Portraits at Toronto Film Festival
In the late summer of 2018, I was invited to create portraits at the Rolling Stone Portrait Studio at the Toronto International Film Festival.
I spent 3 days in a small room just off of an event space that was one of the many invitation-only venues during the Festival. Each day I was provided with a list of expected attendees, along with a photo and brief bio. Not everyone showed up, and some surprise guests popped into my studio.
It was an exhilarating three days, and I enjoyed meeting and working with some great people. Almost every one of the celebrities I met was kind, courteous, and helpful. Their entourages consisted of publicists, agents, hair-and-makeup-artists, stylists, and others. Most of these people were very nice, too, although there were a couple who you could tell were stressed almost to the breaking point.
My job was to photograph each celebrity, in whatever time I had with each subject. Some gave me more time than others.
I was given free reign to photograph my subjects in whatever style I chose. Since I didn’t know exactly who I’d be seeing when I planned and packed up my gear in Orlando, I took two setups, just to give myself (and my subjects) some options.
Setup #1: Fairly traditional portrait setup. Two big soft umbrellas, one hair light for separation from behind. Note my trusty Rolleiflex TLR at lower right, connected to the strobe by a sync cable. I shot one, and sometimes two, photos per subject on b/w film, after all the digital shots were complete.
One setup was dramatic and moody, and fairly traditional for portraits. Two large umbrellas, one on each side of the subject, provided the key and fill (right was about 3 stops brighter than left, for most subjects) and a single hair light (left rear) for separation from the black fabric background.
Setup#2: fun and loose, the ring light creates a harsh, editorial feel, but is flattering to all ages and skin tones. Creates a ‘halo’ effect with a soft shadow on all sides of the subject.
The other setup was designed to be a fun, spontaneous, editorial look. I stretched a white fabric background on a frame (to eliminate wrinkles and creases from traveling), and set up a camera and ringlight on a tripod. This creates a somewhat harsh, but flattering front light, and a slightly surreal ‘halo’ around the subjects.
My goal was to get a traditional portrait on the black background with everyone, and then, if time permitted, do some on the white background for those who had the time and were willing to have some fun.
My 1950s Rolleiflex that I connected to my strobes at the 2018 Toronto International Film Festival.
Photo by Jamie Thompson for Macbeth Studio
Also, on a VERY last-minute whim, I brought along my 1950s Rolleiflex twin-lens reflex, that shoots 120 (2-1/4” square negative) film. I wasn’t even sure I could make it work with my modern digital strobes, but I figured it was worth a try. I took 7 rolls of Kodak Tri-X b/w film with me.
After I’d set up and tested both digital cameras, I plugged the Rollei into the strobe trigger cable, and, to my amazement, it fired the strobes. At that time I didn’t know if the sync was working precisely, as there wasn’t time to process a roll before I started working to check the results.
So, when each subject came into the room, I shot for a couple of minutes with the digital camera. When I knew I had the digital shot, I asked if they could spare another 30 seconds or so. Without fail, when I brought out the old film camera, each subject sat up a little straighter and seemed to know this was something special. I explained that they needed to sit very still, so I could focus and compose, and I fired off one shot, sometimes two. It was always the last shot of the session.
Each evening, I had to sort through that day’s digital photos, select the top 5 (or so) images of each subject, and upload them to Dropbox so the editorial staff at Rolling Stone could review.
Upon returning to Orlando, I sent the seven rolls of film away to be developed. If the strobe didn’t sync with the shutter perfectly on that 65-year-old camera, there’d be nothing but blank film.
Some of the attendees at the 2018 Toronto International Film Festival that Jim Hobart photographed in the Rolling Stone Portrait Studio, using a 1950s Rolleiflex twin-lens camera and Kodak Tri-X b/w film.
When the negatives came back, I was pleasantly surprised… the sync had worked, and the settings had been more or less right on. I scanned the negs at high-res, and did minor adjustments. There was a lot of dust specks on them, as the old Rollei really needs a good cleaning and tune-up. But the focus is sharp, and the shutter and aperture seem to be accurate.
Once I’d scanned the images, I sent a note to my contacts at Rolling Stone and told them I had a bonus for them. A selection of my film photographs appeared in the online photo gallery the following week.
Jamie Lee Curtis
Jamie Lee Curtis was an absolute pleasure to work with. She walked in alone (no publicist), looked around and said approvingly, “Ok, this is well-lit. I’ll let you take a couple without my glasses on. You know I’m a photographer, too, right?” We made some images with and without her glasses, and she wanted to be sure I got a good shot of her knife-pin (for the 40th anniversary of “Halloween” and the reboot released at TIFF in 2018). When I brought out the Rolleiflex, she said, “Oh, now we’re going to use a REAL camera, are we?”
Liam Neeson
Liam Neeson was at TIFF to promote his new movie “Widows”, and came in with the cast to get their individual portraits. He was warm and friendly, and seemed genuinely interested in the old Rolleiflex when I brought it out and the end of our session. In fact, after we were finished, and he’d left the studio, he came back a few minutes later and said, “Jim, would you do me a favor? I’d love a photo with Mr Duvall with your old film camera.” Who am I to say no?
Robert Duvall
Robert Duvall — one of the godfathers of film — came into the portrait studio with Liam Neeson. He was in Toronto to promote the film Widows. He was soft-spoken and had a slightly southern accent, and talked about his farm in Northern Virginia, and how peaceful it is there.
Colin Farrell
Colin Farrell walked into my makeshift studio without an entourage. He had a toothpick in his mouth, and asked me if I wanted him to get rid of it. I said I thought we should keep it, so he sat down on the stool and used it as a prop. We spent maybe 2 minutes together, and every shot was a keeper. I showed him the old Rollei, and he said something like, “Oh yeah, here we go.” I took one carefully-focused shot and he was gone.
Keegan-Michael Key
Keegan-Michael Key was one of the first people to stop by my studio, and he came in overflowing with energy and big smiles. He seemed exactly like he appears on TV: warm, friendly, authentic. He had a hard time not smiling, as it’s his default state. I was only with him for 5 minutes, but he made me feel like we’d become friends. He insisted on shooting on both backdrops, even though his time was tight that day. He had a lot of questions about the old film camera, also, and seemed genuinely pleased to be photographed with it.
Emilio Estevez
It was mid-morning on Saturday, and I needed another coffee. When I walked into the kitchen of the office we were using for the Rolling Stone event, I saw a group of celebrities standing around, chatting and joking and looking very relaxed, and another group of publicists and PR people talking on phones and looking stressed out. Off to one side, leaning against the fridge, all by himself, was Emilio Estevez. One of my teen-years heroes just hanging out in the kitchen. I walked up to him and introduced myself, and asked if he wanted to come into my studio for a quick photo. Without hesitation, he said, “Wouldn’t you rather get out of here and go have a beer somewhere?” I assured him that I most certainly would, but that I had a job to do, so he reluctantly (with a twinkle in his eye) followed me. He lit up when I brought out the old Rollei. It was an absolute pleasure to spend a few minutes with him.
Patrick J. Adams
Portrait of Jim Hobart, taken with a 1950s Rolleiflex TLR. Photo by Patrick J. Adams
Patrick J. Adams was immediately warm and friendly, and seemed genuinely happy to be there. When I showed him the Rollei, he got visibly excited and told me he had one like it at home. I asked him if I could take one photo of him with it, and he obliged, and sat very still for me.
Then he asked if he could take a look at it, so I handed it to him. He explored it for a few seconds, then asked if he could take a photo of me with it. What was I going to say? Have to give him the photo credit, of course.
Boyd Holbrook
Boyd Holbrook came into the studio with Keegan-Michael Key, as they were at TIFF to promote their new movie, a remake of “The Predator.” Like Key, Holbrook was playful and fun to work with, and had a hard time not smiling. When I brought out the Rollei, he sat still while I shot the first one. I asked if he wanted to do another one, and he took off his hat, messed up his hair a little, gave me a scowl and put his dukes up. I popped off a second shot, and away they went.
Michelle Rodriguez
I heard Michelle Rodriguez before I saw her. Outside my makeshift studio (one ‘wall’ was a pipe-and-drape curtain that separated it from the kitchen), she and Viola Davis were laughing and talking loudly about something one of them had seen in People magazine about the other. They were at TIFF to promote their new movie “Widows”, along with Liam Neeson, Robert Duvall, Colin Farrell and Elizabeth Debicki. Michelle came into the studio and turned on the charm.
Viola Davis
A huge personality and an absolute professional, Viola Davis came in, sat down, and got to work. She gave me several great expressions, including one that looks like I told her the funniest joke she’d ever heard. I wish that were the case, but she struck this pose without any help from me, just to make sure I got a variety of shots. She and Michelle Rodriguez (in Toronto to promote “Widows”) were clowning around like besties before and after I photographed them. Sad I didn’t get a film photo of Viola… either time didn’t permit or I just forgot in the temporary chaos.
Michael K. Williams
Michael K Williams walked into the studio, and although I’d seen him before, I didn’t know the range of his work. His voice is deep and gravelly, and his scar is even more pronounced in person. He was easygoing and cheerful, and I had to work hard to get a shot without his big smile, or at least a smirk. My favorite fact about him is that he started his career in music videos and as a background dancer on tour with Madonna and George Michael.
Quincy Jones
Filmmaker Alan Hicks with the subject of his documentary, Quincy Jones.
The legendary Quincy Jones was at TIFF as the subject of a new documentary about his life by Alan Hicks, called “Quincy.” Apparently Al followed him around for 3 years to tell his story, and interviewed dozens of celebrities for the film. Quincy was just as warm and friendly as you’d imagine. He seemed to like being photographed with the old Rolleiflex, and was one of the few people I photographed that day who were older than the camera.
Molly Ephraim
Molly Ephraim was in Toronto to promote a film called “The Front Runner,” with Hugh Jackman. She was chatty and friendly, and gave me time to get my shots. Thanks to the hair light behind her and to the left, her black top doesn’t blend into the backdrop creating a floating blonde head.
Jeremy Allen White
The “Shameless” star Jeremy Allen White was completely laid back and relaxed. He seems comfortable in his own skin, and people like that are a joy to photograph. Like most of the people I worked with, he got serious when the Rolleiflex showed up, and gave me a nice neutral expression.
Frank Grillo
Frank Grillo came in fired up, full of energy, and talking a mile a minute in his New York accent. Apparently his home is in Florida, but was in California working on a film. He got to LAX early that morning, and only then realized that his passport was at his home in Florida. He didn’t have time to fly back to Florida and still get to Toronto in time for his appointments. So he took a domestic flight to Cincinnati, and had his assistant get his passport in Miami and meet him, so he could then get on a flight to Toronto. He’d had lots of coffee and very little sleep, and we had a good time.
Maripier Morin
This petite and stunning actor and model walked into the studio, and I knew my job would be easy. Every photo looks incredible, no matter what angle. She’s got a genuine and down-to-earth air about her, and she was self-effacing and truly charming. I wish I could take the credit for how great she looks in all the photos, but it had very little to do with me.
Jackie Cruz
The “OITNB” star was as nice as can be. Once again, the hair light from behind her to the right helped define her shoulders, so the black velvet top didn’t blend into the backdrop.
Billy Zane
Billy Zane wasn’t originally on the call sheet for me. After the scheduled day of shooting was over, there was a VIP party in the event space next to my studio. The organizers asked me to hang around for a bit, in case anyone interesting stopped by unannounced. Not long after the party started, one of the PR folks came back and said that Billy Zane was at the party, and they’d try to ask him to stop in for a session. Sure enough, a few minutes later, he popped in and gave me two minutes. Nice guy, and a really funny Instagram feed, btw.
Monica Bellucci
Monica Bellucci came in with a flurry of activity. She was surrounded by what seemed like half a dozen people including a stylist, hair & makeup artist, publicist, and a couple of others. She was poised and composed, while everyone around her was bustling about and they were all talking at once. I didn’t have very long with her, so we didn’t get the chance to shoot with the Rolleiflex.
To be continued. Check back later for a link to Part 2 of this story. There are many more interesting people who came through the portrait studio that weekend…