Making a small space work

[marcie m]

<p>I'm setting up a small studio. When I say small, I mean small: 10'x10. There is more space than that but it is an attic space with a gabled roof. The 10x10 is really the only photographic working space. In your opinion, this would limit me to headshots, tight close ups and baby photos correct? What lens would you be comfortable shooting with in this sort of space?</p>

[Matt Laur]

<p>What camera body/ies are you (going to be) using? Presuming an APS-C-ish body, it sounds like you're probably in 50mm territory, by the time you provide a bit of separation between your subjects and the background. What will you be using for light?</p>

[garypeck]

<p>One of the things newbies fail to comprehend and plan for is space. You can do a lot in a 10x10' spece provided you have room for lights - which I'll bet, you don't. Cameras and lenses don't mean squat if you can't use light modifiers comfortably in the space provided.<br>

If the gabled roof is low you might want to consider an alternative ie: temporary space that is more usable. Can you place a 6' reflector or panel in the current space, how about a 3x4' softbox? Afterall. that's where your ultimately headed. </p>

[marcie m]

<p>This is all a dream scenario for a business plan. I plan on buying a Canon. Most likely a used Canon EOS 1DS. Lighting can be a Metz, miscellaneous speedlights, or a 1100 WS Speedotron set up with three heads that have always served well for headshots. (I was a pj for years before shutting down my free-lance career for an office and a regular paycheck. Since my "retirement" I've been a seasonal shooter for larger outfits using their equipment or renting. My own equipment is Nikon, film-based, and very beat up.). I'm leaning toward the 17-55 f/2.8 as the first lens in my new kit.</p>

[Charles_Webster]

<p>Marcie, I would not base a business plan on the space you have. You won't really have room to do much beyone a head and shoulders, if you can manage that. Remember you need space between the subject and the background, and between the subject and the lights. And with a gabled ceiling you won't have much room for the lights.</p>

<p>A classic portrait lighting setup is short lighting, in which you have a main light source off to one side of the subject and the fill light directly over the camera. With a 10ft width, you barely have room for the main light on the side, and with a low ceiling your ability to put a softbox or umbrella over the camera will be severely limited.</p>

<p>A tiny space is OK for learning about studio lighting, but won't really be satisfactory when you want to start charging for your work.</p>

<p>If you want to build a business, don't start with studio portraiture, especially not in a tiny space. Build your business on senior pictures, engagement sessions, and environmental portraits that can be shot outdoors or on location.</p>

<p><Chas><br /></p>

[david_schilling___chicago_]

<p>The smaller space also will not help for the comfort level of your subjects unless you're shooting table-top products..........</p>

[marcie m]

<p>Chas wrote:</p>

<blockquote>

<p>Marcie, I would not base a business plan on the space you have. You won't really have room to do much beyone a head and shoulders, if you can manage that. Remember you need space between the subject and the background, and between the subject and the lights. And with a gabled ceiling you won't have much room for the lights.<br>

A classic portrait lighting setup is short lighting, in which you have a main light source off to one side of the subject and the fill light directly over the camera. With a 10ft width, you barely have room for the main light on the side, and with a low ceiling your ability to put a softbox or umbrella over the camera will be severely limited.<br>

A tiny space is OK for learning about studio lighting, but won't really be satisfactory when you want to start charging for your work.<br>

If you want to build a business, don't start with studio portraiture, especially not in a tiny space.</p>

 

</blockquote>

<p>Chas, let me assure you I'm not basing my entire business plan on setting up in my attic, LOL! My business plan though should be the subject of a different thread. Basically, my question is what sort of portraits <em>can</em> be done in that space? And with what equipment? In the past, I've done shots with my studio lights in tight spaces such as this. They were seriously baffled so as not to blast my subjects.<br>

David, regarding your mention of the tight quarters. It's actually not as tight. The dimensions I posted is for the area that has the full ceiling. The attic is much larger but the ceiling has a sharp slope outside of that 10x10 area.</p>

[gary_watson]

<p>Look, you can make mistakes in <em>any</em> space. Learning to make great images with what's at hand is the grail. What's the point of getting sniffy and dismissive about the OP's situation? A hangar-sized space is no guarantee. Start shooting, Marcie, and see what happens. I'd also have a look at the "Strobist" site for leads on doing the mostest with the leastest.</p>

[dave_wilson1]

<p>One thing that will be beneficial to you is to carefully figure out which lenses will give you the best results in your space. For example, I used to do work in a colleagues small studio that had a very small camera room. At the time I was using Bronica SQa cameras and I knew that the best lenses in there were the 65mm for full body shots and 150 for head shots, I also occasionally used the 80, but that wasn't often. I knew where to put the lights and where the edges were and other such problems. So I'll be an optimist and say I bet you can get some grat stuff once done with some practice and fine tuning.</p>

[steve_crist]

<p>Best wishes on your career. Any space will do and obviously the larger the better. I remember many years ago working out of my 12 by 15 foot living room as it was the largest room in my house (basement was larger but had a lower ceiling). Worked OK but always moving furniture back and forth. Also the 17-55 lens won't work on the 1 series Canon's. If you get a 1Ds body the 85L and 35L lenses make an excellent pair of lenses for single and group shots respectively. Again best of luck to you.</p>

[markonestudios]

"I plan on buying a Canon. Most likely a used Canon EOS 1Ds"

<p>I know your original query wasn't about this, but I think you may well be better served by a newer body. maybe a 5D Mark 1? I'd be interested in your rationale for this.

[marcie m]

<p>Mark Anthony, my reason is funds. I would like to spend <$2200 for one body and one or two lenses. Much as I'd like a 5D Mark II, it would not leave me any money for marketing despite my exceptional guerrilla marketing skills ;-). Also, I'm not sure I'll be able to find a 5D Mark 1. My lighting equipment from my film-era career is still serviceable for now. My plan is to use the fees I get for doing portraits (outdoors or on location) to continue building my camera bag and business while I keep my desk job. My purpose for the thread was to have a group discussion on what could work <em>if I had to</em> use my available <em>free</em> space.<br>

(And for all the Negative Nelly's on the forum, my promise to you is I won't be charging weekender below-market rates. I was a pro before and wish to return.)</p>

[bob_bill]

<p>Marcie, large modifiers will be a problem. You already have 6 - walls, ceiling and floor as modifiers. Bounce off walls for key and fill. bounce off back wall or ceiling for fill. Or put reflector or sheet on floor for floor fill. 45 degrees in and out for low fill and small umbrella over head or ceiling bounce for clamshell like beauty lighting. Once you get the angles and areas bouncing, may want them white and rest of walls black to minimize all the photons bouncing about to give more contrast control. Consider grids and harder, controlled lighting for those with skin that can handle the harder light. Tape a piece of black velvet to back wall and can get subject closer without shadow. No space lost for stands sticking out from wall. Might consider the ring light rim shadow look against white seamless taped to wall and subject about a foot from it. That will give you 9 feet to shoot. Try moving subject closer or further from the walls to change the light ratios. Dont forget that built in umbrella where the 2 walls and ceiling meet as a bounce spot. Control scatter with black flags. Black cloth hanging from booms works and can be moved in and out for contrast control. Consider lastolite 3x6 panels that can be shot through, or used as reflectors. or flags for subtractive lighting. ( Tim Ludwig, Santa is on his way with mine) You have three problems in a small space- enough room to position lights/modifiers, enough distance from subject to use a lens that is flattering, and preventing light from bouncing everywhere and taking away control. I hope this helps. I like to work in small spaces sometimes to work on solving the problems. But the solution I would prefer, would be to get a battery pack and do location shoots. Then the world is your studio. Here's one taken in not much more space, just high ceiling enabling high, gridded stobes. </p><div></div>

[stevenseelig]

<p>As an alternative view, learn to shoot on location and forget relying on the small studio space for a business model. I have a studio. It is small at 12x18 and I got tired of its limitations and have been moving the business to locations shooting predominately. Best decision I've made lately. And it is much more interesting. Good luck.</p>