Pro's Choice: The Portraiture Of Mark Katzman: Lifestyle On Location
But when sports photography did not prove viable as a full-time career, Katzman decided to expand his horizons, by assisting at an established studio. “While there I got my own clients, and that eventually led to a business partnership with the photographer I was working for, Scott Ferguson.” That studio partnership only recently came to an end.
Even though he shoots largely on location, Katzman owns a 15,000-square-foot studio housed in an historical rehab building. Occasionally, he’ll shoot assignments there. And this is where his entire production team calls home. That includes two other photographers, Paul Nordmann and Ashley Gieseking, his retoucher/digital tech Curt Von Diest, producer Scott Reed, and studio manager Hilary Skirboll. “And we have a video company, Spot Creative.”
Katzman shoots mostly in Los Angeles and Florida, but also takes on assignments that bring him to the far corners of the globe. “I just finished shooting for a book that focused on very remote villages in India.
“My favorite remote location is Bali. On assignment for Monsanto, I went to Sumatra. From there, we were supposed to go to China to shoot cotton farmers. At the last minute the Chinese government didn’t let us in. We had six days to kill, all our gear in hand, so we went to Bali.”
Back in his film days, Katzman spent considerable time in the black-and-white darkroom, much of that time printing black-and-white portfolios for more established photographers in town. His first camera was an Olympus Pen half-frame camera. “Professionally I started with a Nikon FM and Hasselblad 500C, along with a Linhof 4x5.
“Now I use a Canon EOS-1D X. My favorite lens is a 70-200mm f/2.8L IS, followed by the 50mm f/1.4 and 35mm f/1.4. I also love the 100mm IS macro.” Katzman also owns a 45mm tilt-shift that he pulls out when “I am trying to make an interesting image from a plain subject and all else fails.”
He adds: “I meter everything the same way. I use exposure compensation in the camera a lot.
And I work with the histogram after capture.”
When he needs the support, he brings out a Gitzo carbon-fiber tripod. “I shoot tethered to a MacBook Pro using Capture One for any jobs that do not require a ‘run and gun’ approach. It helps for checking focus, as well as to show the client what is going on.”
Katzman also owns a Leica M9 system. “I use that when I’m moving around a lot and traveling, and especially when I don’t have an assistant, and have to work quickly. It’s more personal.” His go-to lens for the M9 is the 50mm f/2.
Lighting Gear: Some Owned, Some Rented
“Lately I’ve been renting all my lighting gear. I used to own a Suburban that I’d fill with gear. Today, we get what we need when we get there.”
That’s not to say that Katzman does not own any lighting. In the studio, they use Broncolor. The rented location gear is Profoto. “When I need to bring my own lights to a location shoot, I bring Dynalites.” He continues: “Lately, I have been using Litepanels’ 1x1-foot LED panels. You can stack them together. I use them in hospitals and particularly in areas where there’s a lot of ambient light and I need a little kicker, or in tight rooms. They’re very thin and very light, and you can put them wherever you want.”
Katzman also owns 2K HMI lights. “The need for them is growing because we’re shooting a lot of video, and that gives us a continuous daylight-balanced source.”
Katzman’s favorite tool for lighting is a Chimera 6x6-foot frame. “You can attach all kinds of panels to it—diffusion of varying strengths, bounce panels. It’s extremely lightweight. I carry two of them and I do 90 percent of my lighting with these. You can set them on a table, or hold them, or suspend them from practically anything.” He also uses California Sunbounce collapsible reflectors.
Clients And Casting
Clients often provide a layout that outlines the parameters of the shot. The client usually selects the talent (models), but this may be a joint effort with Katzman. Even animals are cast, for example, for dog food ads. One client, Katzman noted, is very particular about the dogs they use in their ads. “The dog casting was more extensive than for the human model.” Animals arrive at a shoot with their trainers or wranglers.
Sometimes the casting involves real people. Katzman makes every effort to make nonprofessional models feel at ease on a set, as he does with professional talent. Of course, layfolk may require more direction and handholding, but that is where Katzman’s experience comes to the fore. One of his techniques is asking the subject to concentrate on their breathing. He’ll then catch them off guard with a quip or jolly laugh and they will react. “At that point it just becomes a matter of timing.”
To see more of Mark Katzman’s work, visit www.markkatzman.com.
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