What's Included in a Photography Studio Rental in Toronto?
Meta description: Not all photography studio rentals are created equal. This complete guide breaks down what to look for, what should be included, and what THAT Toronto Studio specifically offers in every booking.
If you've never rented a photography studio before — or if you've rented studios in other cities or from other providers and want to know what to expect here — the question of what's actually included in a studio rental is worth answering carefully. Because the answer varies more than most people realize.
Some photography studios rent you an empty room. You bring everything else: the lights, the backgrounds, the stands, the accessories, and the knowledge of how to use all of it. Other studios include equipment but in quantities that barely cover the basics. Some include everything but have rules around usage that limit what you can actually do. And some — the studios worth booking for serious work — include everything a professional photographer or team needs to work efficiently without compromise.
This guide walks through what a properly equipped photography studio should include, what each item in that list does and why it matters, what to ask before you book anywhere, and specifically what's included in every rental at THAT Toronto Studio.
Why "What's Included" Is the Most Important Question to Ask
Photographers booking studio time for a client shoot — a brand campaign, a product series, a portrait day — often don't realize how much of their efficiency and shot quality depends on what the studio includes and how well it's maintained.
Consider: you've booked 4 hours for a headshot day with 12 clients. You arrive and discover the studio has two lights instead of the three you expected, one of the modifiers is damaged, and there's no white seamless paper — just a muslin backdrop that won't work for what you need. You spend 30 minutes problem-solving with suboptimal equipment before you even take your first frame. Your 12-client day is now very tightly scheduled and you're starting stressed.
This isn't an exaggeration — it's what photographers encounter at undersupplied studios more often than they'd like. The difference between a studio that's genuinely well-equipped and one that technically has lights is the difference between a smooth, creative day and a stressful logistics exercise.
The Equipment Categories That Matter
Lighting
Lighting is the foundational equipment in any studio. The type, quantity, and quality of available lighting determines what you can actually do — what subjects you can light, what styles you can achieve, how quickly you can modify the setup between shots.
Continuous lighting vs. strobe:
Continuous lights stay on constantly, like the LED panels and HMIs used in video production. They're useful for video, for photographers who want to see the effect of the light before shooting, and for subjects (particularly children and animals) who might be startled by a flash.
Strobe lights fire a brief, intense burst of light when triggered by the camera. They're the standard for professional still photography because they produce more power than equivalent continuous lights and freeze motion effectively.
Many professional studios offer both, which gives photographers the flexibility to work in either mode and gives videographers proper continuous lighting.
Power: Strobe power is measured in watt-seconds (Ws). A 500Ws monolight is a solid all-purpose studio strobe. Higher power allows more dramatic lighting ratios and works at smaller apertures in larger spaces. Lower power can work well for close-up or tabletop work but will struggle to overpower ambient light or produce dramatic setups in large spaces.
Modifiers: The quality of the light depends as much on the modifiers attached to it as on the light source itself. The main modifiers to look for:
Softboxes (rectangular or octagonal) produce soft, even, flattering light. They're the most commonly used modifier for portraiture and commercial work. The size of the softbox matters: a larger softbox produces softer light with gentler transitions between highlight and shadow.
Beauty dishes produce a distinctive, semi-hard light quality that's flattering for beauty and fashion work — a concentrated catchlight in the eye with a slightly harder edge than a softbox.
Reflectors (standard dishes) concentrate light and produce a relatively hard, directional beam — useful for hair lights, rim lights, and dramatic setups.
Grids (honeycomb attachments) narrow the spread of a light to prevent spill — critical for precise lighting control and coloured background work.
Umbrellas (reflective or shoot-through) are versatile, affordable, and widely available, though they don't control spill as precisely as softboxes.
At THAT Toronto Studio, every rental includes a professional LED lighting kit — 3 x 210W BiColour LED lights — each with softboxes and grids. The BiColour LEDs allow photographers to dial in colour temperature precisely from tungsten (3200K) to daylight (5600K), useful for matching mixed ambient light conditions or achieving specific creative effects. Additionally, the studio features a ceiling-mounted 230W dome lantern that provides a beautiful ambient fill — a feature that distinguishes the space from most studios that rely entirely on portable light stands.
Backgrounds and Backdrops
The background is the foundation of every studio image. What's available determines the range of looks achievable.
Seamless paper: The industry standard for clean, flat, coloured backgrounds. Seamless paper comes in 9-foot-wide (107") rolls in dozens of colours. It's consumable — as it gets footprints, scuffs, or tears, sections are cut away and replaced. A well-maintained studio keeps multiple rolls in multiple colours and replaces damaged sections proactively.
White seamless paper is the most commonly requested background for headshots, corporate portraits, and product photography. Grey (in various shades) is universally flattering and versatile. Black seamless produces a dramatic, graphic result particularly suited to certain lighting styles. Warm tones, cool tones, and specific colours are used for different creative applications.
Muslin and canvas backdrops: Hand-painted or textured backdrops that produce a more organic, less "studio" look. These are particularly popular for fine art portraiture and lifestyle-influenced commercial work where seamless paper would feel too graphic.
Portable stands for backdrops: The equipment that holds the paper or fabric off the floor and behind the subject. These should be sturdy, adjustable, and large enough to hold wide seamless paper at full extension.
Curved cove wall (infinity wall): In some studios, the floor curves seamlessly into the wall — eliminating the floor-meets-wall seam and creating a truly infinite, seamless background for both photography and video. This is a more premium feature that not all studios offer.
THAT Toronto Studio offers white, grey, and black seamless paper in all bookings, plus access to additional specialty colours on request.
Camera Support
Light stands: For mounting lights, reflectors, and other accessories. A professional studio should have 5–8 light stands available — enough to set up complex multi-light configurations without running out.
C-stands: Heavier-duty stands with a horizontal arm that allows precise positioning of flags, reflectors, and small lights. More flexible than light stands for precise positioning, particularly for product and still life work.
Background stands: Typically a crossbar system on two stands that holds the background paper or backdrop at a consistent height.
Sandbags: Used to weight light stands and prevent them from tipping — essential for safety and ignored by too many studios.
Accessories and Grip
The small pieces that make complex setups possible:
Reflectors: Collapsible disc reflectors (often called 5-in-1s) in silver, gold, white, and black. Used to bounce light back onto the subject, fill shadows, or block light from a specific direction.
Flags and black wrap: Opaque panels used to block light spill, create shadows, or prevent light from hitting the lens. Essential for precise lighting control.
Clamps and magic arms: Hardware for mounting equipment in non-standard positions — attaching a light to a C-stand arm, mounting a reflector at an unusual angle, securing a flag.
Gels: Transparent colour filters placed in front of lights to change their colour. Used for creative colour effects, for matching light sources to ambient light colours, and for coloured background lighting.
Extension cords and power strips: Underappreciated but essential. Running multiple lights requires multiple power outlets, often at specific positions in the studio.
Space and Amenities
Beyond the equipment, the physical space itself determines what you can do.
Square footage and ceiling height: These define what focal lengths you can use, how many subjects you can photograph together, how elaborate your set design can be, and whether you can shoot full-length or only three-quarter and above. Most professional portrait and headshot work can be accomplished in a moderately sized studio, but product photography and certain fashion or lifestyle applications benefit from more space. High ceilings (14 feet+) allow overhead lighting configurations that low ceilings preclude.
Natural light: Some studios have windows or skylights that can supplement artificial lighting or be used as a primary light source. Natural light is beautiful for certain work but requires scheduling consideration (light quality changes through the day) and may need to be blocked for artificial-light setups.
Changing area: Clients who will change wardrobe during a shoot need a private space to do so. A studio that doesn't offer a changing area forces clients to change in bathrooms or in the open, which is uncomfortable and unprofessional.
Client seating and waiting area: For any shoot with multiple clients, having comfortable seating separate from the shooting area matters both logistically and for the experience quality.
WiFi: Useful for tethered shooting review, for file transfer, and for clients who need to work between shots.
Steamer: For removing wrinkles from clothing. Frequently overlooked by photographers and clients, then desperately needed when someone arrives with a garment that spent the commute folded in a bag.
Parking: A studio in downtown Toronto where street parking is difficult is significantly less convenient for clients who are coming directly from an office or event and may be carrying wardrobe. Proximity to transit and/or available parking matters for working photographers whose clients have varying transportation options.
What THAT Toronto Studio Includes in Every Rental
THAT Toronto Studio is designed specifically for photographers, videographers, and creative teams who want to work without equipment limitations. Here's what's included in every booking:
Lighting:
3 x 210W BiColour LED lights with softboxes and grids
Ceiling-mounted 230W dome lantern for ambient fill
Adjustable colour temperature from 3200K to 5600K
Backgrounds:
White, grey, and black seamless paper (9-foot-wide rolls)
Additional backdrop options available on request
Full grip package:
Light stands
C-stands
Reflectors
Flags and sandbags
Clamps and mounting hardware
Extension cords and power management
Studio amenities:
Private changing area
Client seating
Professional steamer
High-speed WiFi
Ample street parking and transit access
Natural light option via large windows (with blackout capability for controlled artificial-light setups)
The studio is in Toronto's Leslieville neighbourhood — a creative hub with easy access from downtown and the east end, with transit accessible and street parking available.
What to Ask Before Booking Any Studio
Before committing to a studio rental for professional work, ask these questions:
What lighting equipment is included, and in what quantity? Get specifics — light types, power levels, modifier types and sizes. "Lights are included" is not sufficient information.
Is the equipment maintained and tested regularly? Lights that fail during a client shoot are more than an inconvenience. A professional studio maintains and tests equipment between bookings.
What backgrounds are available, and in what condition? Seamless paper that's been walked on, marked, or patched significantly limits what's achievable. Ask about replacement frequency.
Is there a changing room? Critical for any portrait or headshot work where subjects will change wardrobe.
What is the minimum booking time, and is there a setup/teardown buffer? If you book a 3-hour slot and the previous booking ends right when yours starts, you have no time to set up before your first subject arrives. Understand what time you actually have the space.
Is there an on-site manager or contact if something goes wrong? For professional bookings, having a contact who can address equipment issues, access problems, or building questions is important.
What's the parking and transit situation? Relevant for clients who may be driving and for photographers bringing substantial equipment.
Frequently Asked Questions
Do I need to bring my own camera gear? THAT Toronto Studio provides lighting, backgrounds, and grip — you bring your own camera bodies and lenses. This is standard for studio rentals; cameras are personal equipment that photographers own and are responsible for. If you need camera equipment recommendations or know a rental source, let us know.
Can I bring additional lighting equipment of my own? Yes. The studio's included lighting is comprehensive, but photographers who have specific equipment preferences or specialized gear are welcome to bring what they need. Just let us know in advance if you're planning to bring substantial additional equipment.
Is the studio available for video production as well as photography? Yes. The LED lighting (continuous) is appropriate for video in addition to still photography. The space has been used for interview-style video, product video, fashion video, and other short-format productions. For more complex video needs — multi-camera podcast productions, for example — see THAT Toronto Podcast Studio.
How do I book, and how far in advance do I need to book? Bookings are available online with real-time availability. Many photographers book a week or two in advance. For larger productions or full-day shoots where the schedule is time-sensitive, we recommend booking 2–4 weeks ahead.
What is your cancellation policy? Standard cancellation policy is posted on our booking page. For significant productions where timing is critical, contact us to discuss your specific needs.
Understanding the Equipment: A Deeper Look
For photographers who are renting a studio for the first time, understanding what's actually in the kit — and how to use it effectively — reduces wasted setup time and improves results.
LED BiColour Panels: How They Work
BiColour LED panels emit light across a range from warm (tungsten, around 3200K) to cool (daylight, around 5600K), adjustable without gels. This gives you precise control over the colour temperature of each light independently — a capability that used to require carrying a range of coloured gels and doing extensive testing to match sources.
In practice: if you're shooting near a window with daylight coming in, you can match your LED panels to daylight temperature for seamless mixed-source lighting. If you're going for a warmer, more intimate mood, you pull the panels toward tungsten. BiColour LEDs eliminate the most time-consuming gel-matching work from studio setup.
Output is adjustable from near-zero to full power, giving you fine control over the intensity ratio between your key and fill lights. The typical ratio for corporate headshots is 3:1 key-to-fill (key is 1.5 stops brighter than fill); for more dramatic character work, 4:1 or greater; for flat, commercial-style beauty light, closer to 1:1.
Softboxes and Light Quality
A softbox wraps the LED panels in a larger, light-diffusing surface, making the light source appear larger relative to the subject. Larger light sources produce softer light — gradual transitions from highlight to shadow, gentle edge definition, flattering wrap around curved surfaces like faces.
The size of the softbox determines the softness: a 24"×36" softbox at 5 feet from a subject produces significantly softer light than a 12"×12" softbox at the same distance. For full-body or wide shots where the softbox is proportionally smaller relative to the subject, the light will appear harder regardless of the softbox size.
Octaboxes (octagonal softboxes) produce a distinctive circular catchlight in the subject's eye and a slightly different light quality than rectangular softboxes — more directional wrap, slightly harder at the edges. This is a personal preference choice that varies by photographer.
C-Stands and Grip
C-stands (Century stands) are the industry standard for holding lights, modifiers, and flags in position. They're more stable and more flexible than cheap light stands — the counterweighted arm allows you to position modifiers anywhere around the light without the stand being directly below them, which is critical for positioning overhead lights, hairlights, and flags.
Background lights typically mount on lighter stands, positioned low and angled up toward the seamless paper.
Studio Lighting Setups: A Practical Guide
Understanding common studio lighting setups helps you plan your session efficiently. The setup you choose should match the type of photography you're doing.
The Classic Three-Light Portrait Setup
Key light (main light, positioned 45° to the side and slightly above): provides the primary illumination and defines the shadow structure on the face.
Fill light (positioned opposite side, 1–1.5 stops dimmer than key): reduces the contrast ratio so shadow areas retain detail. Ratio controls the mood — lower fill = more dramatic; higher fill = more commercial, accessible.
Hair/rim light (positioned behind and to the side of the subject): provides edge separation from the background, adding a rim of light along the hair and shoulder. Critical for avoiding subjects merging with dark backgrounds.
The Flat Commercial Headshot Setup
Two large softboxes at 45° on either side of the camera, at equal power, produce a flat but professional commercial light. Very flattering, even, no harsh shadows. Appropriate for LinkedIn, corporate directories, and real estate photography.
The Clamshell Setup
Main softbox above and in front of the subject, with a reflector (or second light) below bouncing light upward. Produces a classic beauty-light look with strong highlight on the forehead and cheekbones, fill from below eliminating under-eye shadows. Flattering for commercial and beauty work.
The Rembrandt Setup
Key light positioned high and 45° to the side, fill light very dim or absent, producing the classic triangular highlight patch on the shadow-side cheek. Dramatic and dimensional — appropriate for character work, artistic portraiture, and editorial. More challenging for corporate headshots where subjects may be self-conscious about shadows.
Product Photography Lighting in the Studio
The studio is used for product photography as well as portraits, and the lighting approach differs significantly.
Controlling Reflections. Products with reflective surfaces — glassware, jewelry, electronics, polished metal — require careful management of what the surface reflects. Every light in the studio, every ceiling surface, every wall, will appear as a reflection in a polished metal product if not managed. This is where C-stands become essential — flags and gobos (light blockers) need to be precisely positioned to control what's reflected and what isn't.
Background Management for Products. White seamless for products requires even background illumination to avoid grey gradients. A separate background light is typically needed, positioned to light the paper from behind or below.
Light angle for texture. Grazing light (coming in at a sharp angle across the surface of the product) reveals texture — weave, grain, embossed lettering. Frontal flat light flattens texture. The choice between these is a creative and client-brief decision.
Table surfaces. For products that sit on a surface (food, beauty products, lifestyle products), the table surface is as important as the background. Matte white, glass, wood, marble, and other surface materials each create a distinctly different product image. Photographers doing extensive product work often bring their own table surfaces.
What Different Types of Photographers Need from a Studio
Understanding what other photographers need from a studio rental helps everyone use the space effectively.
Headshot photographers prioritize: consistent backgrounds in clean condition, efficient changing room access (subjects are changing between looks), and lighting setups that can be reproduced reliably (so the first subject and the last subject of a ten-person team day look consistent).
Fashion photographers prioritize: space to move around subjects (fashion often involves movement and needs clearance), rigging overhead (for lights angled steeply downward), and clean floors if shoes are part of the image.
Commercial advertising photographers often bring significant additional equipment and may bring their own lighting. They need space, power access, and a studio manager contact for any issues.
Product photographers need table space and precise light control. The studio should be able to go dark — blackout capability or at minimum the ability to control the ambient light level.
Video producers need quiet — AC noise, traffic, and ambient sound need to be minimized. They often need power access for monitoring and additional production equipment. Flat studio floors are important for camera movement.
Gear You Should Bring That the Studio Doesn't Provide
A well-equipped studio rental covers the space and lighting. You cover your personal photography kit. Common items photographers forget:
Camera body and lenses. Camera equipment is always the photographer's own. If you regularly shoot tethered, bring your laptop and tethering cable.
Memory cards and batteries. Never assume availability — bring spares of both.
Light meter. If you work with a light meter (vs. relying on histograms and exposure preview), bring it. Studio work is a good context for light metering because the lighting setup is fixed.
Color checker or X-Rite chart. For product work or any color-critical photography, a reference target for color calibration in post.
Remote trigger. If you're working off a tripod and want to trigger without touching the camera, bring your remote.
Personal lighting modifiers. Gels (colour correction or creative), beauty dishes, specific attachment types — if you have a preference for specific modifiers not in the studio kit, bring them.
Backdrop clips or clamps. For securing backgrounds or holding fabric.
Tape. Gaffer tape specifically — electrically neutral, adhesive but removable, invaluable on set. Do not use consumer-grade tape on studio equipment.
Additional FAQs
What is the ceiling height, and does it affect my lighting options? Our studio has ceiling height appropriate for professional LED rigging, high-angle lights, and overhead boom positioning. For photography requiring extreme overhead angles or suspended lighting rigs, contact us to discuss your specific setup before booking.
Is there natural light in the studio? The studio can be used in naturally lit or fully controlled artificial lighting modes. Photographers who prefer to work with natural light available can do so; photographers who need full light control can achieve it. This flexibility makes the space appropriate for a wider range of shooting styles.
How many people can comfortably work in the studio at once? A typical headshot or portrait session with a photographer, subject, and assistant is easily accommodated. Larger productions — multiple crew members, HMUAs, stylists, multiple lights with separate operators — should be discussed in advance to confirm the space configuration is appropriate.
Can I reschedule if my shoot is rained out? For outdoor-dependent shoots that are booking studio as a backup, contact us to discuss flexible scheduling options. We work with photographers on scheduling to the extent possible when weather affects plans.
How Lighting Quality Affects Final Image Quality
Many photographers upgrading from home setups or basic equipment are surprised by how significantly professional-grade continuous LED lighting affects their images — not just in brightness, but in quality characteristics that matter for professional work.
Color rendering index (CRI). Professional LED panels designed for photography and video have a CRI of 95+, meaning they render colours with 95% accuracy relative to a reference light source. Budget LED panels often have CRI in the 75–85 range, which produces subtle but visible colour shifts — skin tones appear slightly wrong, product colours are inaccurate, and the overall image requires more post-processing correction. High-CRI panels produce images that require less correction and look more natural.
Flicker-free output. Budget LEDs, including many consumer-grade smart home bulbs, flicker at frequencies that the human eye can't detect but a camera sensor can, depending on the shutter speed. This can produce banding across frames and inconsistent exposure. Professional studio LEDs are designed to be flicker-free at all shutter speeds used in photography and video.
Output consistency. Professional panels maintain consistent output across their full power range. Budget panels may have nonlinear output — they don't actually get twice as bright when you go from 50% to 100% — which makes precise ratio control difficult.
Heat. LED lighting produces very little heat compared to traditional tungsten or HMI lights. This matters for subjects (nobody wants to sit under hot lights for a long session) and for the studio environment (no overheating, no fire risk from fabric close to lights).
These characteristics are why a studio that specifies "professional-grade BiColour LED lighting" is communicating something meaningful — not just that there are LEDs in the space.
What Photographers Say About Equipped Studios vs. Bring-Your-Own
For photographers who have worked both ways — bringing their own equipment versus booking a fully equipped studio — the comparison is usually not close.
Reduced setup time. The equipment is already in the studio. You're not loading a car, carrying cases, assembling stands, and testing connections. You arrive and start. The time savings compound over a full day of work.
No transportation risk. Photography equipment is delicate and heavy. Getting it to a studio requires packing, loading, transit, unloading, and then doing it all in reverse. Every transit carries risk of damage. An equipped studio eliminates this entirely.
Access to equipment you don't own. A professional studio's modifier collection likely includes options you don't have in your own kit — different softbox sizes, beauty dishes, grids, reflectors. Experimenting with equipment you don't own, within the context of a studio rental, is one of the underappreciated benefits of the format.
No maintenance responsibility. When your own equipment ages, you repair and replace it. When the studio's equipment ages, they repair and replace it. The maintenance responsibility for a full professional lighting kit is significant — it's simply not yours when you're a studio renter.
Professional context for clients. Arriving at a professional studio creates a different client experience than a home studio or a rented warehouse space with your own equipment. The professionalism of the environment is part of the service you're providing to your subjects.
Studio Rental in Leslieville: Why Location Matters
THAT Toronto Studio is located in Leslieville, Toronto's east-side creative and residential neighbourhood. The location is deliberate and matters practically for photographers and their clients.
Accessibility. Leslieville is easily accessible from the east end, the downtown core, and the surrounding GTA. The King Street streetcar provides direct transit access from downtown. Street parking is available in the neighbourhood for clients arriving by car. Photographers transporting substantial equipment can load and unload without the downtown core's parking constraints.
The neighbourhood environment. Leslieville's architectural character — brick and concrete buildings, independent storefronts, tree-lined streets — provides a range of excellent outdoor shooting locations within walking distance of the studio. Photographers who want to include outdoor frames in an otherwise studio session can do so without a significant time investment.
Practical before-and-after the session. There are good coffee shops and lunch spots within a short walk of the studio — useful for pre-session client meetings, post-session decompressing, or lunch breaks during full-day bookings. These practical amenities make full-day bookings noticeably more comfortable than studios in purely industrial areas.
Making the Most of Your First Studio Booking
For photographers booking a professional studio for the first time, the experience is typically better than expected — but knowing what to expect in advance makes it even smoother.
Arrive early enough to set up without rushing. Budget 20–30 minutes before your first subject arrives to position your lights, check your exposure, and set up your background. The studio will be ready when you arrive, but you still need to configure it for your specific setup.
Ask questions. If you're unfamiliar with any piece of equipment in the studio, ask before your session begins, not after you've wasted 30 minutes troubleshooting independently. Studio managers or available contacts are resources — use them.
Document your successful setup. When your lighting setup is producing the results you want, take a photo of the full room setup — where each light is positioned, what modifier is on each, roughly what the distances are. This documentation lets you recreate the setup in a future session without starting from scratch.
Book again before you leave. If the session went well and you know you'll want to book again, reserve your next date before you go. Weekends and peak morning hours fill up. The easiest time to secure your next booking is immediately after the current one.
