Thomas902 wrote:
wabbag so far only Robertl594 and Architect1776 have provided what I truly believe is meaningful wisdom here. Since you are a "Retired" Electrician at least you'll be able to provide wiring plan which hopefully meets local code if/when you apply for a building permit.
Bottom Line? Natural light is rarely if ever the primary choice for commercial photography studios....
You need to control every aspect of illumination.... I can see the look on an Art Director's face when you tell them they will have to wait until that cloud passes before you can move forward with the session.
My studio is totally flat black... and I use black velvet sweep behind the talent instead of seamless...
Zero ambient... and 14' ceilings
12 foot ceiling? Nope... 14 feet is a bare minimum. I shoot commercial fashion for designers.
We typically use ballerinas who btw can easily leap 4 to 5 feet vertically... they can be up to six feet tall... so now you have a model crashing into your overhead hair light(s)...
Why are UHH members so afraid of studio lighting? Natural light is for naive novices...
Commercial photographers use studio strobes... or hot lights for video...
Best Advice? Assist commercial shooters in your market...
That was my path... hard work but it's the time tested route into commercial work.
All the best on your epic journey wabbag...
And a wonderful New Year ahead! Cheers! Thomas
wabbag so far only Robertl594 and Architect1776 ha... (
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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.