Bring The Studio To Your Client

Sometimes it's a pain to bring a client to your studio, or maybe you don't even own a studio. In these situations you must figure out a way to bring the studio to the client. Diana Deaver shows us a quick glimpse of her last shoot that involved bringing a paper background and a single large parabolic reflector into a clothing store.

Log in or register to post comments


Hmmm... that was the 86" AB plm that runs about 80 bucks, not the 10 foot Profoto that runs $8600. >.<

love her videos.

Francesco Gregori's picture

Diana, cmon....a white background and one strobe are not a studio.. ;-) look at results, really poor...
I think this video didn't deserve to be here..

PLM Shadows are really horrible

Patrick Hall's picture

what is PLM? I'm a bit shocked that there are so many shadows from one light...any idea why?

Look at the construction of PLM - it is basically 16 curved mirrors

The plm generates a ton of triangular hotspots. It's hardly noticeable outdoors, but inside, she could have helped herself with a white plm or diffusion cover.

I suppose that's the difference between 80 and 8 grand.

A simple flash slaved to the main light coming in at an angle on the background would have helped a fair bit.Certainly would have went for a lighter background look.
(and that silver is hell of a specular as well)

Hey Guys, thank you all so very much for your feedback! It's always helpful to bounce things off others and learn.
The shadows were a specification of the client who was very happy with the result. I guess I should have mentioned that. We did testing before the shoot started and that was the look the client chose.

I've got to agree with your comments. I just finished a commercial job for a client and they loved the look of the SOOC images. I was a little surprised since most of the work I get is because of my specific style. Difficult to say the "right" and "wrong" way of shooting something. It comes down to what the client likes. The client is always right! :) Nice work.

Style and creative freedom is what it is all about, if the client is happy, everyone should be happy. Also it is very difficult to judge still images in a low quality (although HD) video.

There was a post on Strobist, of a photographer I can't remember by name, who shot the india Cosmopolitan Mag cover using a beauty dish and a PLM, and illustrated how the distance between the light and the modifier affected the "focus" or width of the beam.

I think this relates to the shadows here. In the video, the Alien Bee Strobe is mounted close to the PLM, making the beam that will bounce back onto the subject more narrow, creating those shadows. I thought the images were good and you can see how much fun the models had. Congratulations, Diana, on the wonderful oppertunity to shoot there.

Patrick Hall's picture

It looks like the parabolic reflector also had a white surface, unlike that silver plm. Those crazy reflections are pretty interesting. I kind of like them.

Really doesn't matter how perfect you get the lighting or the focus. If you are a boring photographer, you will have well lit boring photos that only you will enjoy and wonder why the average person flips right past your favorite shot. If you can't hold the average person's attention on your shot and you are hired to promote fashion or another product, you have failed.

Being overly concerned with lighting is silly when you are just going to send it to a retoucher anyway. Annie Leibovitz lights most of her shots the same way and then sends them to the retoucher. The issue with many photographers is that they wished they got jobs based on their knowledge of photography and not on their actual talent because then hard work would pay off and people like Terry Richardson would not be more popular than people that shoot with the best equipment and have more camera time. After you dump hours into studying lighting and lens, and spending tons of money, a photographer of this sort can feel angry when the client could care less about your lighting setup and only if you depicted their subject in the best way.

No one outside of photographers cares about your elaborate technique or choice of equipment, they care about the final shot and nothing more.

Her shots were great if the client enjoyed them. Her shots would also suck if she lit it all crazy and perfect yet the client didn't like them. Your camera lens points out, not inward.

The 86 plm is dope when you put a diffuser over it and pull it out at a remote shoot mounted to a boom . The client thinks "DAYUM this person brings big equipment, must mean we didn't waste our money". NO lie. And the diffuser is on backorder, that's why she didn't use it. LOL