Wednesday, October 11, 2023
This was an odd day to say the least. I had no plans on going anywhere because I had too much to here at home between getting ready for a themed photo session on Friday, working out international shipping for a print and getting that deal finalized, and still working on the styling for an upcoming studio shoot. However, when I looked outside after I got the bulk of things done during the morning, I saw clouds and really good light. They weren’t the kind of clouds that would make good landscape images though, but it had been a while since I had tried to shoot that old Impala behind the shop in Lenoir. The lighting would be really good for it from the looks of things. I grabbed my gear and headed that way in hopes of getting the permission needed to get the shots I was after.
Well, when I got there, the vehicles outside were different than were there last time and my business card was no longer in the door. This confirmed that there was traffic at the business, and it would appear that they didn’t care to talk to me about photographing the car in the back yard. I tried one more time to call the number on the side of the building with no success. I knocked on the door with no answer. I went next door to what I am assuming is a business, or possibly a duplex style apartment. I knocked on both doors to see if anyone was there. There was no answer here either. At this point, I was pretty well convinced I had exhausted my options here and it was time to let the car go. There was no way that I could photograph it from the public right of way, so without permission, I was stuck.
Since I was in the area of Lenoir, I decided to go exploring a bit to see if I could find something else to shoot. There has been a lot of potential in the area each time I have been here, so I was hoping to find a plan B of some sort. The area I wanted to work with was on the other side of US 321 which I have not spent much time with, in the past. I honestly had no idea what I would find over there, but the light was good, and I was in the mood to shoot rust.
The first spot I found was what looked like a junk yard behind a church, but I wasn’t convinced about how this was all put together, so I didn’t really pursue finding a property owner. I’ve added it to my list of places to go when I had a little more time to work with since there was the potential of a lot of different subjects to work with. I was just wanting a few simple photos to grab because I didn’t really have that much time to play around with.
When I left the area of the church, I continued on down the road in the hopes of finding something else. Nothing was really grabbing my attention, so I was just slowly going through the area looking in the dark corners where I normally find my best subjects. As I came around a curve, I saw a house on the left that seemed to stand out all alone, and there was a three-car garage across the street from it that looked like it had some age on it. As I examined the area, I saw an early 50’s Chevrolet parked off to the side of the garage in the weeds. It was close to the building, so I knew I would have my work cut out for me in order to get a meaningful composition. It was good enough to go back for another look, so I got turned around and pulled into the parking area in front of the garage.
I got out and looked at the car from the shoulder of the road. I was pretty sure that I could do something with a long lens and could certainly get some isolations as long as I could get permission. With the house across the street being the only residence in view, this had to be the place to go. I crossed the road and went to the front door. It looked like this house was probably still lived in, but the blinds were all closed and there were no cars in the driveway. I knocked on the door and waited. I heard nothing inside, and nobody ever came to the door. I walked to the side of the house so I could peek around back and announce myself. Still no answer. I had no idea where else to check, so I went back to my truck figuring that I would have to skip this car as well. The lighting was so good though, I hated to give this one up.
As it turns out, I have talked to two different people over the last week who have been interested in this part of my decay photography. I was thinking about things that I had shared with them, and how those suggestions were having a bearing on how I proceeded here. I looked carefully around for any signs or indications that they didn’t want anyone on the property. Seeing none, I started to look at my options without getting too far into the property. The composition that I had spotted of the entire car was one as seen from the shoulder of the road that could be captured with the telephoto lens. I felt comfortable doing that because I would be on the public right of way and in full view of anyone that drove by.
I moved my truck to the edge of the parking area so I was well on the shoulder of the road, and then put it right at the edge of the property so as not to block anything, and to leave my actions in full view. I went around to the hatch and grabbed my camera with the telephoto lens attached and added a polarizer. I then set it all up on the tripod and started to find the right place to put the rig. I had to be very careful about including the side of the garage because I wanted enough breathing room on the left of the car. I found the angle that allowed me to eliminate most of the garage except for a bit of the overhang and part of a downspout. Those occupied a small portion of the upper left corner and it couldn’t be avoided. I chose to remove those in post when I got home since it wasn’t an important part of the image, or in an area that would draw a lot of attention.
The lighting was very good, but I was having a hard time with the overall exposure because the chrome bits were really quite bright in comparison to the car which was in the shadows on this cloudy day. I eventually got a good balance of protecting the highlights while getting the overall exposure where I wanted it. There was a little more clipping than I like on the chrome, but it seemed like the best option at the time. Since I know the telephoto lens is a little questionable with details at a distance, I made a lot of exposures here as I played with the depth of field to make sure that I rendered everything sharp that needed to be.
The entire time that I was out here, I was expecting somebody to drive up and ask what I was doing, and I was actually hoping for that to happen. I would have loved to have gotten in closer to the car to try some different compositions. Unfortunately, that never happened, and I found myself at the end of the single composition that I could work from the road. Not feeling comfortable with pushing my luck anymore, I decided pack it up and move on to the next location if I could find one.
I found myself driving around for quite some time with no luck at all. I was happy with the one image that I had in the bag and was thinking that it wouldn’t be a bad thing at all to get home and just have a single image to edit and blog about. As I was about to get turned around to head to familiar territory, I spotted a Ford Fairlane under a tarp with the front end exposed. The headlights had a great mossy covering on them which I liked. I figured I could get a few isolations of this car, but I was going to need permission to access the property. I drove on down the road to contemplate if I wanted to pursue anything with that car or not. Then a red dump truck caught my eye on the left side of the road. The interesting thing about it was there were several trees growing out from the dump bed of the truck which was quite interesting. I pondered that as well but couldn’t get a composition put together in my head that was worth anything. Shortly after that, I found a place to turn around. I wanted to give the truck another look and then look at the Fairlane once more.
As I passed the dump truck, I slowed and pondered my options. Nothing was going to really work out with it, so I took a pass. When I got to the Fairlane, it was hard to see from this direction, so I slowed down and looked as I passed it. There was a telephone pole right beside it with a big “No Trespassing” sign mounted to it. The car was interesting though, and as I was looking, I saw a man come to the front door and stare at me. I waved at him and as I was thinking there wasn’t enough there for me to really try, I decided since he was home and had seen me, I would tell him why I was scoping out his property. I got turned around again and pulled into the driveway.
He met me in the yard and I introduced myself and said that I didn’t want him worried about why I was driving back and forth on the road looking at his property. I just told him that I was a photographer looking for old cars to photograph. I had spotted his from the road and was debating on whether or not to stop and bother him about it. Since he was already up and looking my way, I figured I would take a minute to at least ask if I could try a few photos. He was patient and let me say my peace. When I was done, he responded that he didn’t think that it was a good idea to let me do anything with the car. He had been worried that I was after his chickens which was why he was watching me.
This was one of those times when I could probably pull at the string he gave me to get permission, but thinking about the possibilities with the car it really wasn’t worth it. Had the car been something amazing, I think I would have been able to talk my way into getting that permission, but I decided to leave him in peace and take a pass on the car. I thanked him for his time and consideration and went back to the truck. I had no regrets with this choice because there was every chance that even with permission, I wouldn’t have gotten anything overly special with the car. With the tarp off, that might have made a difference, but I didn’t want the scene disturbed, so I only had a bit of the car to work with.
I got back on the road again and continued looking for a very brief time. I was watching the clock and decided that I would start to make my way home because I had plenty of time to edit and blog about the one photo before Toni got home from work. I made this realization when I was approaching US 321 much further South from where I had crossed it. Kind of knowing the area, I knew that I could take this South and eventually hit the road that would lead me back into Taylorsville. Having had such good luck out there recently, I figured I might get lucky with some low hanging fruit that I could get before going home.
As I was going down the road though, nothing was sticking out at all. It was looking like I was going to have to be content with 15 frames of the same composition which wasn’t a bad thing at all. I was realizing that I was going to be passing one of my favorite roads in Taylorsville before getting to my turn to go back home. It wasn’t far out of my way, and I knew of a little shop out there with a car that I’ve thought about photographing several times over the years. I had time to get out there and see if I could figure out a photograph or two of it.
It was a little further down the road than I was thinking, but soon enough, I found my turn and went down a road that I haven’t visited since…well last Fall. I had no idea it had been that long ago, but it was just over a year ago that I was down here just about every chance I got photographing loads and loads of old cars. When I arrived at the location, not much had changed with the cars so I pulled into the parking lot and pondered my options for a brief minute.
As I was sitting there something happened which hasn’t happened in the dozen or so times I’ve stopped here. A guy came out of the building and asked if there was something he could help with. Once again, I found myself in a situation where the property owner cut to the chase with me and saved me the effort of knocking. It also happened at a time when I had decided that I wasn’t going to stop and see if I could access the property. I just wasn’t convinced that the Ford that I saw beside the shop was going to be the right subject for the conditions. However, since he was out there, I let him know that I was a photographer and had thought about photographing out here several times before. I asked if it would be a problem if I tried to work some photos of the old Ford. There was a bit of hesitancy in his response, but eventually I got the green light to work with it. As I was parking and getting out of the truck, he went over to the car and started to pick up some of the clutter around it. I let him know that I actually liked the clutter, or more accurately, I liked an undisturbed scene. He was concerned that I would be getting the clutter in the photos and didn’t want that represented.
I could certainly appreciate his position, so I went over with my phone and showed him some examples of the types of photos that I shoot so that he wouldn’t worry about the clutter around the car. He seemed to get it after that and left to me to my work. After taking a quick look at the car, it was obvious that it was going to take some doing to get meaningful compositions done of it. I chose my long lens once again and started to get some isolations shots and one overall from a distance at the front of the car. None of these were really working out for me though. It appeared as though the lens was the wrong choice for the car.
Before calling it quits, I went back to the truck to change my lens to the standard zoom which would hopefully turn my luck around. As I was doing that, I think that the owner thought I was done and came out to tell me that he had a lot more cars which I could come back later on and shoot if I made an appointment. I thanked him and got the number to contact him before letting him know that I was just changing lenses and wasn’t finished. I would definitely be back in touch with him about the other vehicles though.
The thought crossed my mind that he had been watching me as I was working the scene and realized that I was not interested in the car for any other reason that photographically. It is almost an automatic behavior not to mess with the cars or touch them. I am always respectful of the area that I am working in and try not to disturb anything. This trait goes a very long way when it comes to getting tips from the owners about other locations and other subjects. I can only assume that was what was happening here, especially since there was a security camera on the side of the building that showed my activities. There was also the chance that he had taken my card and looked up my website which would also show that I am serious about this kind of photography. Whatever the case was, I had just seen an open door to more rusty treasures.
With the standard lens attached, I went back to work with the old Ford and started where I had left off which was down low under the headlights. I had shot this style of headlight so many times from the top down, that I wanted to try a different variation that had worked so well on my recent trek into Taylorsville. I found that it was quite a bit more difficult to get the angle since the car and I were at the same level unlike the raised parking lot from before. I was able to get the angle that I was after though by getting the tripod really low to the ground which had the camera about eight inches off the ground. I had to pull the camera from the ballhead in order to see the image review because there was just no way to see the back of the camera in any detail at all. Satisfied, I moved onto the next composition which was an isolation of the driver’s side A pillar. Things were slowly starting to come together thanks to the lens change and I was starting to make images that I liked of this car.
Feeling that this might make a better option for the overall view of the car, I moved over to that corner and started to frame up a similar shot to what I had done with the long lens before. The building kept getting in the way of the shot because of how it entered into the left edge of the frame. I tried to balance it out by including a tree to the opposite side of the car, but that brought in too much sky which had no detail in it at all. As I worked through the different options, I started to see the potential of including the side of the building in the composition in a more meaningful way. If I brought enough of it in, I could include a window which made for a nice framing element and something to balance out the car in the lower right portion of the frame. This seemed to work, and I adjusted the focal length and camera position until it all seemed to come together. It was a great composition to include a branch full of yellow leaves above the car which added to the visual interest. Thankfully, the side of the building had a bit of a cool color cast to it which helped to balance out the overly warn tones of the scene.
The light was starting to drop at this point as it was around 4:30 under heavily overcast skies. I didn’t think that I was going to be here much longer but wanted to try a few more things while I was here. there was a ’70’s Corvette behind the building that looked like it had potential, but after looking it over for a few minutes, I couldn’t find an interesting composition that omitted the white hood which was too big of a contrast with the dark blue color of the car. I went back to the Fairlane and considered any other compositions that I might have forgotten. The only thing that I could come up with was a front third shot which would show off the lines of the front and more specifically, the way the fenders wrapped around the headlights and grill. This was the most interesting part of this car in my opinion. I got that shot and felt pretty good about it and moved to the rear of the car.
I had spent some time around the back end with the taillights but hadn’t found a composition that I liked. This was the part that I had seen from the road, so it was a bit disheartening that I wasn’t able to find a composition of an area that had initially sparked my interest. I’m pretty sure that the view of the rear just told me what kind of car I was looking at and that there might be something there to photograph rather than the scene itself looked photogenic. The time spent back there was limited and I went back to the front of the car one last time. Not seeing anything else that I hadn’t already captured, I was ready to call it a day.
What had started out as a quick trek with only one photo to edit had now turned into something a bit more complex and time consuming. I wasn’t complaining though because I now had a lead that would put me in the position to shoot a number of other cars. I just didn’t know exactly what those other cars looked like. As I was walking back to the truck, I noticed that the property owner was getting in his truck to leave. I made my way over to him and thanked him once again for the chance to photograph the old Ford. That was a great segue into discussing the other cars that he said I could come back to shoot. He pointed in the direction where they were, and I saw some clues that fit what I look for in this type of photography. Not able to fully see anything, I asked if I could go back and scout the area for a few minutes. I knew that I didn’t have long at all before it was going to be getting dark, so all I was interested in was a quick bit of access to see what conditions would be best for the location. He granted me access and cautioned about some of the hazards present. I bid him a pleasant evening and we parted ways.
Without thinking much about it, I just walked back to where he had pointed with camera in hand to see what was there. It wasn’t long before I found several old cars tucked into the vegetation. The further I got, the more I saw. There was this one blue GMC pickup that caught my eye, and I loved the way the dim light was treating it. I couldn’t resist setting up the tripod and getting a composition worked out. It actually came to me pretty quickly and I was able to get another shot in the bag. This was a bonus one that I didn’t even have to work hard for because it was just right there in front of me. It was at this point that I remembered that my truck was still unlocked which I didn’t think was a good idea since I was now out of sight of it.
I just left the camera where it was and ran back to the parking lot to lock the truck. In hindsight, I probably should have added a small step to that trip, but I wasn’t really thinking about the long game. I could have benefited by grabbing my bag which was still in the back, but I didn’t even consider doing that. I was running out of light, and I already had my bonus image from back there. What else could I ask for? I ran back and got the camera in my hand once again and continued through the trail. I was in heaven back here. So many great examples of old cars in the condition that I just love photographing them in. I could easily spend a day back here, but I didn’t have that kind of time at all. I knew that I could come back at another time, and I started thinking about what conditions would be best.
It was easy to see this as being a Winter or late Fall shoot to allow some of the brush to die back. Most of the cars were buried in vegetation which worked for some of them, but almost completely hid others. I would like a bit more visual room to work in, so I might wait until things thin out before returning. One thing was for sure, there was a lot here to work with, and I could just about close my eyes, point my camera and get a winner of a shot without trying. There was part of me that had regretted spending so much time with the four door Fairlane out front, but it was time well spent because I finally started to work out images that I liked with it by the end.
One of the cars that really jumped out at me as I made my way around a bend was a Buick that was nosed into a tree. This car was set apart from most of the other vehicles and I could get nice clear views of several angles on this car. I started to look to see if I could get a shot or two while I was back here. In no time at all, I found an overall composition that I liked shot from the right rear corner. I got it all framed up and made a couple of exposures before looking for isolations. The inspiration hit me hard at this point and I started working the car like this my whole reason for coming here. I found detail after detail that interested me and I tried to work out compositions with each of them. It was the front corners that I ended up liking the best and I settled into working both corners as vertical compositions.
It was the driver side that I had the most hope for and liked what I had going with that the most. When I was happy with that set of photos, I moved to the passenger side, which was a little more difficult to work with. I ended up liking the composition as shot from the center of the car using a small tree as a framing element for the fender. It felt odd to me, and I didn’t stay with it long because I thought that the other corner was so much better. Ironically, when I got the images home, the one that I thought was the strongest was rather plain and boring. It lacked flow and personality in my opinion. However, when I looked at the “also ran” image from the passenger side, there was a much better flow to it, and I liked the composition better. A quick change to black and white and I loved the image. After all these years, I am still amazed at how different a photo will hit me when I see it on a large computer screen versus the viewfinder or the LCD on the camera. I just knew that I had already picked the winner photo, but I was 100% wrong on that. I am glad that I shot a couple of frames from the off side because it would have been a shame to have missed that photo.
With the light fading, I wanted to see more of what was here, so I continued on with my walking tour. It just got better and better as I went on. The next easy subject that I happened to come across was a Pontiac Bonneville which was pretty much all alone in the woods. The vegetation was grown up around it which helped with the isolation. It was an easy composition to make which was why I decided to stop and shoot it. I would have liked more visual interest to it, but I thought that I could do this as a black and white photo for a bit of a different feel. The car was white, so I wasn’t losing any important color, and the remaining green of the vegetation dominated the scene.
The only question that I had was the remnants of a plastic jug that was stuck under the wipers. It was kind of a distraction for me, but at the same time, it was how I found the car. Had it just been laying on the cowl, I might have been inclined to temporarily move it, but even that would have potentially altered the patterns of dirt on the car. With it being under a wiper blade, I gave myself no option but to shoot it as a part of the scene. I examined what it was a bit more closely and found it to be a Big A antifreeze jug which was fitting for the subject. This is part of what I am talking about when I mention wanting to tell a story with my photos. What started off as a distraction, turned into a worthwhile element in the scene because it was automotive material, and had obviously been here for quite some time. It just gave more validation to the car itself and completed the story that I was going to try and tell.
The photograph didn’t take long at all to compose and create. There were only a couple of frames as I worked with different depths of field and tried to push the exposure as much as possible for the low light. I was pretty happy with how it turned out and confirmed that black and white was the way to go with the final edit when I got it home. I would have liked for it to be in color for a bit more punch, but with the car being white, there was really no reason at all to leave the surrounding greens in place. The car essentially represented the same way either with color or without, so I removed it all.
It was at this point that I realized the error of my ways when I went to the truck to lock it. Had I been thinking, I would have remembered that I started the day out with a partially depleted battery which had served for the entire last trek that I had gone on. What had started at 58% was now showing 25%. I still had plenty of life left in it, but I wanted to be judicious with the use, so I didn’t find myself running out of juice right as I found a perfect photograph. Had I just grabbed my bag, I would have had access to three other batteries as well as three other lenses which might have come in handy for some of these cars. I didn’t have it, and I really didn’t have time to run back and get it at this point. I just decided to make use of a big benefit of a DSLR over mirrorless, and just turn it off between shots and use the optical viewfinder to compose the images which uses no battery power at all.
I was going to be in reactive mode at this stage. I didn’t have the battery power to really play with compositions, I was going to have to see what excited me, frame it up, turn the camera on, and shoot the image as quick as possible. Considering that I was only back here as a scouting trip, that wasn’t a hard pill to swallow at all, and I kind of liked the Blitzkrieg method of getting photos. It left no time to second guess. I shot what I liked and would sort them out when I got home. If I could have done something different, I would do it on my return trip. For now, I just wanted to see what I could do.
I continued through most of the trails and got an idea of what was there and how I might like to shoot it when the vegetation cleared off a little bit. There were just so many wonderful subjects that I felt I could easily get lost back here for days and days. I just didn’t have the time to really work anything at this point, so if a composition didn’t present itself quickly, I passed on it for the time being. As I was coming back around the loop, I found a blue truck that I had seen in the opposite direction which now caught my eye. There was a composition right in front of me and it would take very little effort to get the shot. I set the camera up and dialed in the composition where I only included the cab of the truck and the rear of the Buick that I had spent so much time with earlier. When I had it all set up, I turned the camera on and got the exposure set before making that first shot. I looked at the image review and made a few corrections before cranking off another frame.
I was happy with the composition, but wanted to see what it would look like with the entire truck included in the frame. I zoomed out the lens and changed my position a bit and looked at the composition. It didn’t work for me. You could very easily see the other vehicles that were parked near the truck and the visual weight of the truck was too much for the scene I wanted to capture. For the Buick to make sense and fit in the frame, I needed to cut the visual footprint of the truck back down to the cab only. That was the best way to capture this scene and I had already done that. I turned the camera off and walked back over to the Buick. That car was just too easy to work with and visually quite interesting.
I started to look at the tail fin areas because of how they were designed. I had never really seen the split taillights on these Buicks before, so that was interesting as well. I knew of a few compositions that worked with the fins from this era and tried to figure out which side would work the best. It seemed that while the passenger side was visually more interesting, it was the driver’s side that had the best compositional components to work with. That was the side that I chose to concentrate on, and used the vegetation as a bit of a framing element for the shapes that I was capturing.
When I was done with that, I happened to look at the C pillar and the broken rear window which has been an area of interest on cars from the 50’s and 60’s for me for quite a while now. I liked the spider web that was meshed into the seat spring, and the general design of the body around this area of the car. Using the door handle and the chrome work as a bit of framing, I was able to get a composition put together that showcased all of what I liked about this part of the car. The missing window provided the needed interest because of all the detail that was visible beyond the typical parts from this composition.
I knew that the batter was getting weaker and weaker, but it wasn’t flashing at me yet. I stood there and just looked to the left a little bit which revealed another composition looking forward from the vent window on the driver’s door. I repositioned the camera slightly and framed up the shot. I could see a vehicle in the background that I didn’t want in the frame, so I elevated the camera in an attempt to push the other car of the frame. Unfortunately, when I had enough height on the camera to accomplish that task, the perspective on the car was skewed too much for my liking. I ended up dropping the camera back down and splitting the difference. It was at roughly eye level which I try to avoid this close in, but it was the only way to simplify the scene and create the image that I had in mind.
When I got done with that composition, I could tell that the light was dropping fast, and I was needing to get home. I had been gone all afternoon with a lot of things still on my plate that had to be done. I was also getting rather hungry and needed to make some dinner. My battery had held out, and I had shot just under 70 frames for the day. In a matter of maybe an hour and a half, my one shot, short blog entry had turned into another involved trek with lots of photos, and a lot of writing. Don’t get me wrong though, I am not complaining because there will come a time in the very near future when I will drive all over creation looking for something to photograph only to come home with nothing at all. There are also surely times in my future when I am just not motivated at all to create images. While I have that inspiration and I’m finding subjects, I will gladly photograph them and share them here with you.
I do hope that you have enjoyed this trek and the photos that resulted. I hope that some of the background on how I get permission is of use to you. I know that the subject has come up a couple of times recently and the idea was even tossed around about having somebody shadow me to see how it’s done. I liked the idea and love being an ambassador of respect among photographers, but I found a fatal flaw in the plan. The dynamics change greatly when you compare a single person asking permission versus two or more people showing up at a door asking permission to photograph something on your property. It would obviously make things much more difficult and would be a harder sell to get that needed permission. What is worse, getting turned down because there are two of you will likely mean that neither could reapproach the property to ask permission as a solo photographer. I’m not willing to risk burning a location in order to demonstrate how I ask for permission. I also know that going to a familiar place and letting it be a demonstration would hold very little value because we would be actors at that point.
The best advice that I can offer in this regard is to be true to yourself and your own personality. Be upfront about what you want to do, while being respectful and even a bit apologetic for intruding on them. Take refusals in stride and be appreciative for those that open their property up to you. In short, just be genuine and let them know that you appreciate the beauty in what they have. These things will go a long way in making that connection with the property owners. However, there are times when you just can’t get permission and that’s ok too. Nothing is a guarantee in the world of photography, and there will always be something else to photograph down another road.
Thank you for joining me! If you would like to learn from me in person, I do offer mentorships in many different aspects of photography. I love sharing my experiences and what little I know with others that are wanting to learn. While I won’t bring you along for my decay treks for the reasons stated, I do have a few locations that we can go in order to learn how to work this kind of subject. This can be on an hourly basis, or we can do a longer term mentorship relationship which has a lot of benefits. A free consultation will help us decide if I’m a good fit for you, and what type of mentorship is best. There are also times, like the question that popped up recently that we just discussed some tools over the phone as part of the free consult.
Oh, and if you were wondering about the international shipping that I mentioned earlier. When I got home from this trek, I checked my emails and found that the invoice had been paid and I had officially sold my first print to an international client. The first thing that I did upon my return home was to print out an 11×17″ satin print of Once Upon a Time and get the associated paperwork put together for it so it all time to cure before getting packaged and shipped. About halfway through writing this blog, I had to take a break and get that all put together and head down to the post office to get it on the way to Australia. I’ve not only sold prints all across the contiguous United States, but I have also now sent one to the other side of the globe, and that is pretty big news considering I don’t even officially ship international.
Now it’s time to settle down and get the final parts ready for the photo shoot tomorrow evening. I have a prop to modify a little bit to accept a speedlite and will need to get a flow established for where we will be shooting since part will be in the woods and part will be in the front yard. It is nice having so many different looking locations here around the studio. So much of the time preparing for a photo shoot is figuring out the location. I have the ability to bring in lots of different types of looks to a setting just by staying around the house. There are no time limits, no rental fees, and no crowds to have to deal with. Let me know how I can help you with your portrait project and let’s get you booked!
Until next time….
Remember to use the code KISER10 to get 10% off your purchase
