2011 is starting off the right way. I have an on-going gig, 2 or 3 evenings a week, shooting pretty girls. I could have said 2010 ended on an up-note since I've been doing this since the beginning of December. But, I'd rather focus on positive beginnings than positive endings albeit they're both positive.
It's my kinda gig too! In and out, bing, bang, boom!
I drive to the location, set up a seamless and my lights (which I keep stored at the location since it's the same location each time) and wait for the girl to get out of the chair, i.e., the makeup chair. I shoot her for 20 minutes or so, a 2nd girl gets out of the chair, I shoot her for the same and, after that, I shoot both girls together for about 10 minutes. I strike my lights and the seamless, my camera goes back in my bag, I get paid (I love that part) and I'm outa there. Some evenings, I'm able to just leave my gear set up for the next shoot. I love when it works out that way.
No post for these shoots-- I simply hand over a DVD of the raw shots from my previous shoot when I arrive for the next shoot. Counting my driving time, which is about 30 minutes each way, each session takes 3 to 4 hours total. I should also note I'm driving in the opposite direction of rush-hour traffic when heading to the location. (My call-time has been 5:30 P.M. each session.) Coming home, usually leaving the location around 8 P.M., the traffic is sparse.
I gave the client a break on my rate since it's an ongoing gig and relatively simple. The client is happy. I'm happy. The girls are happy. The MUA is happy. Happiness all around! What's not to like?
The pretty girl at the top is Yurizan from a few weeks ago. Obviously, I messed around with the image a bit, making it a B&W. Didn't do much processing beyond that: Cropped it, adjusted the levels, burned and dodged a bit, removed a small blemish or two and that's about it. The high-key, semi-Rembrandt lighting employed three lights: Main light (camera-left in Rembrandt position) modified with a 3' brolly box plus two kickers, either side from behind the model with small shoot-thru umbrellas. I also used a large, white reflector, in front and camera-right, for some gentle fill.