The Art of Portraiture Part 4:  Gear and Equipment for Success

The Art of Portraiture Part 4: Gear and Equipment for Success

A portrait tells a story of someone’s essence – someone’s being. It takes great skill and technique to capture an accurate portrayal of someone. While skills and techniques necessary for shooting a portrait are a large part of successful portraiture, the are not all that is needed. You also will need good tools to make the grade.

Capturing one’s essence.

Model: Maria Iodice


In the first part of this series, in my article entitled, The Art of Portraiture Part 1: Composition, Depth of Field and Background, I covered some of the basic necessities that contribute to a good portrait. In the second part, The Art of Portraiture Part 2: Light, I went over how light is an important element in a good portrait. In the third installment, The Art of Portraiture Part 3: Your Subject, we added in the most important element of your portrait, the person you are photographing and how to photograph him or her. In this last and final installment of this series, I will go some of the equipment that will help contribute to a successful portrait.



The glass you put in front of your camera will determine the quality of the image the camera will help to produce. There is no camera made that will produce a stunning image if a bad quality lens is attached. While you most likely have a budget in mind for your new camera system, factor in the cost investment of a at least one exceptional lens before you buy that high-end camera body with half the features that you will never use.


Prime Lenses

Autofocus Prime Lenses. Autofocus prime lenses are great for shooting moving subjects such as when shooting fashion in the studio as you may have your subject continuously moving. Typically great focal lengths for shooting people in general are 85mm or a 100mm/105mm if you have the room. These come in several aperture ranges with the F/1.4 and F/1.8 being the most popular. The Nikon 50mm F/1.4 at $334, is a great compact lens that packs a lot of punch for its size. You can read more about this lens in my review here.


Shot with a 50mm F/1.4 lens.

Actor: Patrick Walsh

Manual Prime Lenses. Manual Prime lenses can cost a pretty penny and really work best only if your subject is stationary. These lenses are optimal for portraits and headshots. I found the Zeiss line to be exceptional with the more budget-friendly option of Rokinon right behind it. You can read some of my reviews on the Adorama Learning Center for the Zeiss 50mm F/1.4, Zeiss 85mm F/1.4, Zeiss 100mm F/2.0, Rokinon 50mm F/1.4 and the Rokinon 135mm F/2.0 lenses to determine which might work best for your needs.

Shot with a Zeiss 100mm F2.0 Makro ZF.2.

Model/Actress: Valery Lessard


Zoom Lenses

Zoom lenses can be a great option for shooting portraits as there is a tremendous variety in focal length and they allow for a versatile creative use of shooting while zooming in or out, among other uses. I’ve had the pleasure of using several Nikon zoom lenses in my studio work, most recently the Nikon 24-70mm F/2.8, retailing at Adorama at $1,796.95. While no longer manufactured, but still available used, I currently a Nikon 28-105mm in my space as well as client’s small spaces and have produced some very striking images.

Shot with my Nikon 28-105mm F/3.5-4.5D IF lens.

Model: Andy Mizerek


For either a close-up option or for shooting subjects from afar, I have found my Nikon 70-200mm F/4G ED AF-S to be the perfect option for producing a high quality photo, which I also use for headshots. Be sure to look for lenses that have have vibration reduction should your camera system itself not have an equivalent function.




Daylight and Reflector. The easiest and most inexpensive way to light an image is through the use of bouncing natural daylight off of a portable collapsible reflector back onto your subject.

Using a portable collapsible reflector with natural daylight at sunset.

Model: Katie Buell


Speedlights. Another terrific portable and inexpensive lighting tool is a speedlight. Speedlights can be used indoors or outdoors and are typically used in conjunction with a portable collapsible reflector and/or bounced off of a wall or ceiling.

Using A speedlight in conjunction with natural daylight and a tungsten light.

Model: Andy Mizerek


Continuous Lights. These types of lights are perfect to use when shooting babies or capturing portraits of people who have trouble with blinking because there’s no disturbing flash.

Left to right: Lowel LC88EX1 Rifa

1000 Watt Light, Westcott TD6 Spiderlite, and the Fiilex P180E 40-Watt LED Light

Individual images courtesy of Adorama


Strobe/Monolight. Most photographers use strobes or monolights when shooting in a studio as the instant flash lends to capturing a sharper image and the numerous modifiers available for use allows the photographer to get more creative with their lighting.

Portrait shot using monolights.

Model/Actress: Celeste Smith


I have found the Flashpoint Rapid 600 HSS Monolight with Built-In R2 2.4GHz Radio Remote System to be a great budget monolight for shooting portraits or any other type of subject in a studio environment. For more information on this terrific option, you can read my review on it here.


I’ve also had the privilege of using the delicious Profoto B-1 500 Air TTL Battery-Powered 2-Light Location Kit. No matter where you are shooting, these battery-powered lights are lightweight and store conveniently in a backpack.




Light Meter

Cameras see differently than we do. While we have the ability to see everything in color, the camera’s meter sees and measures only how light or dark a scene is. It sees only tonality: black, white and a bunch of shades of gray in between. The shade in the middle of the gray scale is what is called middle gray. Middle gray is achieved when it reflects only 18% of the light that falls on it.

My Sekonic Flash Master L-358 with its younger sister, the Sekonic LiteMaster Pro L-478DR.


The largest goal in photography is to capture your images with accurate exposure or in better terms: for the camera to record your scene or subject as you see it. How can this be achieved if your camera or handheld meter only measures in tonality and brightness? In the same lighting scenario, every shade or color reflects a different amount of light and this is where a light meter can come in handy. Sekonic pretty much rocks the market on light meters.

A light meter in use.


If you shoot video, a color temperature meter like the Sekonic C-700 SpectroMaster Spectrometer would be an ideal tool for you. If you are looking for the percentages of where your exposure is coming from (ambient, LED, fluorescent and/or tungsten continuous lighting vs. flash or strobe lighting), Sekonic meters are known to possess this feature. My current light meter, the Sekonic L-358 Flash Master, along with the Sekonic Litemaster Pro L-478DR has this feature. Those folks that work in studios may find the need for a meter to be able to fire their strobe – “wirelessly” being a bonus. Some Sekonics such as the Sekonic L-758DR Digital Master have this feature.



Obtaining a stable support system for your camera is one of the most important things you should do right after you buy any camera and lens. I’m always amazed at the number of students I’ve seen in the past who spend hundreds or thousands of dollars between a camera and lens (and maybe a flash too) along with other necessary and unnecessary equipment, but they were unwilling to spend enough on the support mechanism for their major investment.

Gitzo GK1545T-82QD Series 1 Traveler Tripod-4 Section- with GH1382QD Ball Head


This is almost like being too cheap and unwilling to put a good UV filter on your lens, which can help protect the front element from breaking if dropped. Not obtaining a proper tripod to support your camera and lens unit can result in the unit falling and getting damaged – sometimes beyond repair. How much did you spend on that camera and lens again? For more on tripods, check out my article, Tripods: Choosing the Right Support for Your Investment.



As you begin to add expensive pieces of equipment like lights to your home studio, you’ll want to make sure you buy proper light stands to support those lights. Regardless of the type of lighting  you may use now or in the future, light stands are a piece of equipment that you will want to think a little more long-term about as there are so many types, sizes and options available.

Just a few of the light stands in my studio.


For more on considerations for choosing the right light stands, check out my article, Building the Home Studio Part 2: Continuous Lights and Light Stands.




Collapsible Reflector

While not everyone has an easy time folding them back up, most of us know what a collapsible reflector is and many folks have actually successfully used one. They should really be your first light modifier, even before you buy your first monolight or strobe because they are useful outdoors as well.

A good collapsible reflector is a “must” in portrait work.


Reflectors do exactly what their name might imply: they reflect light. They are used to bounce light from a light source back onto a subject. Photographing a person outdoors in the sun? We generally put the sun behind our subject to avoid him or her squinting, but then our subject becomes too dark because the light behind him or her is so bright. A reflector can be used to bounce light from the sun behind the subject back onto your subject so that he or she is also lit.  This works the same way in a studio. You can learn more about collapsible reflectors colors and what the different shapes and sizes do in my article: Building the Home Studio Part 04 – Essential Studio Tools, Props and Odds & Ends.



Umbrellas are probably one of the first studio modifiers purchased by photographers as they are cheap, portable and come in a variety of sizes and colors.


White shoot-through, or translucent, umbrellas are one of the more common umbrellas used in photography because the shaft of the umbrella is pointed away from a subject when lighting, which means a light source can be moved in as close as desired without poking out your subject’s eye! The downside to a shoot through umbrellas is that the light is hard to control because the umbrella is translucent and the light spills everywhere. However, they guarantee your subject to be well lit.

A shoot-through umbrella in use.


Black/white umbrellas are a great choice for when you need to fill in shadows without it affecting the color, quality or quantity of light.


A reflective umbrella such as a silver umbrella (with a black covering), can be used when you want to bounce in specular highlights without affecting the color of the light. The light will be subtly harsher than a shoot through, depending on your umbrella’s distance from your lightsource and from your subject as well as the size of the umbrella.

Clockwise from the top: White (shoot-through), silver reflective, gold reflective and black/white umbrellas.

Single images courtesy of Adorama


A gold umbrella with black backing can be used to warm the color of an image and your subject. This umbrella color works well when photographing someone in a bathing suit or photographing someone with a very fair skin tone, where a healthy warm glow might be desired.



Whether using continuous lighting, speedlights or strobes, softboxes prove to be one of the best light shaping tools for any professional photographer’s to have in their toolbox.


Round softboxes, called octaboxes or octabanks, make for wonderful key lights. Their round shape is similar to the sun and the catchlights produced by round softboxes can be much more pleasing to some as they cast a more natural round catchlight into a subject’s eyes to match the roundness of the pupils.

Variety of softbox shapes.

Single images courtesy of Adorama


An octabox also tends to wrap light around its subject. I find a larger octabox placed close to my subjects face serves close to what a beauty dish would do for me when placed straight in front of my subject. When placed anywhere else, shadows can vary from subtle to harsh depending on its proximity to the subject. I’m personally a huge fan of the 43” Westcott Apollo Orb because it’s easy to set up and break down – much like an umbrella!

Use of a square softbox with a triangular collapsible reflector.

Model: Xavier Lujan


Squares and rectangles work well as main light sources as well as a fill lights. Depending on their size, they tend to throw out a more defined light complete with a nice and soft transitioning of shadows. Contrary to some preferences, I find squares to make interesting and dynamic catchlights in the eyes when used in conjunction with a circular or triangular reflector as shown above. In this image, I used a Glow 24” x 24” Square Softbox which has a large variety of speed ring adapters available, sold separately.

Use of strip softboxes behind the subject.

Model: Kathryn Hopkins


Strip softboxes are great for lighting the full body when placed parallel with a subject. They also work well as hair lights. Depending on the distance from the subject, strip softboxes can create a very subtle or a very harsh transitioning in shadows.


You can read more on softboxes in my article, Softboxes: Containing, Directing and Diffusing the Light.


Beauty Dish

If you are into portrait or beauty photography, a beauty dish is a “must”. A beauty dish is a circular reflector or bowl with an opening in the center that attaches to a monolight or strobe. The bulb or flash is hidden by a raised plate in the center that forces light to disburse into bowl and onto a subject rather than the light source directly hitting the subject.

My 16” beauty dish, bare.


Beauty dishes come as white or silver coated on the inside. White coated dishes make for a softer light whereas silver coated dishes make for slightly more contrast. Beauty dishes have two different companion modifiers that can be used along with them: a diffuser, sometimes called a “sock”, and a grid. I’ve always had a regret of buying such a small beauty dish – at 16 inches. If you can swing it, get something at least 22 inches in diameter or more. Which beauty dish you should get will depend on the monolight or strobe that you have. Brands like Glow make a variety of mount options to work for more than one single brand.



If you need the direction of light from your light source to be more concise, a grid is your best bet. Grids are useful when you want to light something specific with little to no spill, such as when you want to light your subject but you want to keep the background dark.

My beauty dish grid.

Image courtesy of Yann Bizeul


Grids are generally made to work with beauty dishes and softboxes, but I’ve also found them as companion modifiers for barndoors and snoots as well. They come in variety sizes, the hole width determining the width of the light beam emitted. Grids come in a variety of types, brands, sizes and hole widths and which you get will depend on the type and brand of main modifier you use it with.



Barndoors are one of the most versatile and inexpensive lighting modifiers one could own. This modifier is basically four doors that attach to a base which can be attached to a monolight or strobe.

My barndoor setup.


What’s versatile about this modifier is that each of these 4 doors can be opened as little or as much as desired allowing for numerous lighting results. Many barn doors are sold as kits that also include companion modifiers of four gels and a grid, such as Flashpoint’s Universal Barn Door Kit.



Snoots allow you to focus in specifically on one small thing on a subject, such as just the face, just the hands or for baby photography, just the feet. They serve kind of like a spotlight on a choice subject.


Snoot used on my model’s face only.

Model/Actress: Celeste Smith


Snoots also a great tool for lighting particular things for an interior shoot or even products because the light is so concentrated and direct. Snoots can also have complimentary modifiers of attachable gels and grids.

My snoot setup.


Snoots are generally brand specific or universal as long as they have the specific speed ring adapter that matches the brand of monolight or strobe you are using.



Gels are not only a practical tool but they are also a fun, creative modifier to use for lighting a subject. In situations where white balance is an issue (such as incandescent bulbs adding a warm orange cast to an image and fluorescent bulbs typically generating a green cast, gels can be used to match the light’s color in order produce an image with light color closer to white.

Rosco 20”x24” Color Effect Kit

Image courtesy of Adorama


For a more creative touch, gels can also be used to color backgrounds or to color the light hitting a subject. In the image below, I used a Rosco 20”x24” Color Effect Kit which contains 15 different color gel sheets and is sold at Adorama for around $97.65 for the whole kit. These gels can be bent or folded and are still reuseable. This particular kit contains the larger-sized sheets, which also allows me enough available to be able to also cut swatches of the gels for use too.

Red gel was used for background and blue and yellow gels were used to color the light.

Model: Deeksha Chawla


I used a red gel on a background light aimed at a Savage Smoke Gray Seamless background. I also used a yellow and blue gel on two separate lights on each side behind my model aimed back toward the camera to give her an interesting rim light color on her skin and hair. As a bonus, because I used a fog machine for special effect, the gels colored the smoke as well.



When you’ve captured a true portrait of someone, you have captured the very essence of their being. As you can see, there is much involved to achieve this and many techniques available to do this successfully. This is what makes capturing a portrait – an art.


Posted by Dawn Wayand in Workshop, 0 comments
10 Tips for New Photography Students

10 Tips for New Photography Students

Photography is a hobby for some, a part-time venture for many and a career for others. There are many things that some photographers wish they knew in the beginning, before even picking up a camera and creating their first photo. Some wish they knew the easier way around doing things to get the same result. Here are 10 starters tips to help give you a jumpstart ahead of the rest as you begin you journey into the world of photography.

Model: Daria Komarkova


  1. Always Shoot RAW. I learned the hard way after several trips around the world and 20,000 images later that the best way to shoot is RAW. Why? Shooting RAW records the most data. This allows you to do as much nondestructive editing as you wish. When you shoot only in JPEG, every time you open a file,  make adjustments and resave the image – you lose quality. If you shoot an image under or overexposed, it’s much easier to fix this if the image is in RAW than if it were in JPEG format.

Switch your camera mode to RAW format before you begin shooting.


One of the best photo editing programs out there for importing, organizing, keywording, editing and sharing your images from RAW is Adobe Lightroom 6. We always teach our students to do as much as you can possibly do in Lightroom (because it’s so much easier!) and then make any fine adjustments in Adobe Photoshop, if needed. The Adobe Lightroom and Photoshop Creative Cloud 12-Month Subscription Photography Plan goes for $119 at Adorama. You’ll always be current with your software version if you go the subscription route.


  1. Don’t Delete Images In-Camera Based on Your LCD Monitor. Another common mistake photographers sometimes make is to delete images in-camera based on reviewing it on the back of that 3.5” LCD monitor. It’s really better to invest in a few extra memory cards than to erase potentially good images by mistake. Keep all of your images until you can get to a larger monitor to review your images in detail.

Your LCD monitor is small. Invest in additional memory cards and wait to review images on a larger screen.


To make sure you do get the shot in the outdoors however, I recommend the Hoodman Compact Hoodloupe Optical Viewfinder. When you are shooting in bright conditions, this not only puts a nice tunnel vision between your eye and the LCD monitor when reviewing an image, but you can magnify the details by a slight twist of the middle piece. In a studio? Invest in a Tether Tools Starter Tethering Kit. I am so glad I did because it has saved me hours of reviewing too many images that could have been reduced by seeing what needed adjusting as I go along. This one piece cord connects your camera to your computer or laptop where you can review your images as you are shooting them. The Jerkstopper for both the camera and computer each help keep the cord where is belongs preventing disconnect.


  1. Save For Quality Gear and Equipment. Photography can get really expensive. Just ask any professional. It’s better to wait and invest in a quality piece of gear or equipment than to buy something that will fall apart within months because it was so inexpensive and not made to last. This is really key with cameras, lenses, light stands and tripods. Buy the camera you want rather than what you can afford. When you buy the camera you want, you are more likely to use it. As far as lenses, a low-quality piece of glass in front of a high end camera will not make the best image. Invest in at least one high quality lens before you begin buying a bunch of accessories you’ll probably never need or use. For more on good camera and lens choices, check out my article, Building the Home Studio Part 1: Space and Essential Shooting Gear.


Quality light stands and tripods are also really important. They what are supporting your $500+ camera, lens and/or light setup. Buying something low quality because it was less expensive is a recipe for disaster. Check out my article, Tripods: Choosing the Right Support for Your Investment for more on choosing the right tripod and my other article, Building the Home Studio Part 2: Continuous Lights and Light Stands for more on light stands.


  1. Vary Your Shooting Orientation and Angles. My mentor once taught me, “If you want to make your images better than 80% of the other photographers out there – change your perspective.” He was absolutely right.

“Bug’s eye” view of tulips.


Get on the ground and try shooting from the ground up. Get up on a ledge or ladder and shoot down.

Shot from the top of a ladder.


Try shooting every subject/scene both horizontally and vertically – or even shoot from the hip. You never know what might end up being really interesting.


  1. Learn To Understand and See Light. Light is the most important element of photography, so it’s important to understand and be able to see and work with it. I’ve had numerous student assistants who struggle with using a collapsible reflector in that they cannot see the light bounced from a light source onto the subject using one. It’s good to practice with a collapsible reflector as you can use these for so many photography subjects be it people or flowers. I own a variety of shapes and sizes of collapsible reflectors selecting from those what is the best for a particular situation. My favorites are the Lastolite LR3696 8-in-1 Tri Flip Reflector Kit and for a larger reflector, I use the Westcott 40” 5-in-1 Collapsible Reflector w/ Case.

Learn light. This is a 2-light setup a spotlight in the front with a rim light in the back.

Model/Actress: Celeste Smith


For studio work, the best way to learn how to light something is to get a continuous light and try placing it in various positions around your subject. A continuous light will produce a what-you-see-is-what-you-get result before you click the shutter so you already know what the end result will be. I’m in love with the Fiilex P360EX Variable Color LED Light as you can control the color of the light for a more natural look.


  1. Try Different Genres of Photography. Don’t get stuck in one area of photography. It took me 12 years to venture out from travel and street photography into shooting people for portraits, headshots and fashion.

A sample of some of my travel work.


It’s not that I fell out of love or got bored with travel and street photography. I just hadn’t discovered yet that I also had a love for and was very good at shooting people too.

A few samples of my portrait/fashion work.

Models clockwise from top-left: Katie Buell, Daria Komarkova, Shoko Fujita and Karen Ramos.


After trying as many different genres of photography as you can, then narrow down your specialty for a career based on what you are good at and what you enjoy.


  1. Develop a Workflow and Stick To It. Setting up a consistent workflow for your photography is very important to do from the start because it gets really difficult (but not impossible!) to start implementing one 20,000 images into your portfolio.

Import screen in Adobe Lightroom.


The instructors of my group, NYC Digital Photography Workshops and I generally recommend Adobe Lightroom as a great way to set up a consistent, accurate and streamlined workflow. You can check out my article, Photography Workflow and Digital Asset Management (D.A.M.) for more on workflow.


  1. Charge For Your Work. Unless you are collaborating with models and hair and makeup artists on a creative project, or for practice – charge for your work and charge what you are worth. This makes your photography more rewarding is some ways, plus it helps to cover the cost of your equipment and time. It’s also important to note that photography is a full-time career for some, so keep in mind that there will be more full-time freelance working photographers out there struggling to make ends meet if they are competing with photographers working for very little or for free.


  1. Look for Opportunities to Show and Sell Your Work. Another rewarding thing about photography is sharing it with the world. Look for opportunities to show and sell your work through exhibitions, art fairs, etc. I wrote two articles on exhibiting that are great reads if you are interested in going this route: Selling Your Photography and Where to Show and Sell Your Photography.

Showing your work is a very rewarding part of photography.


Both articles are excerpts from my upcoming book to be released in the upcoming months called, Exhibitions, Marketing, Promotion and Publicity.


  1. Always Continue Learning Your Craft. As photographers, we can never know everything about photography. It is a constant learning process as technology changes…and technique changes, as we discover more interesting ways to make an image. It’s really important to continue learning and honing your craft whether it’s studying the masters, doing photo walks, taking group or private workshops, having your portfolio critiqued or reading books and articles like these.


Photography is an amazing, rewarding journey – allowing you to capture memories and points in time, subjects of interest and/or scenes in our lives. It’s a wonderful outlet for many and it’s a beautiful creative process that is growing with interest for anyone who embraces their sense of sight. It’s only up to you to bring a unique twist to your work to share and capture viewer’s attention.

Posted by Dawn Wayand in Workshop, 0 comments
Practical Tools for the Portrait Photographer On The Go

Practical Tools for the Portrait Photographer On The Go

Not everyone works in a studio, or even within 4 walls. While I work a lot in my home studio, I oftentimes also have to work on location, so portability is important to me. For those photographers that might work out of their car, or even using public transportation as a means to get to location shoots (like I do), there are many useful tools out there that can make the journey much less of a hassle, allowing you to you to shoot in a much more positive frame of mind from start to finish.

One of my location shoots in The Bronx.

Model: Daria Komarkova

Image courtesy of Yann Bizeul



A stable support system for your camera is one of the most important things you should consider purchasing right after you buy any camera and lens if you shoot still objects – and there is no shame in using a tripod for your portraits. I actually love occasionally mounting my camera to a tripod, check the frame and then use a remote to shoot – that way I can freely move around anywhere to engage more with my client or help adjust wardrobe or to demonstrate a pose.

Tripod in use on location in Midtown.

Image courtesy of Yann Bizeul

Model: Vixie Rose


Tripods usually get left behind because they are too cumbersome due to their weight, too awkward to carry due to length or take too long to set up. They can also get a little pricey, however, they are supporting the weight of your $500+ camera and lens combination. Not obtaining a proper tripod to support your camera and lens unit can result in the unit falling and becoming damaged – sometimes beyond repair. How much did you spend on that camera and lens again?

My diagram of a tripod and its features.


Tripod Legs

Weight for the traveling photographer is a huge factor when deciding on a tripod. Aluminum legs can be heavy. If you spend the little bit of extra money, upgrade to carbon fiber legs. Carbon fiber is very lightweight material that is also very durable. All I can really say about the differences here is to walk into Adorama and ask to see and lift up one of each type of tripod legs: you will see what I mean!

If you must get fancy or want the top of the line, the Gitzo GT0545T Series 0 4- Section Traveler Tripod pictured below is a good choice as it weighs only two pounds and closes to just over a foot.

Gitzo Traveler Tripod Legs.

Image courtesy of Adorama


The Manfrotto MT055CXPRO3 Carbon Fiber 3 Sections Tripod with Horizontal Column is a more affordable choice that has a horizontal column, however, it weighs close to 4.5 pounds. I’m actually looking to upgrade my tripod legs to the Manfrotto MT190CXPRO4 Carbon Fiber 4-Section Tripod with Horizontal Column as it has a useful 90 degree column (hey, maybe I want to shoot someone laying down? Sure, but it nice to have options when you like to shoot more than people…) These legs are a great option as they are lightweight due to the carbon fiber construction weighing in at only 3.6 pounds.

Manfrotto 190 4-Section Aluminum Tripod


Tripod Heads

Tripod heads, well, good tripod heads make up the bulk of a tripod’s weight. There are several types of tripod heads and really, it all comes down to preference, I personally like the flexibility of a ball head. You do not have to get a large ball head, but do make sure it does have a little weight and feels solid (not that cheap plastic feel…) as it will last a bit longer.

Various type of tripod heads.

Collage created by Dawn M. Wayand – Individual images courtesy of Adorama


You can learn more about tripods: why you need them, why they get a bad rap, considerations when purchasing a tripod, components of a tripod and more of my recommendations for tripods and heads in my article, Tripods: Choosing the Right Support for Your Investment.


Light Stands

Just like your tripod, light stands are known to sometimes hold monolights or strobes worth thousands of dollars, so you want to pick a reliable light stand to support your investment. I’m a big fan of the Manfrotto 1052BAC 93″ Air Cushioned Aluminum Compact Stand. This light stand weighs only 2-3 pounds, holds 10-11 pounds and folds up to 33-34 inches. Note that this is an air-cushioned light stand. This is really important as if you have a heavy light on top of your light stand and you lose your grip while lowering the light, the air cushioning will take the sting out of the light’s plummet as it drops to the next level of the stand – which could result in damage without this feature.

Manfrotto 1052BAC 93″ Air Cushioned Aluminum Compact Stand

Image courtesy of Adorama


Maybe you are only using speedlights. A great portable option for a speedlight stand would be the CheetahStand C8 Light Stand. It expands to 96 inches, can carry 6-7 pounds, collapses to 28.5 inches and weighs 6 pounds. This is a free sliding light stand, so you will need to be careful with what you put on top of it when you lower it from any height.

Sometimes you might need a short light stand to light feet or to light a background behind a subject, and while they are aluminium, I have have found the Interfit Compact Light Stands to be very convenient to have on hand.

Interfit Compact Light Stand.

Image courtesy of Adorama


For those of you who may be working strictly in a studio and do not need to worry about weight and size or you work both in a studio and on the road, I have written a good read with more recommendations on light stands in my home studio series: Building the Home Studio Part 2: Continuous Lights and Light Stands.



BTW – don’t forget to use sandbags on those light stands! Yes, this can be tricky with weight and traveling, but would you rather your light stand with a $1,000 light go toppling to the floor because you had nothing weighted holding the light stand down?

Flashpoint Weight Sand Bags

Image courtesy of the Adorama website.


An inexpensive option for sandbags, which I actually own are the Flashpoint Weight Sand Bags which you can find for $12.95 each at Adorama.



Speedlights can work really well on the road. Due to their size, speedlights can be a much more portable and convenient solution for lighting a scene than a strobe. I dive deeper into the actual advantages, disadvantages and functions of using a speedlight in my article: Quickstart Guide to Speedlights.

Self-Portrait taken using a Nikon SB-700 Speedlight and a White Shoot-Through Umbrella.



I am primarily a Nikon shooter, and while I currently work with the Nikon SB-700 (an older, but “still kicking” Nikon model), like most upgrades, the latest Nikon SB-910 is a nice upgrade from the SB-700 in that it provides a longer flash duration, a quicker recycling time and greater lens coverage.

My Nikon SB-700 Speedlight.



The industry standard speedlite for Canon shooters is now the Canon Speedlite 600EX-RT at a $469.00 price tag. Unfortunately, and unlike the wireless Nikon speedlight, the Canon speedlite requires the Canon Speedlite Transmitter ST-E3-RT at an additional $280.00 to fire the speedlite – physically – off-camera.

Image courtesy of Adorama.



A current third party model that has comparable features to both Canon and Nikon flashes, but has radio capabilities at a fraction of the cost that I am a bit impressed with at the moment is the Nissin Di 700 Air Flash Kit at $299.00 which comes with the Commander and is made in Nikon, Canon and Sony versions.

Image courtesy of Adorama.


There are a lot of great accessories and modifiers that work well with speedlights that I go into more detail on in my article, Building the Home Studio Part 3: Flashes, Light Meters and Backgrounds.


Monolights & Strobes



I recently had the pleasure of using a Flashpoint Rapid 600 HSS Monolight and was really impressed with the quality of lighting produced for the price. It is a very lightweight light, perfect for the traveling photographer.

Flashpoint Rapid 600 HSS Monolight in use with an umbrella.


Due to the receivers being built into the monolight and flash, this particular monolight is also compatible with the Flashpoint R2 Zoom Flash for Nikon, Canon or Sony when using the respective Flashpoint R2 i-TTL Wireless 2.4 G Transmitter Remote. Below is a portrait my assistant took of me using this monolight as a key light along with the Flashpoint R2 Zoom Flash as a fill light.

Using the Flashpoint Rapid 600 HSS Monolight a a keylight and the R2 Zoom Flash as a fill.

Image courtesy of Yann Bizeul


You can check out my review of this monolight, Hands-On Review: The Flashpoint Rapid 600 HSS Monolight for more information on this light.



I’ve had the opportunity to use the Profoto B1 500 Air TTL Battery-Powered 2-Light Location Kit a few times through Adorama Rental, and it was a dream. This kit is very easy to use with is fully-integrated with your Nikon or Canon digital camera via the optional Air Remote TTL-C or TTL-N. It’s battery powered and cordless so it can go with you anywhere. One of the great features of this kit is the exclusive custom backpack that the equipment travels in, which keeps everything safe and secure.

Profoto B1 500 Air TTL Battery-Powered 2-Light Location Kit.

Image courtesy of Adorama



If you use LEDs, an interesting choice for versatile, compact LED lights is the Westcott Ice Light 2 at $499.99 each, which I recently had the opportunity to try out and was blown away with the light quality. This is a great handheld, wraparound, daylight and portable light with an output of 1740 lumen and a CRI rating of 96. It can mount to a lightstand or tripod or be used handheld at any angle you want.

The Westcott Ice Light 2.

Image courtesy of Adorama


You can even shoot and hold or have you model hold the light(s) at the same time should you not have an assistant available. The Westcott Ice Light 2 lasts about an hour on a full charge.

Testing out the Westcott Ice Light 2.

Model: Daria Komarkova



For portability purposes, there’s a few types of modifiers that fit the bill and work very conveniently for location shoots: reflectors, umbrellas, certain softboxes, a beauty dish,  barndoors and/or gels. There are also a few speedlight modifiers that work well too and I’ll get to those in a moment.


Portable Reflectors

A portable reflector is probably the first modifier you will ever own, especially if you shoot people. They are an inexpensive, portable and convenient fill light source. Whether you use the sun or a flash, monolight or strobe, portable reflectors are an excellent tool to help fill in unwanted shadows.

Large oval reflectors, circular reflectors, square reflectors and triangular reflectors.


I go into great detail about reflectors in my article, Building the Home Studio Part 04: Essential Studio Tools, Props and Odds & Ends.



Umbrellas are convenient portable tools that serve to diffuse or bounce light back onto your subject when shooting in a studio or on location. No matter your level or budget, umbrellas are your great tool for getting professional results in your portrait work. I go into great detail on umbrellas in my article: Umbrellas: Good for More Than Just a Rainy Day.

Shoot through, white, silver and gold umbrellas.

Individual images courtesy of Adorama



Umbrellas softboxes, like umbrellas, are convenient and portable as they fold up like umbrellas and take up less room than conventional softboxes. I’m a big fan of the Westcott Apollo Orb which is now on sale at Adorama.

Octabank, strip and square softboxes.

Individual images courtesy of Adorama


There are a few softboxes with speed rings that are easy to set up too.  I’ve had the opportunity to try out the Profoto 2’x2’ RFi Softbox which were are a dream to put together. I actually own two Glow 24 x 24″ Softboxes, which didn’t cost much and are easy to put together (speedrings are separate and custom to your light’s brand). Glow also has strips and many other shapes and sizes available.


Beauty Dishes

If you are into portrait or beauty photography, a beauty dish is a “must”. Beauty dishes come as white or silver coated on the inside. White coated dishes make for a softer light whereas silver coated dishes make for slightly more contrast. Beauty dishes have two different companion modifiers that can be used along with them: a diffuser, sometimes called a “sock”, and a grid.

Silver beauty dish (left) and white beauty dish (right).

Image courtesy of Adorama


If you can swing it, get something at least 22 inches in diameter or more. Which beauty dish you should get will depend on the monolight or strobe that you have. Brands like Glow make a variety of mount options to work for more than one single brand. Don’t forget to get a beauty dish bag to carry it on location. This will help keep it circular instead of battered and mis-shaped.



Barndoors are one of the most versatile and inexpensive lighting modifiers one could own. This modifier is basically four doors that attach to a base which can be attached to a monolight or strobe.

Flashpoint Universal Barn Door Kit

Image courtesy of Adorama


What’s versatile about this modifier is that these 4 doors can be opened as much as desired allowing for numerous lighting results. Many barn doors are sold as kits that also include companion modifiers of four gels and a grid, such as Flashpoint’s Universal Barn Door Kit featured above.



Gels are not only a practical tool for color correction, but they are also a fun, creative modifier to use for lighting a subject too.

Rosco 20”x24” Color Effects Kit


In the image below, I used a Rosco 20”x24” Color Effects Kit which contains 15 different color gel sheets. These flat-like-paper gels can be bent or folded and are still reuseable. This particular kit contains the larger-sized sheets, which also allows me enough available to be able to also cut swatches of the gels for use too.

Example of use of gels with monolights (okay, maybe a fog machine too!)

Model: Deeksha Chawla


Additional Speedlight Modifiers

Using a speedlight and not a monolight of strobe? Some of the same modifiers can be used for speedlights as well, but if you’re using a speedlight, you can get even more portable than that. Expoimaging makes a great kit that has many of these tools called the ExpoImaging Rogue FlashBender 2 Portable Full Lighting Kit for $199.95 at Adorama.

ExpoImaging Rogue FlashBender 2 Portable Full Lighting Kit


Laptops, Tethering & Storage


Computers & Laptops

Shooting anything on location where you can bring a laptop and/or where more serious situations might include a laptop with monitor and a monitor hood. This doesn’t just apply to people and products, but it can also apply to landscape shoots too.

My Apple 27-inch iMac for studio use and my Dell laptop for location use.


Tethering Equipment

I love, love, LOVE tethering to a computer (my 27-inch iMac when in the studio) or my laptop(when on location) whenever I am shooting people so that I can see my results immediately and on something larger than my 3-inch LCD screen. Then I can make any necessary adjustments that I might’ve missed if only viewed on a smaller screen. Tether Tools makes a huge assortment of products for your tethering needs.

The Tether Tools Starter Kit.

Image courtesy of Adorama


I invested in a Tether Tools Starter Kit which consists of one direct 15-foot TetherPro Cable that plugs from computer to my specific camera model, a Jerkstopper Cable Management System consisting of a piece for your camera (to prevent the cable from being pulled out of the camera should you step on the cable), and a piece for your computer/laptop (to prevent the same from happening from your computer/laptop), 10 Jerkstopper ProTab Cable Ties and a small carrying case for all of it to keep you organized. If you shoot tethered, I cannot emphasize how much this kit will help you with an otherwise shoddy, unreliable connection.


LaCie Rugged RAID Portable Hard Drive

It’s a good idea to use a portable hard drive when on location as you can set yourself up to immediately back up your images as you are shooting, which is safer than relying on your memory card to not fail you. I back up to a LaCie 4TB Rugged RAID Portable Hard Drive whether I am in the studio or on location to ensure my images are safe.

LaCie 4TB Rugged RAID Portable Hard Drive


Bags and Cases

Of course as a photographer working on location, you need bags and whatnot to carry your gear, equipment and odds & ends. I go into greater detail on selecting what you need to carry these things in my article, Bags, Cases & Pouches: Picking A Means For Carrying and Storing Your Gear.

Some of my typical location bags and pouches.


Camera Bags

Camera bags really come down to preference. You may want a backpack or you might prefer a shoulder bag or crossbody bag more. Others might like a roller bag. If I’m on a light location shoot where I do not need to take a lot of lenses, I might go with my fashionable Kelly Moore Brownlee Bag (pictured above in Indigo).

If my shoot is a little more involved, I take my Ape Case Pro Backpack. I love this versatile backpack because you also have the option of rolling it (yes, it has wheels too). This backpack has numerous compartments for your camera and many lenses, plus it has plenty of room for a small laptop and tethering cords too.

The Ape Case Pro Backpack and the ThinkTank Retrospective 5 Shoulder Bag/Messenger Bag.


Gentlemen, you might find the fashionable ThinkTank Retrospective 5 Shoulder Bag/Messenger Bag to be a good option if you prefer a shoulder bag for on the go. Again, there are numerous options and my previously mentioned article explains what to look for in a bag along with some great examples.


Pouches & Wallets

Camera battery and AA battery pouches and memory card wallets are great for keeping these tiny necessities all in one place instead of them rolling around your bag. The memory card wallets even have clips to clip to a part of your bag to ensure they do not get lost.

ThinkTank corners the market on exceptionally made battery pouches and memory card wallets.


Monolight/Strobe Cases

Many monolight and strobe manufacturers create custom bags that are included with your light. I love the Profoto B1 Kit backpack as it makes carrying that expensive investment much easier and safer. I’d definitely want those attached to me!

Westcott Deluxe Strobe Bag and the Profoto B1 Kit backpack.

Individual images courtesy of Adorama


I also like the Westcott Deluxe Strobe Bag if I already have on a backpack (like a camera backpack…) because it’s on wheels. It means less weight on my body, plus the wheels feature both make it easier to move around.


Light Stand/Tripod Bags

Light stand bags with wheels are very convenient for the traveling photographer as are tripod bags with shoulder straps. For the light stands, I like the Hensel HD Bag for Stands and Umbrellas. It doesn’t have wheels on it’s own but if you pair it with the Hensel HD Trolley for Strobes, then you have a solution for both stands, some modifiers and strobes.

Hensel HD Bag for Stands pictured with Hensel HD Trolley for strobes.

Image courtesy of Adorama


For tripods, I find the Hakuba Tripod Case to be a good investment as your tripod most likely cost you several hundred dollars. You want to make sure it’s protected plus it has a strap that can easily be worn over the shoulder.

Hakuba Tripod Case

Image courtesy of Adorama


Odds and Ends


Gaffer’s Tape

Gaffer’s Tape is a great tool for taping down electrical wires or seamless. It’s also useful for taping a flag to your speedlight or lens, taping equipment to clamps, tripods, light stands and taping wardrobe in the back when it’s too big, etc.



A- clamps can be similar to gaffer’s tape in that it has many uses such as clamping wardrobe when it’s too big, clamping a muslin background to a background support system or clamping a seamless roll so that it does not roll out farther than you want it to. I like the Tether Tools 2″ Rock Solid “A” Spring Clamp in solid black.

Tether Tools 2″ Rock Solid “A” Spring Clamp

Image courtesy of Adorama



Batteries are needed for many things on location such as your transmitters, receivers, speedlights and your camera. Always have a large stash of backups (Depending on how long my shoot will be, I usually try to have 2 sets of batteries for each piece of gear that requires it as backups…) It can get expensive replacing batteries all the time so I use Eneloop Rechargeable Batteries which are a good solution to save money and to help save the environment.

My battery stash at home. Remember those pouches above?

Great for storing some of these for the road.


Extra Bulbs

It’s really important once you own and start using strobes that you have backup bulbs. These can get really expensive, but if you are on an assignment and one or more of your bulbs blow, you could be screwed. Having additional bulbs can save the situation. I tend to keep one backup bulb for each strobe I own…

Additional bulbs.


There are many odds and ends that you might find useful depending on what you are doing with your location photo shoot. You can find more of my tool ideas in my article Building the Home Studio Part 4: Essential Studio Tools, Props and Odds & Ends.


Some Final Thoughts…

Yes. I did go over a lot of gear and equipment here for a location shoot, but it doesn’t mean you need all of it every time. Depending on many factors and your personal preferences, you may need only a few things from what I listed or sometimes maybe more than just a few things. The greatest challenge is packing as light as possible to avoid additional strain on you. Many of the items I mentioned here are lightweight whereas things like your DSLR camera and lenses, you may not have much of a choice if you care too much about how your client assesses the relationship between your equipment and being a professional. Organization is also key, so good bags will help do the trick. I hope you found this list helpful. Feel free to leave some comments here and let us know what you have found useful for shooting on location.


Posted by Dawn Wayand in Workshop, 0 comments
Planning the Model Portfolio Shoot

Planning the Model Portfolio Shoot

As a photographer, we are in charge of and responsible for everything that happens on a photo shoot. We plan the shoot. We prepare for the shoot. We shoot. We clean up after the shoot. Then we begin the process of retouching and distribution. There’s a lot to do and a lot to remember each time you have a photo shoot. When your jobs get bigger, there’s always even more to do.

Winter project in the summer using Plexiglass.

Model: Karen Ramos.


Photographers, new photographers especially, are always looking to build and update their portfolio images. You can oftentimes work with models for little to no cost through TF shoots (“TF” meaning “time for” something, usually prints or digital images) as new models are always looking for images for their portfolios and willing to exchange time for images.

A majority of my work at the moment is shooting a model’s portfolio images. Much of this work now comes from agencies needing portfolio images for their new faces. These can sometimes be paid or TF shoots . Since I need to pick an avenue of reference and because I will not be going into marketing and how to get a model portfolio client, I’m going to gear this to the professional photographer who is providing his or her services in exchange for portfolio images only. However, many of the tasks are the same regardless of how a model client ends up in your studio – they may just be in a different order.

For this series, I’m going to focus on the things I do before, during and after a shoot in three segments, respectively. These steps can apply to anyone working in a home studio or a commercial studio. For this first segment, I will discuss what I do before a TF model portfolio shoot. Please keep in mind, this is my general checklist when preparing for this type of shoot and that not all of these tasks will apply to every situation.

Outdoor fashion look shot late Winter of last year.

Model: James Karl Campbell.



I generally only shoot a model’s portfolio “TF” approximately once per month. New photographers may do this more often to build their own portfolio. So when I say pre-shoot, for me, this is everything I do up until a week before a photo shoot. These tasks may take more or less time for your situation. I’m very detail-oriented, so for these I try to plan as far in advance as possible since I am more in control of the details of a TF shoot. However, when working with paying clients, sometimes we do not have the luxury of all the time in the world because your client needs images… yesterday!


Develop Ideas/Concepts/Themes. One of the first things I do before this type of a photo shoot is to develop an idea, concept or theme for the potential shoot. This can revolve around a makeup idea, a hair idea or a set idea that you want to build. It can revolve around wardrobe. Maybe you have a lighting style in mind? It can even revolve around a location where you would like to shoot. Some influences I’ve also learned to use to conjure up ideas are music, art or film.


Create Mood Boards. Throughout the year, I subscribe to various magazines for mood board inspirational purposes. I do not copy what I see in the images. I like to clip out things that I like and scan and store them on my Google Drive to be able to put together a mood board later down the road which helps the client and my creative team visualize what I have in mind for the photo shoot. Things that I like which get the scissors include: lighting styles, makeup ideas (which get sub-categorized into to eyes, lips and overall), hair ideas, wardrobe inspirations, pose ideas, mood of the image and general concepts and set ideas.

A sample mood board for a set idea on Google Drive.


Don’t forget, it’s also good to include a color palette on your mood board as color palettes can help your makeup artist. Pinterest is also a great tool for getting inspiration to create a mood board. It also has sharing options that you can use to share with your creative team.

Folders for my mood boards on Pinterest.


Select Wardrobe. For some, selecting wardrobe can come before a model. I actually keep a commercial double rack full of clothing, shoes and some accessories in various sizes that I can use when shooting a model. This leaves only the need to bring shoes if I do not have their size. I do this because many models do not have stylish designer clothes of their own. More often than not, shoes became an issue so I started to collect shoes in general colors, styles and sizes as well. When I am shooting a TF project, I may have an idea in mind revolving around a piece of clothing I already have and I find the model based on size.

Clothes are obviously key to a fashion business.

Photo courtesy of Yann Bizeul


If you have a particular idea or concept in mind and do not have the time to shop for wardrobe and accessories and if the budget allows, hire or “test” a stylist. Upon conveying your idea and giving him or her the specs, a stylist will be able to find the wardrobe you need for the shoot. For many, you may not be able to provide wardrobe, so selecting wardrobe will come after you book a model as you will need to coordinate wardrobe with the model from his or her own closet.


Select Your Creative Team. For the TF type of shoot, I tend to select my creative team prior to setting a portfolio photo shoot date and time as I have my favorites and I try to coordinate a shoot based on their schedules. At the very least, for a TF model portfolio shoot, if your model isn’t skilled at her own makeup, you will want to have a makeup artist (MUA) at the photo shoot. I have been blessed to work with a makeup artist who also does an amazing job with hair, but for a paid job I might have these two jobs separate, depending on the client.

I always work with at least a hair/makeup stylist and a photo assistant to help make photo shoots a little easier on me.

Model: Daria Komarkova; Hairstylist/MUA: Gil Aldrin

Photo courtesy of Yann Bizeul


Having a photo assistant is a plus as it is sometimes a lifesaver (and a timesaver) to have an extra set of hands on the set. If you have patience and are able to teach while shooting, you are sometimes able to find a photo assistant to help at no charge in exchange for learning and experience.


In addition, if you do not do your own retouching because you do not yet know how (in this case, check out my group, NYC Digital Photography Workshops for group and private workshops at for photo editing workshops), or you do not have the time, it’s also a good idea to locate a retoucher who can handle your project in the time period for which you need the photo shoot images back.


Choose a Location. Whether you are shooting in your home or commercial studio and/or on location, you will want to decide on location(s) for the photo shoot as this is information you will need to relay to your model, or the modeling agency to pass along to the model.

I often like to shoot in my own urban and industrial backyard.

Model: Daria Komarkova

Photo Courtesy of Yann Bizeul


I like to at least start in my home studio to shoot any images with any white or color seamless backdrops or any sets I want to build and then move outdoors or to another location whether it is in my immediate urban and industrial neighborhood or further out.


Set the Photo Shoot Date/Time. So now I’m almost ready to book a model for my TF shoot. Since I have access to agency models for portfolio building shoots, I want to have a date or two available where my preferred team and I are set to shoot. As mentioned in the step above, I then coordinate available date(s) with my team using my company’s G-Suite calendar.

I generally use my company’s Google calendar to note and remind for my appointments.


Develop a Model Spec List to Give to an Agency. If you are working for an agency, the next thing to do, since I have some potential concepts in mind, is to develop a spec list to give to the agency. Some general things on a spec list will include things like: age range, hair color and length, eye color, height, weight and/or body build and clothing sizes. You may be more specific if needed.

Just a few notes to relay to the modeling agency to described what I prefer for the idea I developed.


Get In Touch With the Agency to Provide Spec List and Select Model(s). I then call, or, if you have worked with the agency before – email the agency and pitch your ideas for the shoot and provide them with the specs you are looking for in a model for the images you envision.


Ask the Agency for Their Needs for the Shoot. In addition to providing what you need, it’s a good idea to ask the agency for their needs for promoting the model such as, do they need headshots, fashion or fitness-type images or maybe they need black and white vs. color images. Then make sure you fulfill their needs too during the shoot.


Coordinate Wardrobe/Shoes with the Model(s). Once you know who you’re client is, if you are providing the wardrobe, you will want to coordinate shoes for the model to bring to match your wardrobe ensembles for them. While I do keep a few pair of heels and booties in various colors and sizes, I cannot cover all colors and styles in all the different sizes.

Some of the shoes I keep in my Model Closet in my home studio.


If the model is providing the wardrobe, they will usually know the type of shoe to bring to the photo shoot to match the pieces they are bringing.


Buy and/or Create/Build Props for Sets. If you will be doing any work in the studio, you might have some ideas for a set that you will need to build. While you can often find some props or furniture for little to no cost through Craigslist, the want ads or maybe even a tag sale, you can also borrow these things from family and friends too. If I do not use those means to help build my sets, I typically go to eBay and I’m usually able to find exactly what I want whether it’s 2-inch thick boat rope for a nautical-like image or a black goth-type umbrella for a faux graveyard scene. I was once able to buy a 10-setting set of fine China from a lady on Craigslist for $15.

I used a faux wood photo carpet, a fur throw, my acoustic/electric guitar and

votive candles as props and bought pillow covers to create this set.

Model: Daria Komarkova


Adorama offers a wide variety of backdrops and faux floors similar to the wooden floor above. I also used one of my guitars and some votive candles as a props. I used eBay to buy a variety pillow covers for a bunch of throw pillows that have become handy for my shoots.


Think on Poses That Lend to the Wardrobe and Set. Before a photo shoot, I like to think on definite poses I would like to incorporate into a shoot and have a wide variety of reference from which to choose. Some folks like to sketch pose ideas and while I’m an artist too, with all the tasks involved in preparing a shoot, I always try to opt for the easiest choice. As I previously mentioned, I like to tear things that I like and want to inventory for future inspirational use such as wardrobe, a set idea, a mood, a lighting style, etc. out of fashion magazines. Additionally, I like to tear out images of poses that I may want to use in future photo shoots. In doing this, I end up with a very large catalog of these inspiration to work with in the future. From time to time, I do go through this catalog and purge things I no longer like to keep my catalog of inspiration always up to date.

Several posing books I also own and refer to before a shoot.


I also own several posing books (above) and have found them a nice resource to look through before a shoot to contemplate what might work with a certain wardrobe ensemble or a location I will be working with for that shoot.




Make Sure Wardrobe is Ironed and Ready. I cannot stress how important it is to make sure you iron the wardrobe if you have no one to do this for you. It is a huge pain to take wrinkles out of clothes in post-production.

Ironing the garment is extremely important as it can save you time and effort in post-production after the shoot.


Coordinate Jewelry & Accessories to Wardrobe. I like to put together at least a necklace and watch for every wardrobe ensemble, but oftentimes add things like bracelets, earrings, rings, purses, hats and/or scarves too.

Accessorizing prior to the shoot makes the shoot day a lot less stressful.


To make a portfolio appeal to a client selling a product like an accessory, I throw in a purse in at least one of the images or I dress up the model with jewelry and then for one or the other, make sure to pose the model to highlight the product, whether it’s the purse or jewelry.

I keep purses in various colors, styles and sizes.


Order Catering for Photo Shoot, if Desired. While professional models typically know to bring their own snacks and drinks, I generally provide coffee, tea, water bottles and things like fresh fruit and nut/trail mix packets and have these delivered to me the day before or the morning of the shoot.

I use Freshdirect to place orders for my catering delivery the morning of the photo shoot.


Clean Up Your Working Space. It’s a good idea to make sure your studio is clean prior to a photo shoot. Everything in my studio has a home. I tend to “reset” my studio after every photo shoot to have a fresh start for each shoot (kind of like a blank canvas…) Putting everything back where it belongs, even though I may be using it again the next day, prevents me from having to search for where I left something.


Order or Purchase Any Equipment or Supplies Needed. If you are renting equipment, 7-10 days before a shoot is a good time to get that order in to ensure a rental company, like Adorama Rentals, has the gear you need in stock for the date and time desired. Check how much seamless paper you have left, test your lights, check all of your batteries and by the way, how much gaffer tape do you have left? Refill and replace as needed.

Checking the batteries of the receivers on my monolights.




Send an Email Out to All Parties for Confirmation. I tend to send out a general  information a few days before the shoot but usually the day before. It includes an intro to everyone who will be at the photo shoot along with their headshots, when to arrive, what to expect, location and directions and what I will provide as far as snacks and drinks, if anything. I always ask each person to confirm they received the email, which serves as a confirmation that everyone is on the same page about the basics.


Pull Wardrobe, Accessories, etc. for Shoot Tomorrow. You may have many shoots throughout the week. I like to pull out everything I need for the next day’s shoot, the night before to double check that everything is paired, wrinkle-free and ready for the shoot the next day.


Do a Second Equipment Check. I was a girl scout in my early years and I was taught to always be prepared. While I know I checked everything earlier in the week, I like to at least check my lights and flash the night before to put my mind at ease or to know if I or my assistant need to make an early morning runner before the shoot to replace something. At this time, I also like to make sure all of my modifiers are where they are quickly and easily accessible.

I check my flash again to see if I need to recharge my Eneloop Rechargeable Batteries.


Pack Any Bags Necessary if Shooting on Location. If I know I am shooting on location for all or part of my shoot, I pack as much as I can the night before into gear bags, leaving out only what I need to use in the studio before moving away from the studio. When I only need a few lenses and adapters, I use my Kelly Moore Brownlee bag (guys, you’ll probably use a small backpack like the Case Logic SLRC-206). When I’m not sure what I’ll need because circumstances can change, I like to take a variety of lenses and adapters, etc., so I take my Ape Case ACPRO 1900 which holds a lot of gear and accessories, including my laptop for tethering!

My basic luggage for a location shoot.


You may need a lighting bag for a stand or two and a few monolights. For this I own a couple of bags like the Interfit Two-Head All-in-One Soft Carrying Bag which can also hold things like umbrellas and a small light stand or two. If you have any large or specialty modifiers, like a beauty dish, there are bags for these too.


These are all of my steps for working on a TF model’s portfolio photoshoot. You may or may not use some of these steps for various reasons or may have additional steps in your workflow. In the next article, I will run down my checklist for what I do on the day of the photo shoot. Until then…

Posted by Dawn Wayand in Workshop, 0 comments