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<p>At the heart of the issue here is what rights the model has over the images. Because the photographer owes all the rights, he grants the model a subset of those. Normally these discussions are discussed prior to the shoot. One of the clauses on my license grant is that the model has the right to use the images for promotional purposes and this includes promoting herself in any way she wants. She does not have any rights to sell the image. She also has no rights to modify the images - of course she can do it in violation of the contract, but I discuss with her the need for me to maintain control over the creative integrity of the images. <br>

For what is worth.</p>

<p>Bruno, try shooting with the garage door open and the gray background opposite to the opening. The light coming from the garage door opening will be soft and directional, I would hope. Given that the model is facing the light directly, you'll minimize contrast - to avoid her shadow on the seamless, move her 10 ft in front of it. If you dont have enough light then hang a big king size sheet or a couple of translucent shower curtains off the garage door opening, and place the strobe outside the garage pointing in. By having the door rigged like this you'll have the equivalent of a huge softbox right in front of the model. Should give you pretty shadowless light. </p>

<p>One way to make the source of illumination larger is to bounce the flash against a large white surface. For example a large white wall or ceiling. Another way is to diffuse it thru a large diffusing panel, like a king size bedsheet. In order to do this efficiently you want the model to be as close to the source of illumination (wall or sheet) as you can - if you shoot in a white room you'll get additional bounced light as fill.<br>

Another solution is to shoot with strong ambient light and diffuse it as above - a "silk" made our of rip stop nylon will diffuse sun light and make for very soft light.</p>

<p>I agree with Jeff that posing, if done right, will make the image stronger. Using ambient fluorescent light or large softboxes may not create much drama. One suggestion would be to pick the background carefully, as suggested above, and then use rim lights to create more shape definition. If you use silver reflectors you'll emphasize the muscles on the chest and midsection by increasing contrast. I have used $10 hot lights from Home Depot without any modifiers when shooting male fitness. Here are <a href="http://pacoromerophoto.com/galleries/erikfitness/erik.jpg">two</a> <a href="http://pacoromerophoto.com/galleries/erikfitness/091206_ErikFitness_218bw_web.jpg">samples</a>. The pictures would be more interesting with a real gym background, which I didn't have.</p>

<p>This is a very tricky situation to photograph because of the windows. If you had no windows you'd balance flash and ambient (both color and exposure) for natural looking results. When you have large windows like this you are likely to get the flash reflect on the windows. If you cannot position the flash such that it's not visible on the window glass, you need to take multiple exposures and merge them in post-processing. I think that the image of the guy with the Macbook didnt require a merge, as the light seems to be positioned pointing to the wall and not hitting the window.</p>

<p>Franklin, this is a nice portrait. The image seems a bit underexposed on my monitors. This is a nit pick, I'd move the light source (i.e., the board) a bit higher, so that the nose shadow falls under her nose.</p>

<p>StudioLighting.net had an interview with Tim that may be helpful.<br>

<a href="http://www.studiolighting.net/e064-tadder-lightsource-photography-podcast/">http://www.studiolighting.net/e064-tadder-lightsource-photography-podcast/</a></p>

<p>In my opinion this was done with a single strobe, probably a 5ft softbox or octobox to camera left and pretty close to the subject. I would also guess that there is a grid in front of it for spill control. I don't see evidence of another light for the background.</p>

<p>If I were you I'd go look at those images carefully and make a list of features that create the style, for example:<br>

- Non-studio background<br>

- Spontaneous, unposed situations<br>

- Focus on details, and unusual cropping and composition, including tilting<br>

- Highly saturated finish<br>

- Warm skin tones<br>

- Shallow depth of field<br>

Then talk to your client and discuss these elements, explaining to her what each is, and asking for her feedback. The more you can articulate what she likes about the images, the more likely it is you'll be able to deliver on her expectations. For example, if she insists that she likes the non-studio, natural setting, well, then the studio idea is going to have to be changed. Etc.<br>

Instead of guessing what she wants, seek a better understanding.<br>

Good luck.</p>

<p>You may want to check out "Dreads" by Francisco Mastalia, a large coffee-table B&W photography book on this subject. Cheap from Amazon, if you don't mind buying used.</p>

<p>Evan, I am a digital photographer and I use my meter all the time, even when I am shooting on location. It gives me a sense of confidence to know exactly what the ratios are and what the exposure needs to be. I much rather spend time planning and measuring ahead of meeting the client or model than use trial and error and chimping. I much prefer my approach to "trial and error" but I know photographers that don't use a meter and get great exposures too!</p>

<p>Leslie, this is indeed a difficult and important assignment. I have only thouht about it for a moment, so here is the first idea that came to mind. Instead of a traditional family portrait with a dark muslin background, I would use a pure white background, I would place the girl with the wheelchair to one side, not totally cented, but not totally to one side. I would have family members stand or sit. I may try to have everyone hold someone else's hand. I would make the expressions neither happy nor sad, but reflecting stoic acceptance of reality. It could be a powerful portrait showing strength and courage with no frills of any kind, just a family with the courage to face the loss of a child. It would be interesting to have the family wear white as well - the light that opposes the darkness of death.</p>