Anyway, I know I am Sllooooooooowwwwwwwwwwwwwwwwwwwww, but I am sure and will continue to post as I move forward. I expect that when I am "done" I will start a new thread (with a link from this thread) with the "finished product" and some glamor shots.

[snedigity]

This is the first tme I hae looked at this thread. It is really need to see how your studio has grown. Awesome stuff Dwight.

[DwightMcCann]

This is the first tme I hae looked at this thread. It is really need to see how your studio has grown. Awesome stuff Dwight.
Well, you know where I'm going. We'll see what unwinds next week, although I have boxing and a VIP event.

[snedigity]

I am a phone call away if you need help

[DwightMcCann]

B&H order arrived. I will be off to Home Depot sometime by weekend to get PVC for cross pipes and some rings to latch the drapes to the poles. I've been doing a bunch of reading on lighting and will be watching some DVDs from Frank Doorhof and others. I'm coming down the home stretch on the studio ... then I'll have to learn what I am doing with no excuses.

[Murphy66]

Dwight,

I am REALLY coming into this conversation in the middle so please excuse me if this has already been said.

My suggestion to you is to do nothing.

USE the room first. Discover what the strong points and weak points are and then modify from there. I fear that you'll waste money on bells and whistles that you could live without for your entire career.

My studio is 12 x 24. It's a small warehouse with unfinished walls. I thumb tacked black fabric on the walls and screwed in some eye hooks to hang soft boxes from. Otherwise the space is left open so I can move what I need where I need it for each shoot.

Get your background paper up, move your model 6-8 feet in front and start experimenting!

The people who sell lights and camera stuff are trying to convince every photographer that they NEED gear to make strong images. Wrong. What you need is a strong concept of how to manage light and then you can do it with camera flashes and cereal boxes.

It would break my heart to hear that you tricked out your studio only to find that you boxed yourself into a corner and can only use the space for the same shots over and over again. Engage that considerable mind of yours and spend money after you've made one hundred lighting mistakes first!

Best of luck, I'll help any way I can.

Bob

[DwightMcCann]

Bob, No Sweat ... I have used the room for two years although not often ... I'm not doing anything because anyone else told me to ... I am doing it all only for fun. My casino work subsidizes everything else I do. I understand everything you are saying but everything in this room is portable and usable in other ways. But I cannot limit the light at present and think I need the drapes ... which I will test this weekend, I hope.

[snedigity]

Dwight, I will be more then happy to use your studio for you. I will see you Satuday

[DwightMcCann]

Dwight, I will be more then happy to use your studio for you. I will see you Satuday

Oh, good ... we'll find out if I need stronger poles for the drapes and whether the rings I bought to go through the grommets in the drapes and around the poles are a good size. I can go back to Home Depot while you shoot if we need something. :cool:

[DwightMcCann]

Back again, sigh ... the "split rings" I bought to attach the drapes to the PVC turned out to only look split ... so now I need smaller actually split rings to attach to the larger not split rings, which are the perfect size, and grommets in the drapes. What with the potential Tucson trip, copyright infringement pursuit, need to spend money in this year's budget, day job, casino work, other clients, family and Christmas I can't see to get one nostril above the waterline. Updates when I got 'em.

[DwightMcCann]

Here I am again. I got some rings that work! But I need to replace the sagging PVC with metal pipes, hopefully this weekend. The Tucson trip fell through but I have new work requiring my studio lighting at the casino ... never a dull moment. I am thinking of starting up my blog again.

[snedigity]

I think that would be cool if you started a blog. You have so much going on it is sometimes hard to keep up with.

[charlesteton]

Have you tried using the lovely daylight that comes through your two windows?

[DwightMcCann]

Have you tried using the lovely daylight that comes through your two windows?

Welcome to POTN! Once for a self portrait a long while back. I like window light portraits and have done a few in a previous house. I don't really have any good south facing windows in my current house, nice as it is. The one in the studio is pretty blocked up by an equipment rack. The west facing one might be usable but it is generally covered by my backdrop equipment. But in any case, that's not what I am looking at just at this time. I expect that rather than continuing to add to this thread too much more I will be making entries to my blog to serve a wider audience.

[Lunajen]

I know you want Bowens or have them but what about Wescott Spiderlites. You can use halogens, flourescents ,and slave strobes in the TD3 or TD5. I use the TD5 on a regualr basis and it is wonderfula dn easy to set up. Here are two shots where i used just one TD5 and a 36x48 inch softbox.

Now just so you know, this was first time using this particular light for people..I use it mostly for product work. And this was my first baby portrait session as well.

1.http://img.photobucket.com/albums/v371/jenduffy/IMG_1018.jpg

2.http://img.photobucket.com/albums/v371/jenduffy/IMG_0957.jpg


And I know that they have what the company calls the apollo(inverted umbrella) and halo that are softboxes that can fit over any exsisting light that you might have.
Thought that this might help...


And for backdrops, I get some great muslins from Amvona on Ebay. Only trick is winning them.. ;)

[DwightMcCann]

Yes, I have about $10K of Bowens now although I am not very pleased with their repair service in the USA. OTOH, they are very good lights when they work. OTOH, they seem to have a problem with Pocket Wizards, sigh.

[snedigity]

Lucky enough Dwight you figured out the problem with Pocket wizards and we should have that problem next time. I just got my Skyports that I might bring next time and give them a test.

[DwightMcCann]

Lucky enough Dwight you figured out the problem with Pocket wizards and we should have that problem next time. I just got my Skyports that I might bring next time and give them a test.

If the Skyports don't have any problems I'll just get them, too, sigh. :rolleyes:

[DwightMcCann]

Just thought I'd pop in to say I did my first real attempt at a glamor portrait last night and have posted it over in G&N: http://photography-on-the.net/forum/showthread.php?t=464878. I will be doing more and more in this little studio now and posting over there.

[DwightMcCann]

And another update: I have replaced the PVC with metal pipes, which are double Superclamped to Autopoles. I have two more metal pipes, but they are ten feet long and my room isn't quite ten feet wide at the ceiling so I'm going to have to hacksaw off a couple of inches ... I will then be able to have cross poles onto which I can affix flash heads for hair light or background light or whatever ... I'll have two of them. I'll even be able to use them to drape off the white ceiling if necessary. When it is all together I will be doing updated pictures. I don't know of anyone else using Autopoles like this.

FYI: I have begun a series of posts to my blog on all my equipment and how I use it, starting with my Pelican cases that I haul everywhere I shoot. See .sig if you are interested. First installment has been posted. Hopefully the next by the weekend.

[Jack Van]

Dwight

I am new to digital photography although have been taking photos for many many years. Used to live in Chicago so was able to see every band I could and the camera was a natural thing to carry. Divorce took the cameras and the photos got stuck in the crawl space of the home I ..umm....lot my ex have so we start anew.
After reading your story, I have renewed hope and interest. I am only a bit younger than you, (54) but live in a beautiful city and love to shoot people (Photographically) and man made structures. I can only hope that one day I can write a story as good as yours.

Thank You very much for sharing.

[DwightMcCann]

Dwight

I am new to digital photography although have been taking photos for many many years. Used to live in Chicago so was able to see every band I could and the camera was a natural thing to carry. Divorce took the cameras and the photos got stuck in the crawl space of the home I ..umm....lot my ex have so we start anew.
After reading your story, I have renewed hope and interest. I am only a bit younger than you, (54) but live in a beautiful city and love to shoot people (Photographically) and man made structures. I can only hope that one day I can write a story as good as yours.

Thank You very much for sharing.
So, you are in Mexico? Yes, divorce can be disastrous, but it wasn't until after mine that I really got anywhere with photography ... fortunately my second wife is very supportive. I am now 63 and July was by far my biggest month ever (over $5600 with another $1000 owed by another client that won't show up for a while, but with the economy downturn future schedules have been pared down significantly.) There is always hope!

[Jack Van]

No Dwight I live in Savannah, Georgia now. I took the photos when I went to Mexico to visit. There are some places in life one just has to visit before going to the next place.
My first wife hated the photography and my guitar playing so I let them go aside. Left with one guitar, one amp and a bunch of old cameras. Oh well it was for the best.
Present wife is the most supportive person I know. Want to see me do well in this hobby, not necessarily financially, that is always a nice thing, but I have a good income for now but would like to have something to do when I retire. I love visuals, imagery etc, so this is where I am going. Bought my first Canon (Well since the AE1) and PS Elements to start and am on the case. Hope to find some like minded individuals in this area so we can share brain waves but the net does really help.

I wish you all the success Dwight, your images are stunning.
Jack

[silvex]

I know it has been a few days since I last visited this topic but I have been busy ... oh, yes, BUSY. Anyway, you can see there have been a few changes since the picture on page two of this thread. I have replaced the overhead chandelier with a fan/light ... with the 9' ceiling there is plenty of room and we really need the fan in the summer. OTOH I will replace it in an instant if it becomes a problem. A big chunk of the area to the left of the door is now a storage rack. On the far wall is my three roll backdrop setup ... fits like a glove with 9' paper rolls! And the rolls block light from that window which faces West. I usually don't have trouble with the other window. The table nearby on the right is nice ... it is a stylized drafting table with tilt top but it takes up too much space so I am likely to move it elsewhere. That's a "beauty dish" and muslin in its plastic holder on the table. I'd like to put in a smaller work surface and a wall mounted rack with a stereo system with some wall mounted speakers.

The studio isn't very studio like right now. I was doing a series of 17 portraits at the casino and after #11 my Bowens QUADX 3000 generator exploded. The one you see on the floor is a floor model demo I bought as I can't wait for the original to go to Chicago to be repaired! I haven't decided yet whether to start writing terrible reviews everywhere until I see if they are going to repair the old one for free ... it was just out of warranty but it was clearly a short of some sort and the two fuses were completely protected!!! When working the one I had was really pretty damn good! Anyway, all light stands and heads are packed (except for the one I used to test the new unit) to back over Monday to finish.

So, why am I bothering you? Good question! I am hoping to make a little headway on further improvements this summer. Now that I have two generators I am thinking of using two wall mounted boom arms on the right hand wall with one generator. These would allow easy hair/background lights while the other generator and pair of heads would be main and fill. Would also work for the occasional product shots I do for my winery client. Anyway, I am committed to the QUADX system at this point so the lights are determined. But does anyone have suggestions for wall mounted booms? Vendors? Anyone still think a rail system would be best? If so, vendor recommendations?

On a related topic, I have two umbrellas, two soft boxes (3' x 4', approx.), two flash head reflectors with barn doors and four flash heads (plus stands.) I am considering a bigger soft box, maybe 5' to 6', to get full body soft light ... is this reasonable/right?

Finally, the image of the six guys is a band I do a website and photography for. I had to clone in the wall behind the right hand guy because the shooting angle required to avoid the light stand on the right side ... this image is what got me thinking I would use boom arms on that side so I could shoot from much farther back. I needed a higher light near the middle but then it would have blocked shooting!

So, I am once again open to suggestions and bloated ego comments! :rolleyes: I still have a substantial budget over the long term although I have thoroughly researched the H2D with 39MP capacity and it just doesn't work for me right now. :lol:

Not bad. I would put more strobes/lights to lit the lower body. A lil speedlite should do the trick.

[DwightMcCann]

Not bad. I would put more strobes/lights to lit the lower body. A lil speedlite should do the trick.
I've got some tall strip lights now so I can likely light feet. Most of my problems are with space constraints as I have plenty of lights. :-) But the studio part of my business has languished while I take care of other things like learning Photoshop, replacing failing computers, getting acquainted with new hardware (such as my Wacom 21ux pen tablet) and the like. I expect to be spinning back up in the studio area around December and putting something together with Dave Contreras. I'm old but I make up for it by being slow. :-)

[silvex]

I'm old but I make up for it by being slow. :-)

:lol: :lol: :lol: I am 48...so...I hear ya!!!

[DwightMcCann]

:lol: :lol: :lol: I am 48...so...I hear ya!!!

Ah, you're just a kid! The real slowdown doesn't even start until you're 60. :-)

[DwightMcCann]

Warning: This is an older thread! But I have an update ... I hadn't realized that I had fallen off this thread. Anyway, I now have the drapes on both sides using Autopoles as well as two pipes running across the top to hold lights and other set work. Here's a shot of the setup I just used to shoot Marna (http://photography-on-the.net/forum/showthread.php?p=7117585) and Anna (http://photography-on-the.net/forum/showthread.php?t=632002.)

http://dwightmccann.com/Images/Marna01182009/fullsize/Marna01182009-043.jpg

[DwightMcCann]

I have had two new 20 amp circuits pulled into this room. Each has one outlet box and both are along the right hand wall. I am currently working on getting music into the room ... it is the most requested thing by models, much to my surprise! I'll add pictures and references as I go.

[DwightMcCann]

With the two new 20 amp circuits in place I decided to upgrade a bit. First I put my 30" Dell monitor on a pivot arm and added a glass shelf underneath to put my laptop on so that I could tether to it. The monitor swings out so that the model can see it or it can be turned back so that "visitors" can see it. I almost always shoot tethered in the studio using EOS Utilities and pulling the gray card images into Bridge to check exposure. The only down side is that the little jpeg preview the camera embeds in the RAW file starts to pixelate at this size.

I also bolted up three other glass shelves next to the laptop setup, unboxed my old stereo components and bought a couple of JBL wall mount speakers. Now I have SOUND in the studio ... the most requested addition by models. Anybody know if there are adapters for iPods to RCA plugs?

So, I had just shot a few images of my daughter and decided it was a good time to get a couple of shots of the new additions. Starting on the left is my new big beauty dish turned up toward the ceiling to light the scene. On the floor right next to it is a QUADX 3000 generator. Camera on tripod tethered to laptop is 1DsMIII with Really Right Stuff L-plate & quick release on Gitzo legs. Behind the camera is laptop with Dell monitor overhead. The power strip shown is plugged into one of the new 20 amp circuits. Above the monitor you can see one of the new speakers. To the right of that stuff are new glass shelves: top to bottom is 200 watt per channel amp, 5-CD changer and pre-amp. The copper wire is the test speaker wire that I expect to replace today with Monster Cable, with the cable run being in #6 screw hooks in the ceiling ... since the speakers are mounted in removable lift out adapters I will have at least 25' of cable to each and will be able to move them elsewhere as needed, although they are a bit heavy. For those offended by exposed speakers I will be putting the grills on them ... my wife can't stand to see the speakers, sigh. Underneath the stereo are wire rack shelves.
http://dwightmccann.com/Images/Studio030709/DwightMcCannStudio001.jpg
The door leads into a hallway with full bath on the left and my office on the right and then into my living room ... the studio is in my home.

Here's the view from the doorway:
http://dwightmccann.com/Images/Studio030709/DwightMcCannStudio002.jpg

And here's a better view of the equipment ... you can just see the image of my daughter in the monitor.
http://dwightmccann.com/Images/Studio030709/DwightMcCannStudio004.jpg

Now I need a better antenna to replace that little folded dipole tacked to the wall. :-)

[GarryEdwards]

Just seen this thread, some very interesting opinions.

Just a couple of points.
1. Forget about overhead track lighting for your studio lights, the ceiling is far too low at 9'. Think 14' minimum
2. You've got studio flash, forget about any form of continuous lighting. Nowhere near enough power, far too bright (looking) for your model's comfort, very difficult to control the quality of light by adding light shaping tools.

[DwightMcCann]

Just seen this thread, some very interesting opinions.

Just a couple of points.
1. Forget about overhead track lighting for your studio lights, the ceiling is far too low at 9'. Think 14' minimum
2. You've got studio flash, forget about any form of continuous lighting. Nowhere near enough power, far too bright (looking) for your model's comfort, very difficult to control the quality of light by adding light shaping tools.

Um, well, you see, I have Autopoles with cross pipes to which I hang my drapes, mount heads directly or with Magic Arms so I guess I don't absolutely have to have 14' minimum. I also use light stands, of course.

I long ago forgot about continuous lighting!

So, I'm guessing you didn't read the whole thread! :-)

[wcameron]

It's great to follow your journey on this studio. I'm a long time outdoor, nature and tourism photographer who is moving more into event and portrait. I've been studying lighting and really learning a lot over the past few months. You're very lucky to have a dedicated space to work. Have you found that you've transferred some of this new portrait lighting to your event work? It would be interesting to see if your approach has changed at all as you get a stronger handle on what light can do (realizing of course that you don't have a lot of options with your concert images since the lighting is controlled by their lighting pros).

Ward

[brecklundin]

Having been lucky enough to see Dwight's studio setup in person last year at the POTN gathering, it is really neat to read through this thread and observe the evolution.

What struck me the most is the simple nature of the setup. Yeah, there is a lot of nice gear in there and the lighting is just drool-worthy, but the open space and the simple solution of the black drapes for the walls just does not come across in the pictures. Last year I knew next to nothing about anything, but you got the sense of how a simple solution is always the best. It felt like he could reconfigure it from a group portrait to tight in product shots in a matter of minutes. I REALLY liked that. So much so, I am seriously considering completely ripping out the closet in the office/work room/guest bedroom for a similar setup.

And really his space is not large...but the way he has it setup makes it feel like one could attack any project in there...plus it was just disgustingly dust free...and THAT PISSES ME OFF...hehehehe....

[DwightMcCann]

It's nice to see that there is still any interest in this old thread. :-) For any Central Coasters interested, check my signature for a link to our thread describing the August 22 BBQ at my house in Buellton. This will be the third annual event and all are welcome.

[NYC2BGI]

I wish that I had a large budget to build a home studio.

[Gary McDuffie]

It's nice to see that there is still any interest in this old thread. :-) For any Central Coasters interested, check my signature for a link to our thread describing the August 22 BBQ at my house in Buellton. This will be the third annual event and all are welcome.

Hi Dwight. I'm hoping to get my son to go to the BBQ. He's about to retire from Vandy. I think he would enjoy meeting you guys. A thread over in G&N led me to this old thread and I really enjoyed reading it from start to finish. Great work!

Watch for a contact from sometime soon. I'd love to go too, but I'm a long way away. Will be out there for the retirement ceremony though. :) BTW, when is your BD? You are my age (mine yesterday).

[DwightMcCann]

I'd watch for him but you didn't say who he was! :-)

[Gary McDuffie]

I'd watch for him but you didn't say who he was! :-)

On purpose for now. :) PM'd

[DwightMcCann]

Time to update here again! Not many changes but I have been using the studio and thought I'd point to my glamor galleries where the last four or five exhibits were shot in this studio ... they'll be the ones at the top: http://dwightmccann.com/Glamor/glamor.html and are slideshows that you can take control over using the menu items. Here's one sample image:

http://dwightmccann.com/Images/BrianaBaker/fullsize/DazzleTeam004.jpg

[Jannie]

In a small space, an overhead grid can just be more frustrating than it's worth and get in the way of other lights on stands set lower. That said, putting one 2" pipe or speedrail along the parameter of the room can allow for back lights etc, without being in the way, make it so the center section on the back wall is removable for those days when you need every inch you can get. Get an Avenger A700 Boom stand for product work and people stuff when they aren't standing, it's amazingly handy.

My general experience with overhead grids is that they are only handy when you have to have lights right overhead, but then you really need a fair amount of height. The boom arm allows you to swing something in and as for stuff being in your way, it doesn't seem to matter how big the studio is, right around where you're shooting is where all the lights are and when you've got everything in place, you can have a hard time reaching the light thats on the overhead grid to make adjustments with out moving things all ready set in place. This happens enough to make it really inconvenient.

Also it will help if you get lights that have the ability to adjust the intensity from something like the Skyport transmitter on your camera, I don't have that and when working a boom with a softbox over a table top setup it's a pain in the butt to reset the intensity on the light if It's a big box like my 69" octa or even the 53" octa.

Also if you've got the budget then get away from monobloc lights and use the ranger or Profoto heads where you can get a huge amount of power when you need it. Also the heads are very small which places them a lot closer to the ceiling, 9' is really low when you want a nice soft spread coming as a hair light, put the light up and a strip soft box and you'll have to have the person sitting down which is fine unless you really needed them standing.

Also for your product stuff, you can do it all for less, I'm using Elinchrom BX400's and doing very well for the table top stuff but there are times I wish I could get one more stop to get the depth of field for an f16 out of the 69" Octa.

Get at least 4 good, complete grip stands and some sand bags, I could go on, I've outfitted a 40'x50'x23' studio with hot lights for films and plenty of grip gear and also filled a 20' grip truck and it's amazing how much money you can spend so try to think it out for what you really need.

[DwightMcCann]

Thanks, Ms. Jannie, lots of grand thoughts. Does make me realize I need some new pictures of the studio with markup to explain better what I have done. Didn't think of putting the background lights up on my side rails ... I have them on background light stands ... those low guys that essentially take just a head with reflector ... so that's a good plan to try. Storage is a big problem for me even with the racks I have ... always need to reorganize.

[Gary McDuffie]

Hi Dwight! Great to eye-ball you last week, enjoyed. As for the lat pic, is it me, or is the sat up a bit high there? Could easily be my monitor. Looks a lot heavier than what you showed us in print. Again, my monitor is in question here.

Again, great to meet you and the family.

[DwightMcCann]

Gary, thanks ... I need to reprofile my monitors but I expect the image is fine.

[Gary McDuffie]

Yep. I think I'll have to agree. One of my monitors is showing sign of being a bit hot on color. I'll work on it. Thanks.

[barronchung]

Hi Dwight, I just found this thread while searching on small studios, I was just wondering if you've made any changes since the last update? Thanks!

[DwightMcCann]

Hi Dwight, I just found this thread while searching on small studios, I was just wondering if you've made any changes since the last update? Thanks!

I'm not sure where I was last time ... the most recent addition was a mirror against the wall opposite the shooting area so that the models can, for the most part, see themselves. And I have acquired two Profoto D1 Air 1000 monoblocs, although they are not really integrated into the scheme.

[DwightMcCann]

"Home Studios" were just blasted by someone in an unrelated thread so I thought I'd post a couple of recent images taken in my studio, so we could decide if home studios are legitimate! :-)

http://dwightmccann.com/Images/TeamDazzleChristmas2010/fullsize/TeamDazzle2010-296-Edit.jpg

http://dwightmccann.com/Images/TeamDazzleChristmas2010/fullsize/TeamDazzle2010-212-Edit.jpg

I know I cut off her foot ... this wasn't a planned image ... Lisa Angeline was telling me to do or not do something (she was actually an excellent director) and I shot her!
http://dwightmccann.com/Images/TeamDazzleChristmas2010/fullsize/TeamDazzle2010-386-Edit.jpg

http://dwightmccann.com/Images/TeamDazzleChristmas2010/fullsize/TeamDazzle2010-450-Edit.jpg

I have high hopes of going through the studio again and posting some detail pictures of the Autopoles, curtains and other stuff to put together a blog post and to post in this thread as I know a lot of guys get ideas and inspiration here.

[TMR Design]

Very nice Dwight. Yeah, the nonsense about home studios and whether or not it makes you a pro or not is just hogwash!!

[DwightMcCann]

Very nice Dwight. Yeah, the nonsense about home studios and whether or not it makes you a pro or not is just hogwash!!
When you shoot what I shoot in my home studio, being a 'professional' by someone else's criteria seems a moot point. LOL.

[kfyount]

"Home Studios" were just blasted by someone in an unrelated thread so I thought I'd post a couple of recent images taken in my studio, so we could decide if home studios are legitimate! :-)

I loved those Team Dazzle pics when you posted some of them at Christmas time - the only thing better than your Team Dazzle pics are more of your Team Dazzle pics!

I have high hopes of going through the studio again and posting some detail pictures of the Autopoles, curtains and other stuff to put together a blog post and to post in this thread as I know a lot of guys get ideas and inspiration here.

That would be excellent - I, for one, need all the ideas I can get. Thanks!

Very nice Dwight. Yeah, the nonsense about home studios and whether or not it makes you a pro or not is just hogwash!!

Rob, I'm with you (as you already know since you read the other thread too...) But honestly, if it had only been a comment about home studios and being a pro or not, it wouldn't have seemed as bad. Lot's of people think if you work from home it isn't really working - photography is no different in that respect. But what ticked me off was that home studios were being associated with being creepy.

[TMR Design]

When you shoot what I shoot in my home studio, being a 'professional' by someone else's criteria seems a moot point. LOL.

I agree. It's what you shoot and the end product, not where it was shot or the size of the space.

There are countless stories about struggling photographers with no gear that just happened to have a north facing window and shot in one corner of a cramped apartment.

It's no different than "it's the photographer, not the gear".

[TMR Design]

I loved those Team Dazzle pics when you posted some of them at Christmas time - the only thing better than your Team Dazzle pics are more of your Team Dazzle pics!



That would be excellent - I, for one, need all the ideas I can get. Thanks!



Rob, I'm with you (as you already know since you read the other thread too...) But honestly, if it had only been a comment about home studios and being a pro or not, it wouldn't have seemed as bad. Lot's of people think if you work from home it isn't really working - photography is no different in that respect. But what ticked me off was that home studios were being associated with being creepy.

Yeah, the 'creepy' thing didn't sit right with me either. I didn't want to get into it or really understand what was meant since it was really just one persons opinion.

[hawk911]

all of my studio shots are in my garage, unless I attended a workshop. Can you tell it was my garage and not a "pro studio"?

[kfyount]

all of my studio shots are in my garage, unless I attended a workshop. Can you tell it was my garage and not a "pro studio"?

Hawk, your work is a perfect example - it doesn't make any difference where it was shot. If it is good, it is good - and your stuff is good! This forum showed me that it is possible to use a space like a garage (or my little end of the loft) and get good shots! Otherwise, I would have never gotten interested in that sort of shooting.

[TMR Design]

Almost all my studio shots were done in my studio and it's far smaller than Geoff's garage.

[kfyount]

Almost all my studio shots were done in my studio and it's far smaller than Geoff's garage.

Your stuff is also great inspiration for me - and I really appreciate all your advice about equipment!!

[TMR Design]

How many times have you seen a photographer with a Rebel, a 50mm f/1.8 and a 430EX and the images they show blow away many of the images from people with bags, cases, and closets full of gear?

Same thing.

[DwightMcCann]

How many times have you seen a photographer with a Rebel, a 50mm f/1.8 and a 430EX and the images they show blow away many of the images from people with bags, cases, and closets full of gear?

Same thing.
We have repeated cases of that here on POTN! I am terrible with names, but in the Glamor section we had a guy who did fabulous work with a Rebel or something comparable ... just stunning stuff. One day I noticed he had switched to a 1D body of some sort so I asked about it. "Oh, they made me switch as they have some sort of rule about it at Playboy!" What a hoot, eh? Wish I could remember his name. He does destination shoots for the big magazines and I see a mention/post of his from time to time. I also think we have some guys on here that assist him. He's Canadian is all I can remember. LOL.

[hawk911]

Robert, the bragging usually goes "mine is bigger", but in this case makes do with less seems to trump those with more :)

[DwightMcCann]

Robert, the bragging usually goes "mine is bigger", but in this case makes do with less seems to trump those with more :)
No, no, no ... have you looked at my Gear List? I certainly don't do with "less" ... except in size of studio. But ya' gotta' remember, I'm primarily a concert shooter and most of my work is like this:

http://dwightmccann.com/Images/BBKing08132010/fullsize/BBKingCollage-1024.jpg


or like this:

http://dwightmccann.com/Images/ShoBox05142010/fullsize/ShoBoxColllage-1024.jpg


But I absolutely agree that it is the photographer, not the equipment, that makes the images ... and sadly, I am the proof of the pudding. I have everything I want ... except about 3000 more square feet of studio, sigh.

[hawk911]

I know Dwight... it was tongue in cheek referring to the studio size :)

[DwightMcCann]

I know Dwight... it was tongue in cheek referring to the studio size :)
I was just using you to post some more of my stuff that would otherwise be unrelated! LOLZ.

[hawk911]

I was just using you to post some more of my stuff that would otherwise be unrelated! LOLZ.

Nice! post away

[kfyount]

Nice! post away

I second that Dwight- I love to see your concert and event images. But they are related - if you weren't as good at that, you wouldn't have been as able to set up the studio!

BTW, I'm looking forward to seeing more current pics of the studio!

[rfreschner]

in the Glamor section we had a guy who did fabulous work with a Rebel or something comparable ... just stunning stuff. One day I noticed he had switched to a 1D body of some sort so I asked about it. "Oh, they made me switch as they have some sort of rule about it at Playboy!" What a hoot, eh? Wish I could remember his name. He does destination shoots for the big magazines and I see a mention/post of his from time to time. I also think we have some guys on here that assist him. He's Canadian is all I can remember. LOL.

I think that might be Paul Buceta (paulbuceta). Great stuff!

http://www.paulbuceta.com/

[DwightMcCann]

I think that might be Paul Buceta (paulbuceta). Great stuff!

http://www.paulbuceta.com/

YES, Yes, yes! Super guy! Love his stuff, love his style and love that he could probably do it with a pinhole camera. :-) I owe you a drink.

[PhilF]

hey Dwight why didn't you go for Profotos?

[DwightMcCann]

hey Dwight why didn't you go for Profotos?
I bought my first studio lights before I "turned Pro" just because I had always wanted to try them. The guy at Calumet urged me to go with Bowens QUADX because they are a pretty big bang for the buck. I had one generator and four heads. The generator exploded and I had to send it back to Chicago where they have the worlds slowest repair center ... perhaps slowest in the universe. I got expedited service that took over three months. I couldn't wait and bought a second unit. When the first unit finally got back it exploded again on the first firing (one of our Mods was in the room when it happen ... Skip!) I gave it back to them. Luckily they gave me a replacement. I also bought two more heads and a portable power pack. Everything has worked stellarly for the past year or two and I am actually to the point that I might recommend them.

So, to the Profoto question ... I am slowly converting to Profoto. I currently have two D1 Air 1000's and will, over time, acquire more Profoto. I don't have quite as much money to throw around since the depression started and the generators are very expensive, along with the heads, and I make hardly any money in my studio so I expect it will be another year before I pick up another set of D1 Air 1000's. After that I will get a generator and some heads. Then I'll sell all the Bowens as a kit, carefully explaining that repairs can take months but the units are very good quality and very flexible.

Did that even begin to answer you? I just got home from shooting Penn & Teller and may be rambling, sigh.

[rfreschner]

I owe you a drink.

If I ever get to that side of the country, I'll be sure to look you up! ;)

[DwightMcCann]

If I ever get to that side of the country, I'll be sure to look you up! ;)
I'll be here!

[DwightMcCann]

Well, I finally made time for a few detail shots of the studio ... they aren't technically excellent as I just got a general exposure using my big Bowens beauty dish and then depended on Lightroom to adjust, but they are clear and I will take questions. LOL.

The "superstructure" or overhead of the studio is created using four Bogen Autopoles, one at each corner. Pipes (from Home Depot), 10' sections on the long axis of the studio and 9' 4" on the width connect the Autopoles and are attached using Bogen double superclamps. There are currently three cross pipes, but the newest one, farthest from the backdrop, isn't quite far back enough and the fan hits it. I am going to have to make an adjustment of some sort if I want to continue to use it. So, here's some pictures:

Autopole and two pipes held with two double superclamps:
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail01.jpg

The next image is the far end of the same lengthwise pipe which terminates just before the wall and the three seamless backdrop holder:
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail07.jpg

Here's a shot along the way showing how the black "stage curtains" are hung:
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail03.jpg

The curtains are held on by rings with another Home Depot gadget that goes through the grommet and then a threaded pin locks them on ... I went through three or four types of hardware before finding these and they are perfect.
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail02.jpg

One of the ways I use these overhead pipes is for my background lights, by mounting a Bowens QUADX head on a Variable Friction Arm that is attached to the pipe with a superclamp. This is a very flexible arrangement as the head can be adjusted almost universally and used as a sidelight, hairlight or whatever.
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail04.jpg

With that in mind, here is a shot from close to my normal shooting position. You can the pipes coming in from both walls, the background lights, the strip light I use as a hair light attached to a pipe, the background paper holder behind it, at the very top another strip light that is attached to the pipe that doesn't clear the fan and will need to be changed, and the top of the beauty dish I was using to light areas.
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail14.jpg

To give a better idea of where I shot this last image, here's one looking almost in the opposite direction. This is what the models see when posing. The mirror, a demand by my professional models, is positioned so they can see themselves. The rack that runs along that wall is a mixed blessing ... it holds a lot of stuff but slices a big area from the usable space when shooting.
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail13.jpg

Here are the three seamless rolls I use: white, black and red. The tend to unroll a bit (at the worst possible times) so I use Velcro straps to hold them closed. I buy the Velcro straps in rolls of 25 and just pull them off when I need them.
http://dwightmccann.com/Images/StudioDetails/fullsize/StudioDetail12.jpg

So that's it for this post ... I have a few more images of the storage and wire baskets, etc., so let me know if you're interested. All the image can be seen at http://dwightmccann.com/Glamor/StudioDetail.html if that's easier.

[kfyount]

Well, I finally made time for a few detail shots of the studio ... they aren't technically excellent as I just got a general exposure using my big Bowens beauty dish and then depended on Lightroom to adjust, but they are clear and I will take questions. LOL.

So that's it for this post ... I have a few more images of the storage and wire baskets, etc., so let me know if you're interested. All the image can be seen at http://dwightmccann.com/Glamor/StudioDetail.html if that's easier.

Thanks Dwight! I love that everything is relatively simple and "within reach" of all of us who want to set up a home studio - yet it looks professional and works. Thanks too for mentioning things like the rings you used for the curtains - if we listen, that might save some of us the trouble of going through the same 4 trial and errors process.

Were there other "lessons" that you learned getting to this point that we could also benefit from?

[DwightMcCann]

Lesson #1: The wife won't let you paint a room black so plan to get something to shade the walls.

[kfyount]

Lesson #1: The wife won't let you paint a room black so plan to get something to shade the walls.

Classic! I hear THAT!

(question asked and answered, just like your wife did!)

[DwightMcCann]

Classic! I hear THAT!

(question asked and answered, just like your wife did!)
Well, she's actually a trooper (as is my daughter) and will pose for me and even better than that, when I store stuff in the living room for a month or two (and I'm talking big Pelican cases and assembled 3' x 4' soft boxes, she doesn't even seem to notice/care! There will be a few holes in the walls that will need to filled and painted if I ever move to a separate studio but nothing compared with trying to repaint BLACK! :-)

[umphotography]

Dwight

Like what you have done and im in the same boat as you, except my boat is 12x36:lol:. I really like your auto poles and pipe set ups with super clamps. Thanks for posting those. They will be a big help as we were going to do something very similar.

Can you drop me a pm and let me know where you got the extension arm the is holding your one light down. The one with the barn door. I like that. Im assuming auto poles were from Manfrotto.

My studio is in my basement along with my office and storage area, sink and changing area. We are about 1050 sq ft so its really starting to shape up. we painted our side walls with 18% grey and i dont have a ceiling thats dry walled so thats a big help with spill. Im very luck because i can set up at both ends and easily work with a 70-200 inside my studio.

Stands is the big issue for me so i really happy you posted the autopoles and super clamp shots. When i get back from California next week i will post some shots of mine as well.

PS- would worry one bit about doing a home studio. Look at all the big names that are closing down and doing the same thing as you and i.. nice job. Great thread. Keep it up

[DwightMcCann]

um, the thing holding the head with barn doors is a Bogen Variable Friction Arm [http://www.bogenimaging.us/Jahia/site/bius/pid/6780?kindOfProductCollectionRequest=productDetail&productCode=2929&productDescription=VARIABLE%20FRICTION%20MAGIC%20A RM&curBrandId=MAN&market=MKT3] which was one of the items I wrote about in my last blog post (see signature.) I have six of them (I think) including two in my remote shooting kit (I guess I should review that, too) that I use mostly for mounting a camera in the lighting truss when I shoot ShoBox: The New Generation.

My studio, including the storage area is only 170 square feet with 9' ceiling, but I have gotten five very pretty models in it all at the same time so I guess it's big enough for now. I do miss being unable to use the 70-200mm f/2.8L IS effectively ... I use the 24-70mm f/2.8L a lot but the distortion is noticeable.

[kfyount]

Can you drop me a pm and let me know where you got the extension arm the is holding your one light down. The one with the barn door. I like that. Im assuming auto poles were from Manfrotto.


um, the thing holding the head with barn doors is a Bogen Variable Friction Arm [http://www.bogenimaging.us/Jahia/site/bius/pid/6780?kindOfProductCollectionRequest=productDetail&productCode=2929&productDescription=VARIABLE%20FRICTION%20MAGIC%20A RM&curBrandId=MAN&market=MKT3] which was one of the items I wrote about in my last blog post (see signature.)

That variable friction arm is also sometimes called "magic arm" - there are those with the knob like Dwight shows and those with a handle that operates a cam to lock the arm into position.

I thought I read that Dwight said he had Bogen autopoles, but now I couldn't find it. Even if that is true, they would be Manfrotto. Bogen was bought by Vitec (also owner of Manfrotto) some time back. Vitec left the former brand names in place and sold lots of items under both brands - usually, Manfrotto was in Europe and Bogen was in USA. But that line blurred over the years and Manfrotto could be found in the USA without the Bogen brand name and vice versa to a lesser extent. It seems that they may be consolidating brands even more since about a year ago Bogen Imaging became Manfrotto Distribution. (When you click on the Bogen Imaging link Dwight posted for the arm - the item comes up with the Manfrotto brand) Interestingly, Vitec still seems to be keeping the Gitzo brand.

At least here in Europe, Manfrotto gear is often sold under various brands - e.g., Multiblitz and Hama and some other bigger photo shops have their own brand. There are knock-offs out there, but my point is that it might be Manfrotto even if sold as something else.

[DwightMcCann]

I use Bogen and Manfrotto interchangeably since they don't sponsor me! :-) The Magic Arms with the lever don't work as well or as long as the Variable Friction Arms (aka Magic Arms.) If Manfrotto wants to send me free samples then I'll be sure to use the name they prefer! LOL.

[kfyount]

I use Bogen and Manfrotto interchangeably since they don't sponsor me! :-) The Magic Arms with the lever don't work as well or as long as the Variable Friction Arms (aka Magic Arms.) If Manfrotto wants to send me free samples then I'll be sure to use the name they prefer! LOL.

I hear ya! I would make the same offer but I don't hold out much hope of any reply as a hobbiest.

I wondered about the difference - it seems they push the lever version as being simplier and more convenient, plus I think the knob version was the original style and of course everyone "needs" the new fangled version - but I guess that comes with a price. I have 3 of the lever arms and recently noticed that the tension on the lever can be adjusted after things loosen up (haven't needed to try it yet) - is that the problem you noted on them?

[DwightMcCann]

I have heard for years that the knob is superior to the lever so I never bought a lever one. But I have worked with guys with the lever and as they age they get cantankerous (the arms as well as the guys) so I have avoided them. What isn't obvious just looking at them is that when the knob is loosened, not only does the pivot point allow the arms to swing apart, but the joints at the ends relax and can be leaned over (including into a slot that allows 90 degrees) but they also can rotate while leaned, making them very easy to adjust once attached to a superclamp or lightstand and then simply tightened up again. I should do a photo demo I guess.

Any questions about anything shown?

[kfyount]

I have heard for years that the knob is superior to the lever so I never bought a lever one. But I have worked with guys with the lever and as they age they get cantankerous (the arms as well as the guys) so I have avoided them. What isn't obvious just looking at them is that when the knob is loosened, not only does the pivot point allow the arms to swing apart, but the joints at the ends relax and can be leaned over (including into a slot that allows 90 degrees) but they also can rotate while leaned, making them very easy to adjust once attached to a superclamp or lightstand and then simply tightened up again. I should do a photo demo I guess.

Any questions about anything shown?

Thanks for the details - I can understand now why I find more level arms on that popular auction site. Even if the knob version is older, it probably works better for a lot of uses. With the arm, when you open it the joints are pretty much completely free and even if you can hold the lever to keep friction, it is not as convenient.

I don't have other questions, but I do have a BTW tip. It seems (from talking to people and reading other threads) not everyone realizes that the double magic clamps are simply two screwed together. If you are buying them, I think the doubles aren't any more expensive than two singles. But if you have a bunch of the single magic clamps, you can use them to put together double clamps (but then, most who have a buch of singles probably already knew that...)

[DwightMcCann]

I have a bunch of both types of super clamps. I'm not sure how simple it is to put two singles together to form a double.

[kfyount]

I have a bunch of both types of super clamps. I'm not sure how simple it is to put two singles together to form a double.

The clamp faces all come with 4 holes - two are threaded for a 5mm (10-32) and the other are unthreaded "pass-through" holes. The screws are those with allen wrench heads - they are the same as the screws used to mount accessories on the frames of bicycles. I had some from my bike but they were too long, I think I ended up using ones that are 16mm long (but don't hold me to that).

When you put two screws in the pass-through holes, they will line up with the threaded holes when you "cross" the faces of the clamps. Just use an allen wrench and tighten them down - you have a double clamp.

This is also good to know if you every need a "right-hand" double clamp instead of a "left-hand" - by unscrewing the two and flipping one around, you can change the side the handle is on. (It is hard to explain so that it is clear - but if you ever use double clamps, you'll probably know what I mean.)

There is another thread here about booms and grip equipment:
http://photography-on-the.net/forum/showthread.php?t=988250&highlight=Booms+grip

Take a look at FJ LOVE's Autopole set-up using Manfrotto wall-mount boom arms (post 6) - that is pretty cool too! (He screws the boom arms onto the same threaded holes on magic clamps.)

[DwightMcCann]

Kevin ... a big THANKS to you! I honestly had no clue but will certainly familiarize myself!

[MDJAK]

Finally shot a quick image of the studio room. I expect to replace that lovely chandelier with an overhead fan/light initially, although I will need something pretty unobtrusive in the final version. The room is 10' wide, 9' high and 17' deep. The window on the far wall is looks West and the side wall South.


OMG, I think I spy one (or more) of Belmondo's lost tripods. :lol:

[DwightMcCann]

OMG, I think I spy one (or more) of Belmondo's lost tripods. :lol:
I don't think I have any of those tripods anymore ... converted to four Gitzos. But I think I did buy a lens from Tom once upon a time! I'm hoping he and his lovely young bride come to the BBQ again but I am not holding my breath.

[DwightMcCann]

At the strong urging of Gary McDuffie I have made a few changes to the studio with the goal of clearing the floor of lightstands for the two large softboxes that have always "enclosed" the camera position. I also decided that the two strip lights, one over the camera position for high main light fill and one a couple of feet forward of the background for hairlight, would be more flexible and useful if used differently. The one over the camera position was swapped out for a 22" beauty dish on a magic arm and the one near the background was swapped out for a seven inch reflector on a magic arm.

#1 Shot from behind the normal camera position showing the beauty dish above, the new position of the two big softboxes and the background light reflector on magic arm. The background light reflector used in this position puts a shaped oval of light on the background but can easily be turned to be a hair light. There are also two reflectors with barn doors that act as background lights. And the two Profoto D1 Air 1000's on background light stands in the back corners on the floor.

http://dwightmccann.com/Images/StudioDetails/fullsize/Studio001.jpg

#2 Here is the 22" beauty dish on a magic arm above the camera position. I expect to use it for posing table portraits, optionally with a reflector beneath the subject and for general Paramount lighting.

http://dwightmccann.com/Images/StudioDetails/fullsize/Studio002.jpg

#3 Here is how the large softboxes are affixed to the Autopoles with magic arms. The are just a bit heavy for the magic arms so I am expecting Gary to be coming down at some point to see if we can re-engineering them ... perhaps mounting on the cross bar that the large beauty dish is on, adding a new cross bar for them with additional extensions or with additional Autopoles.

http://dwightmccann.com/Images/StudioDetails/fullsize/Studio003.jpg

Always open for questions or suggestions.

[Harleypugs]

Looking pretty sweet!

[MDJAK]

missing one thing, Dwight: A steady influx of hot models. Now get going.

After all, I've used my Mola Setti to shoot flowers outside and my dog thus far. :(