wabbag Loc: New Boston ,MI.

Thank you all for the comments and recommendations. I will do some more research before hiring the architect to make sure he is experienced in design of photo studio architecture.

Horseart Loc: Alabama

With one large wall of glass for light, think of all the wall space you would have for backgrounds OR for hanging the results of your work!

E.L.. Shapiro Loc: Ottawa, Ontario Canada

I doubt if you will find an architect that specializes in portrait studio installation. The architect can design something built to your specifications but you need to know what those specifications are and work backward from those requirements. There are issues such as enough space between the subject area and the background, ample space for the coverage of individual portraits and groups. You must accommodate thight headshots, bust portraits, 3/4 length and full length poses all using the appropriate focal lengths. The windows or skylights must be located in the position they need to so they receive the best exposure. If you are going to use artificial light as well, you need ample space to place the lights. If you are going to invest in an architectural design, costly materials and labour, you should get it right from the beginning and planning stages. Otherwise, you will find yourslf in an expensive space that has serious limitations and no flexability. Even if you deced ongoing strictly with window light, the distantce the subject is placed from the wind will influence your results so you need a pace to accommodate that requirement. You can not move the widows the same as you move lights so you need to move your subject into the light pattern you require and change the camera position accordingly.

Once you map out the technical requirements, an architect can design the structure and provide the finished aesthetics.

wabbag Loc: New Boston ,MI.

Most of the lighting will be from studio strobes, soft boxes umbrellas reflectors. I will use natural light in conjunction when the natural light is available and appropriate. My main concern was unwanted reflections
I will eliminate all ambient light so I have full control but Reflections can be a different story

E.L.. Shapiro Loc: Ottawa, Ontario Canada

You may know that my day job is commercial photography. And yes, a familiarity and mastery of studio lighting of various kinds- tungsten, LED, electronic flash, is essential. At the studio, I have all kinds of lighting gear that is in daily use. For various on-location assignments, I must bring in whatever lighting is required. Believe me, I do not need a gym membership, I drag around enough heavy-duty lighting gear to light a football field on a dark night- and I do know how to use it.

This, however, does not negate the beauty of natural light. Of course, it can't always depend on, it won't always cooperate with all assignments, time of day, weather conditions or deadlines but when the opportunity appears it can be perfect for certain moods, ambiences, and locations. And sometimes- we spend lots of money on giant lig sources, huge soft boxes and scrims simply to simulate soft natural skylight or window light.

For me, the big trick with lighting is being able to SEE and RECOGNIZE light, identify its direction and quality and deced how it is going to strike the subject. The same applies to a simple candle, any artificial light source and any all-natural light.

Obviously, you may not be able to freeze the action of a model, an athlete, or a dancer leaping off the ground with subtle window light but every shoot does entail that requirement. I have don still life, product shooting, certain food shot, some fashion and wedding formal with window light with extrarenal good results. I'll con the location with a van full of light but if I see an opportunity to capture a mood with existing light- I'm on it!

As fr the OP, I have no exact idea of what he has in mind as to style, approach, perhaps something entirely different. If he wat to build a greenhouse-like studio, he will do it regardless of any one opinion. His being a retired electrician has little to do with any of the kinda concepts he might be planning and besides, he can purchase battery-operated studio lights. He made no mention of commercial work.

wabbag Loc: New Boston ,MI.

I use four interfit s1s and four pcb Einsteins for studio strobes and four sb910 speed lights. I use pocket wizards flex tt5 and mini with the ac3 controller. I normally only use the pocket wizards if using the Einsteins with the s1 because interfit has their own triggers

Architect1776 Loc: In my mind

Good for you.

Quixdraw Loc: x

You might want to search back in time. I recall a few very detailed and useful UHH threads on building a new studio. I glanced back and found a couple, but the one I particularly recall was very detailed with excellent ideas and photos of the work in process. An exciting project - S/B good fun!

Timmers Loc: San Antonio Texas.

You are correct with regards to your statement.

Portrait of Tim Summa at the Southwest Center (now the Southwest Art Center) in San Antonio, Texas during a workshop with Arnold Newman. The second floor studio of in the former Ursuline Academy School, light through large tall windows this is North face light, on the opposite side of the sitter are large white bed sheets draped to reflect light back into the scene.

Only window light was used, of course the building was constructed in a time when there was no electricity. Arnold Newman was a master of natural light portraiture, though he did use artificial light to make portraits. Mr. Newman is considered one of the finest portrait photographers in the history of photographic portraiture. As a 'commercial' photographer his sitting fees were among the highest, in the thousands.

Technical data was, 4X5 Linhof Kardan Bi camera, 210 f9 Red Dot Artar at f 16, Kodak Tri-X Professional film, water bathed in D-76/20 minutes, 4 cycle static tray processed, finished at 6 minutes continues agitation, 68F.

Portrait of Timothy Summa by Arnold Newman, Southwest Art Center.