Bringing Studio Equipment to a Pacific Northwest Beach (and Doing a Bigger Shoot Solo)
Updated: Feb 22
First: it’s possible.
As photographers, we often get stuck in the gap between an idea and logistics. You see a concept that would fit your portfolio, you feel that creative spark - and then reality hits: How am I supposed to carry a camera, lights, stands, a reflector, and props alone… outdoors?
So we quit before we even pack the car.
My take is simple: try anyway.
Even a partial version of your vision is better than doing nothing. And every attempt teaches you something real - about planning, your limits, and what you can actually pull off by yourself.
I brought this idea to life with Bri, a fantastic model and actor from Bellingham, and I’m grateful she trusted the process.
The concept
I had an idea for a photoshoot on Washington’s wild Pacific Ocean coast. I wanted to combine that rugged landscape with a business look and an unusual set-up - something intentionally out of place.
I imagined a black panel behind the model, a clean studio element sitting inside this raw environment. The model would be dressed in an “official” outfit, so the whole scene would feel displaced and unexpected. In a way, it also felt like Washington: working hard during the week, then going into full nature mode on the weekend.
That wasn’t the only meaning, of course. I hope you’ll find your own reading in the images. But this contrast is what started the vision.
The plan: what I packed (and why)
Because the vision haunted me, I set a date with Bri and we went for it.
Here’s what I planned to bring:
a full-sized V-flat (for that “studio panel” effect)
one small light: Profoto A2 + small octabox
director’s chair
light stand
tripod
reflector
camera + two lenses (one for portraits, one for wider frames)
I chose the Profoto A2 on purpose. The forecast was rain-ish, and from what I had available, a small battery-powered light felt like the safest option: no cables, quicker to move, easier to protect, and realistic to handle solo. I wanted artificial light in at least some frames to emphasize the “studio in the wild” feeling and separate the subject from the environment.
The reality: wind is the boss
My biggest enemy was the wind. It was strong enough that leaving anything unattended felt risky. I also didn’t bring enough counterweights. The weights I packed for the light stand ended up being needed for the V-flat, and that turned into a constant trade-off: stabilize the panel or stabilize the light.
So the lighting part was a struggle. I managed to mix natural and artificial light in only a few final frames, because everything kept shifting. On top of that, I was trying to keep Bri comfortable, so I was running around making sure she was warm enough, safe, and not standing still too long while I wrestled equipment.
There was chaos, honestly. But it was the kind of chaos that happens when you try something bigger than your usual routine.
The result (and what I learned)
In the end, we created something we were both happy with. I recreated my vision quite accurately - especially the feeling of “wrong place, right mood.” Even though the wind limited how much I could use the strobe, the concept held.
And the biggest takeaway wasn’t even the final images.
It was realizing I can do something bigger than I thought I could:
scouting the outfit
driving a few hours to the location
carrying and setting up gear and props alone
passing a physically demanding test and still producing work
These pictures are unusual - and I like that. Even if you don’t fully succeed, you come back with experience, better instincts, and a clearer understanding of your strong sides (and your limits).
And if you want to try something similar: remember that in my studio you can rent gear for on-location work.
What I’d do differently next time
Bring more weight than I think I need. Extra sandbags/weights (and a way to attach them fast) would have saved a lot of stress.
Simplify the set. If conditions are intense, I’d commit to either the V-flat concept or the strobe for most frames, instead of fighting to do both at once.
Scout wind direction before placing anything. Next time I’d place the V-flat and light stand based on wind first, not just the background.
And of course: if you can organize a team, it will be much easier.
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