Posts Tagged ‘studio’
When the doors open, if it’s hot, don’t get out.
[In high rise elevator]Tim Kizminski: How are we supposed to know if the floor is on fire in one of these?
Lt. Steven McCaffrey: When the doors open, if it’s hot, don’t get out.
Backdraft 1991
Do you remember Backdraft? Came out in the early 90′s, starring Kurt Russell, one of the Baldwin boys, Jason Gedrick, and good ol’ Robert De Niro. All of them are fire fighters of sordid experience, playing with Old Man Fire in Chicago. Little Billy Baldwin and Gedrick are probies. You know, the FNGs. Fresh out of fire fighter training and eager to fit in. It’s a feel good coming of age story. Or something.
Anyway, there’s a scene where Gedrick (Kizminski) and Russell (McCaffrey) are riding up an elevator handling a fire call out. Kizminski’s nervous. I recall this being his first real run. I recall that quote above very distinctly. It’s pragmatic and soberingly snarky. Something you’d expect from a master teaching a young student. A firefighter’s koan if ever there was one.
This scene popped into my mind last Thursday as I was reading a notice from the City of Austin after it was prominently stapled to the front door of the Hostel. Err, I mean the warehouse. Rather, the building where our studio coop is.
“… tenants have until July 16th to vacate the premises …”
“… unsafe conditions …”
“… condemned …”
Whiskey-tango-foxtrot. Ground control, we have a problem.
So, good for us, we don’t own the building. We’re just a tenant. Bad for us, we’re just a tenant and we no longer have a studio. In my faux shock and awe (“I’m shocked! SHOCKED I say!”) I continued to read through the three pages of violations that the landlord was being charged with. In no particular order (and the ones I could remember) are:
- No sprinkler system
- Wrong zoning (zoned warehouse, instead used for multi-use tenant)
- Dead end hallways leading to entrapment condition during fire
- Lack of inside lighting
- Improper building materials used indoors (fire retardant ones)
- Improper hallway sizes for emergency egress
- Improperly built stairways
- Illegally built stairways
- Electrical system not up to code
- Insufficient exit signage
- Additions to the building without a permit … both minor (walls) and major (whole additions to the building)
- No certificate of occupancy for any of the tenants
- and last, but not least, ignoring multiple court orders to close the warehouse down
Yeah. No shit. Who knew it was a fire trap? I’m shocked, SHOCKED I say! Honestly, I’m really not surprised. The fire marshall came a few weeks back to do his inspection. This means someone got pissed at the landlord at some point in recent history and reported him.
I feel sad, really. As many warts as that place has, I had some good times and some good shoots there. I feel sorry for some of the other tenants. One lady put in $25k worth of improvements to her place there. The guys at the Hookah shop had only been there about two months I guess. Another photographer had just moved in the week before and prepaid three months of his rent.
Rumor has it an angel investor has come in wanting to take over the place. They say they have good relations with the fire marshall, city council, and the mayor’s office. They own a few other properties in Austin and are willing to get things fixed and right.
But, only if the current tenants stay.
What a quandry.
The tenants met Friday night to discuss their options. They’re investigating a lawsuit for return of all back rent and deposits because the landlord made the contracts under false pretenses. At a minimum, it was illegal for him to lease out the place without getting it rezoned for multi-tenant use and getting certificate of occupancies.
We looked at a new place on Sunday. All seven of us met there after the Austin Strobist meetup. At first glance, this place would be an absolute dream. Sadly, it’s too much. The owner of this property was willing to cut us a deal for the first two months, but even with that, we’re still talking over three grand once you include deposits, utilities, and first month’s rent. I knew it would be too much for us when I walked in. Going from a one room studio with a community restroom to a four room plus storage and a private restroom is just too much for us at this point. Especially with the economy still in the dumps. But man, it would have been a dream.
Realistically, we need a slightly larger studio with an additional room for prop storage. We’ll find something, I just don’t know when.
In the end I’m kind of glad to be out of the fire trap. While it worked as a good studio in a central location, it just didn’t look all that professional walking into the building. It’s a warehouse, plain and simple.
I’m just glad to know what to do in case of a fire: when the doors open, if it’s hot, don’t get out.
The photo up top is of Adam. He’s one of the local fire spinners here in Austin. He’s whipping flaming poi around his body to the sound of music swimming out of his iPod. You can see the body’s silhouette amidst the flames.
New toys!
Well, I finally went and did it. I got even MORE camera gear. I’ve been looking at new lenses recently because I’ve noticed my current 18-55 kit lens is not as sharp as I’d like it for doing portraits. Plus, it makes it extremely hard to get good separation of the subject and background when I’m on the long end; it drops down to f5.6. Great if you want a somewhat deep depth of field. Not so much when you’re shooting someone’s portrait.
I spent several weeks looking back and forth between the Nikon 24-70 f2.8 and the new Sigma 24-70 f2.8 HSM. Man, was it a toss up. On one hand, I wanted to stay with as much Nikon gear as possible. On the other hand, I’m a cheap bastard at times and was looking to maximize the amount of stuff I could get with the budget I had. $1800 for the Nikon lens wasn’t going to cut it, no matter how much I lusted after the lens.
I played a bit with the non-HSM version of the Sigma and concluded that the zoom ring was entirely too stiff. Plus, I wouldn’t be able to use it on my d40 if I chose to use that as a backup with this lens. Reports on the web showed that Sigma corrected some of the problems in the new HSM lens, so I bit the bullet and went with that.
I’m entirely pleased with my choice.
The one downside is that the lens is huge. heavy. beastly. It’s like the eye of cyclops staring you down and peering into your head while you scream for an escape.
I love the bokeh on this lens too. I haven’t yet been able to do a full out shoot with it, but I’ve certainly played with it taking photos of random stuff (like squirrels).
In other toybag bits, I also got the new Nikon SB-900 and more portable light kit for it. That brings my overall light kit to three flashes so I can do more stuff outside of the studio.
Anyway, it’s two more bits of stuff for my kit. Yay!
White: The new experiment!
A few weeks back, I picked up two new tools for my photographic arsenal of DOOM! One was a white muslin which I needed for a photo shoot. The second was a Nikon D300. Like chocolate and peanut butter, I’ve discovered that these are just two great tastes that taste great together.
There was a bit of a learning curve with both the camera and the muslin, but I’m slowly getting in the groove of things. I absolutely love the feel of the D300. It’s entirely different from the D40 I started out with. It feels better in my hands, fits better, and I’m finally able to properly play with my 50mm f1.8 (which wouldn’t autofocus on the D40).
I wasn’t sure about the muslin when I got it. I tend to steer towards the dark side when it comes to my photography. I like it low key, lots of shadow, lots of room to hide in. But man, after seeing how well some of these photos came out, I’m thinking I found a new toy to play with more often. The downside to the white muslin is that I still haven’t figured out how to deal with ripples in the fabric on the floor. If I can’t figure out how to get those blown out (without having to photoshop), I’ll have to pick up a few pieces of tile board to hide them.
But, if I keep the photo limited to a 3/4 shot and ignore the floor? Man, it’s just sexy how the light works so well. All of these photos were done with a pair of AB-800′s pointed into the muslin at 1/2 power. There was also an AB-800 shooting through a gridded softbox off to camera right at about 45 degrees off of center. Just enough to light the model and let there be some depth in the photo with the shadow and falloff.
The models for this shoot were fabulous. Definitely going to be shooting with them again I think.
Oh, and stay tuned! I’ll have some teaser photos later this week from the Austin Music Awards on Wednesday. I’m definitely excited about that!
And now, for more photos!
Doom on you! Doom on you!
Oy! It’s already well over a week into 2009 and I’ve yet to post anything useful, thought provoking, or incendiary, or eye catching! Crazy. I ended up in the studio Wednesday evening with my friend Wes. She designs costumes for fun and does a pretty awesome job at it. A few weeks back, Morgan showed me the costume that Wes was working on for a New Year’s Eve masquerade ball here in Austin. It wasn’t finished at that point, but I mentioned to her that I’d have to drag Wes into the studio once it was done.
Now, Wes is one of those fun people that you want to have in front of the camera. She’s comfortable with herself and has an intensity about her that makes you go click-click-click! with the shutter button.
So, back to Wednesday. I’d stopped by Morgan’s place to pass some time before the shoot. Wes was there getting ready and putting on makeup. What I hadn’t realized at the time was the accent color she was putting on to match the dress: a green that faded to yellow around her eyes and that wrapped across to her temples. It’s great working with someone who knows what the hell they’re doing with makeup. (Aside: I really need to find an MUA that I can consistently work with; but that’s for another time.)
I headed over to the studio and started the setup. I’ve realized that I’m getting faster with putting everything in it’s place, which is great, but the downside is that I tend to stick with the same setups, so I need to work on that this year.
James came by for a bit and dropped off the smoke machine he purchased for the studio. We talked about some ideas for the studio going forward; it’s clear that I need to get a few muslins of my own because we’re definitely going through seamless paper far faster than we should. 
The downside to having more than a handful of people in the coop. Meanwhile, Wes showed up, got all set up and in her Doomsdame la Douche persona: a fitting name considering the tone and timbre of the dress.
We didn’t get fancy, but we certainly used a few props that someone had left in the studio: a chainsaw and a hobby horse. One thing that was self-evident, albeit after the fact: don’t lick a chainsaw if you don’t know where it’s been. Apparently the taste is quite unnerving, if not disgusting, according to Wes.
I’ve had a few comments about that photo including: it would be better if it were a gas chainsaw and if it were running! I could see the first one. But really guys, the second? Really? I think what we did worked. Especially since it was one of those unrehearsed and unprompted moments of the shoot. Wes is entertaining like that. I mean, c’mon, would YOU give it a second thought before licking a chainsaw? I thought so.
The hobby horse was just cute. I couldn’t resist dragging it onto the seamless and putting her on it. It kind of reminds me of a bizarre bastardization of Veruca Salt from Charlie and the Chocolate Factory, only more adult but still getting her way. I could just hear her saying, “But I want a pony NOW, daddy!”
One of the other shots we did was with the fog machine. Now, I have to say I expected it to work differently. I was expecting the fog to more or less hug the floor, making it nice and dense. Since we had no fans going there wasn’t going to be much air movement in the room. Did it work that way? Of course not. It just filled the room. And filled it some more. And then some more. It was clear that, two minutes into it, we were going to me smoked out of the room so I turned it off. The only shot I really got that turned out well was one of the first ones where I had her backlit by one of the strobes; the smoke behind her was being illuminated so you could see some of the small swirls of whatever air current there was from us moving around.
The big lesson learned? Playing with that damn fog machine made it impossible to do anything for a good 15-20 minutes afterwards while I got the room flushed out. Talking with some of the other photogs later, the suggestion was made to use dry ice for the effect I wanted, which was to have a myst hugging her feet. I’ll have to keep that in mind because I’m sure there will be other times I can use that.
After we finished up with the Doomsdame la Douche, we did a few shots without the brunette wig. Wes has lush red hair with blonde streaks in it that complimented the dress amazingly well. Once I got home and started doing post, the thought that struck me was that she could easily pass for Poison Ivy from Batman. The green makeup and dress, flaming hair. Definitely.
Finally, towards the end of the evening, she changed into a flowing silvery skirt and black leather corset. She’s got these great wigs that just work as excellent detail touches, so I got a chance to throw some blue gels on the lights and bring some complimentary light into play. While I had her on the seamless working on a shot, I happened to glance over at the wall where one of the mirrors was set up and was like, “DON’T MOVE!” 
I’m not sure what she thought at that moment, but I turned and started snapping photos of the mirror. The reflection was great. I loved how the blue light just framed it all, with the softbox lighting her up from the other direction. It worked. I love those happy accidents.
I think my favorite photo of the evening is the first one shown. I’m not sure why really. The lighting is just striking. I love it when a face is half hidden in shadow the way Wes’ is in this photo. I need to play with that idea more.
The Painted Veil
“People are like stained-glass windows. They sparkle and shine when the sun is out, but when the darkness sets in, their true beauty is revealed only if there is a light from within.”
Elisabeth Kubler-Ross
I was talking to my Dad the other day about my photos. He’s been following what I do since he meandered his way onto the grand ol’ Intartubes. He made an interesting generational conjecture about women being tattooed. To be short and sweet: he doesn’t like it. He’s not the first person of his generation and upbringing that I’ve encountered this opinion of.
I found it rather interesting in all honesty. Not because he doesn’t like them, but because in a single generation, he’s encountering someone who is the complete opposite of that idea: me. I find tattooed women to be intriguing. Hmm. Let me rephrase that: I find certain tattooed women to be intriguing. 
I’m not talking about the college coed that goes into a tattoo parlor on 6th Street to get the classic tribal tramp stamp. Picking an image off the wall has no artistic allure for me.
I’m talking about the woman who goes in with the empyrean idea of allowing ink and thousands of tiny bee stings to color her body in ways that make Michelangelo take a second look. A living canvas of flesh covered in nothing more than a lifetime supply of art. Those are the women of singular photographic attraction.
Of particular note is Morgan. I shot with her and her friend Natalie two weeks back. Morgan and I didn’t really have a plan, other than to shoot something with her gas mask. I wanted to do something different and edgy. That’s about the only direction I had. Oh, and tattoos. Morgan has these amazingly detailed tattoos. We ended up doing a significant number of pin-up style photos before and after we played with the gas mask (and a Christmas tree … how’s that for a combination). Natalie joined in on a few and we ended up having a lot of fun with that.
After Natalie left, I shifted over to doing more artistic shots of Morgan. I wanted to see what I could arrange with the tattoos in order to show off the detail and coloring within. A little post with some cross-processing and I came up with some absolutely stunning photos (like the first one).
One of the things I found after doing the photo shoot was how much better my photographs look when I spend just a bit of time on them in Photoshop. Previously, I tended to stick in Lightroom for 99% of what I did because … it was easy and I was lazy. In this case, I wanted to see what trouble I could get into by combining Nik Efex and a little bit of skin work.
Oh. My. God.
The quality of some of my photos increased tenfold. Easily. It was a very pleasant surprise what some work with the healing brush would do (compared to using the spot tool in Lightroom), for example.
I still prefer to do most of my work in Lightroom right now because of the ease of using presets, but my notion on which photos should get some extra work is changing. Spending the time to make some things “stunning”, as a friend exclaimed, is worth it.
As mentioned, the models shown are Morgan (with all the tattoos) and Natalie. Playing with the gas mask was definitely the highlight of the evening. Definitely different and edgy.
You may see more of Morgan and Natalie in my flickr stream.
WOOT!
Well, I went and did it. I did my first for-pay shoot last Saturday. My friends Todd and Elizabeth (whom you’ve seen before on here; I shot their wedding) decided they liked my photography so much that they asked me to do some family photos for them. I had slotted two hours in the studio for them because we weren’t sure just what they wanted. I can say that was WAY overkill. They showed up, had the kids all ready, and 25 minutes later I was done. I did three groups (two of the kids, one of the whole family) and then did portraits of everyone.
In all, I think I did a pretty good job. I can see where I need to improve a bit, but that’s fine. I can certainly do quick shoots like this. The money is good and the time even better.
One thing I’ve noticed is that I want to play with more lights when doing portraits like these. There’s a particular style of lighting (I don’t know the name) that I want to try where there’s a nice soft light coming from the front and above with two side lights rimming the head/body. I’m not yet sure how well it will work for me, but everything I’ve seen it on, I’ve liked.
Oh, and sorry, no photos from this one. I’ve only just sent T & E the photos and I haven’t heard back from them on posting a few.
So, a funny thing happened on the way to the studio …
[Reposted from my personal blog because people there found it a hilarious look into my photography life.]
Ok, some back story first. If you’ve been following my photography, you know that I’ve recently started shooting art nudes. No big deal. A good friend was up for shooting, so we did. I’ve posted a few here and there and on various websites. Photos are a raving success. She likes them. People like them. I get a Pulitzer prize for them. Ok, maybe not the last part. yet.
A few weeks back, a friend from the community, we’ll call him Zack, sees the photo, shows it to one of his friends. She falls in lust with it (or something). Zack pulls me aside at a party and says, “Hey, I know this girl … she saw one of your photos and wants to shoot with you.”
“Oh? Which one did she see?”
“One of the nudes you just did.”
“Oh, great. Send me her info and I’ll get ahold of her.”
Two-ish weeks ago, I get the bits I need and we start playing email tag. It goes something like this. Oh, we’ll call her HeidiF.
Me:: Hi! Zack gave me your info. Said you wanted to shoot?
HeidiF: Yes! My best friend might need some too. Call me so we can set something up. Oh, I’m in the adult business so I’ll need some good quality pics.
Me: (thinking: huh. adult business. that means a lot.)
Me: What style of photos are you looking for?
HeidiF: Zack sent me a link of a picture of a girl that’s lying on a hardwood floor and the shot is of her legs. that’s pretty much exactly what i’d be looking for. also some topless shots and stuff but without my face in them. my bestfriend is also looking for the same thing.
Me: (thinking: Ok, I can do that. Kinda strange that she’s in the adult business and wants faceless photos … but ok. whatever)
Meanwhile, back at the ranch, the entire family is sick. I get sick. I look like death warmed over. Somewhere, I lose four days.
HeidiF: Hey, haven’t heard from you. I’d like to do this. I need the pics soon.
Me: Whoops! Sorry, I’ve been mostly dead. Zombie infection, you see. I got bettah! How about Tuesday?
HeidiF: Sure! give me a call so we can set this up.
Me: (thinking: why are people so keen on phone calls? Sigh.)
Last night, I call her up and manage to get ahold of her right as she walked in from the gym. We talk briefly.
HeidiF: So, uh, err, yeah, that adult business thing? I’manescort,Ihopethat’sokcauseifit’snotIunderstand!
Me: Eh? I don’t care.
Me: (thinking: fuck, it’s late, I’m tired, I already have the studio scheduled, I just want to shoot)
HeidiF: Oh, cool. So, uh, do you do trade and if not, how much to shoot?
Me: (thinking: trade? Sure, I do TFP … time for pictures)
Me: Well, I can either charge you $X and you get some number of photos. Or we can do trade, I get you to sign a model release, and I use your photos for my portfolio or whatever.
HeidiF: Oh, trade is fine with me.
Me: Fine, see you at the studio.
Hindsight being 20/20, I just should not have given the trade option. But I digress.
Hindsight being 20/10, I should have paid attention to what she said she did. But I digress. again.
So, where was I. Oh, yes. Tuesday begins with a bang. I manage to forget to set the alarm so I wake up already running late, trying to gather all my equipment, get dressed, find the missing battery chargers, look for socks when … fuck. I just spilled something nasty on myself. Necessitating a jump in the shower to clean up.
Restart the dressing stage, FINALLY pack my shit and get out the door. Off to work I go.
James calls me just as I leave work for the day and asks what I’m up to. Mentions he has one of the studio lights still so I go over to pick it up from his place. We talk abit about my upcoming shoot and I’m describing the conversation.
He just looks at me.
“So, she’s a call girl?”
Huh. Fuck me. I guess that’s what she meant. Yes, this is one of my rare gullible moments. I told you I was tired when I talked to her.
“And you told her HOW much to shoot? Fuck, man, you need to be charging at least two or three times that for any person that comes in.”
Whoops. Point noted.
It’s clearly too late to bail on her and … well, I really just wanted to shoot. So, once more into the breech my good fellow!
Later that evening, I wander over to the studio and get things set up. Lights. Check. Computer. Check. Hot naked chick. No check. She gets a little lost so I have to guide her in. She arrives about 10-15 minutes after our start time, which is fine. I have the studio blocked out from 8 to midnight to shoot with her.
We do the standard “show me your outfits” and “what do you want” dance. She’s not sure. Just wants STUFF! THINGS! You know, like in those porn mags! You know, those sorts of shots.
“Heh. Yeah, well … ever since I became a photographer, I’ve been ruined for porn mags. Just doesn’t interest me anymore. I keep getting distracted by figuring out how they did the photo instead of what’s IN the photo. So we’ll just have to wing it.”
We spend some time chitchatting about what she does and how she got into it while I get some things set up and while she gets dressed in the first outfit. Hasn’t been doing it long. Found it on craigslist. The person running it is nice. HeidiF talks a bit about how they the woman has a set of photogs they normally use. “We usually just trade for the photos.”
We also talk about what sort of photos she really needs. So, two problems. She wants them to be hot photos, but doesn’t want to show that she’s overweight because it’d “kill her business.” Yeah. I’ll do my best. You get what you get when I’m doing this for free. And no, I don’t know how to photoshop liquify your extra-ness away, sorry.
But, second problem? Well, the clothes she has are fine, but they’re not going to hide the fact that she’s got some extra weight on. Which means they aren’t entirely flattering any way I’d normally pose her.
The no-face thing is just killing me because … well, I like photographing faces, but whatever. I let her know I’m not going to NOT photograph her face. We’ll just crop out where necessary.
She puts on the first outfit, some long, black dress, that laces all the way up the sides.
“Hey, is there some place close to smoke?”
“Yeah, if you go out the door and to your left, you’ll find a fenced in alley.”
“Good, because if a cop saw me walking around in this, I’d be arrested for prostitution. Crap, I can’t find my cigarettes.”
“Just go out to your car and get them. If someone asks, tell them you’re doing a photo shoot.”
“I parked two blocks away.”
“I guess you’re not smoking.”
We walk through her list: legs from the waist down. tits. more legs. different clothes. bent over the couch. more clothes. and finally her “Greek Queen” pose.
“You know what a Greek Queen is, right?”
“uh, no? Should I?”
“It means I like to take it in the ass.”
“Ah ha.”
So, we do that pose and wrap up. We quickly go through the photos and weed it down to 10 or so that she really liked. She gets dressed and I start cleaning up the studio, putting equipment away.
“Oh, just so you know, the first hit was free.”
She looks at me curiously.
“Next time, I’m charging.”
“Ok, how much?”
The wheels start spinning. I’ve been thinking about this all night. I’m not sure I want to deal with shit like this again.
“$2X is about right for how much time we spent.”
“Ok!”
I walk her out to the car. We’ll see if she wants more photos.
I give James a call and we chat for a moment.
“Well, you were right. Near as I can tell, she’s a call girl.”
“You did this for trade?”
“Yeah. Her time for photos.”
“That’s not what she meant when she said she’d trade.”
“Oh.”
I can be so blonde some times.
Lessons learned? 1) If I don’t know you and you’re approaching me to shoot, you’re likely going to get charged now. 2) I need to smack Zack for not being a bit more forthright about his friend because, yes, he apparently knows.
The top photo and this one were two of the shots from the evening. And no, this wasn’t the “Greek Queen” pose, you pervert. A fun and entertaining night indeed.
Eureka! I’m getting this.
Monday night, James invited me to come and shoot with him at his studio on SOCO. He’d scheduled two models to come out for the evening so we could take turns with them. Overall, it was a good night, but still a struggle for me creatively because I don’t yet have the confidence I know I need when working with a model. A lot of that comes from the lack of understanding what makes a “good” pose or idea. We ended up shooting for a few hours, James working on his ideas, and me stepping in every now and then to try something out.
I had another minor epiphany that night when it comes to my photography: I need to trust the histogram more. In past shoots, I would take a few shots, look at the screen, take a few more, look at the screen, chimping the settings and then finding that I might be off as much as a stop or two when getting them on the computer.
That’s disheartening, really, thinking that you’ve got something spot-on in camera and then trying to work to recover detail because you pooched the shot.
But, Monday night was different. I knew I needed to try something different so each time I shot, I tried to pay attention to the histogram and wonder of wonders, I found that I was exposing too darkly, even though the image looked good on the camera. I guess it’s like flying a plane in a dense fog bank: you shouldn’t necessarily trust your eyes to tell you that you’re moving straight and level. Sometimes you have to fight your senses and force yourself to pay attention to the instrumentation to make your minor (or major) adjustments in order to successfully land the plane. Same thing in photography.
And guess what? I was much happier with my results this time. I went into the shoot unsure of what I wanted out of it and came away with a better handle on this thing I’m trying to get the hang of. James was a lot of help, describing some of what he was doing, how he was working with the models. I tend to be a visual learner. I got that from my Dad who instilled a “watch one, do one, teach one” mentality in me. So, being able to watch James work was extremely helpful, especially without the distraction of dozens of people being around.
On the left is Hayley. I shot her with a large softbox at camera left. The background is gray seamless that is blown out with one AB-800 (on camera right) and one SB-800 on camera left. The pose happened completely by accident. I had just finished shooting her and was going to put my camera away when she reached up and touched her mouth to wipe something away. I loved what it looked like and lept back into place, almost yelling “DO THAT AGAIN!”
On the right is Emily. Same setup, but without the background being lit up at all. The white balance has been dropped from flash down to around 3650K, giving it that blue-green tint. When Emily saw the raw versions of these, she commented how she liked the way her collarbone was exposed. It made me realize that there’s a delicateness and sexyness to that pose. I’ll have to keep that in mind for the future.
Both models were great to work with. Definitely people I would want to shoot again.