Basic Studio Lighting

[dpanicc1]

I am interested in using a room in my house for a studio just to experiment and maybe take some nice portraits of my kids and granskids as the years progress. I am not really interested in spending an arm and a leg, but I'm wondering if anyone in this forum could point me to what you would consider an "entry level" lighting system to eliminate the need for relying on my 550EX flash completely. Links would be wonderful. Thanks!

[SnJPhoto]

You will find many opinions on this subject in the forums. I've used the Alien Bees series and liked the results. I typically convert my living room into a studio and am able to get some fairly good results.

www.alienbees.com


some OK examples... I still consider these newbie shots...

www.pbase.com/snj/jd

Scott

[mttmrphy]

You will find many opinions on this subject in the forums. I've used the Alien Bees series and liked the results. I typically convert my living room into a studio and am able to get some fairly good results.

www.alienbees.com


some OK examples... I still consider these newbie shots...

www.pbase.com/snj/jd

Scott

Can you please post what lighting gear you used here? The pictures look very nice.

[SnJPhoto]

I've used a couple different configurtions. In all cases the main light was an AB either 400 or 800. I've found the lights are actually a bit more than I really need (power wise) so I tend to use them at the lower settings. In a couple shots I've used hair lights. For the most part it was just a basic 2 light setup, with an optional one for hair once in awhile.

Email me if you want more info on specifics, I will help walk you through what I did. This section of the forums probably isn't the right place for lighting etc.

Scott

[karusel]

I disagree, as long as you can help folks any section of the forum is the right one... :wink: I too am kind of interested in the lighting techniques, but I guess I'm too lazy to read a book about it. Actually I'm a bit on the busy side, so....

I'd like to know, what exactly do you need for a decend basic setup... I know alien bees, been abducted by them on their site, still, what do I need, an umbrella, AB flash, lightstand... then what? :?


Oh yeah, nice wife shots. I too am gonna marry an appropriate model to shoot occasionaly.... :mrgreen: Also, I find some of the shots underexposed, and perhaps you should try to make shots of your wife not smiling, I mean, seriously looking. It might add to glamour-misterious-sexappeal look. 8)

[Vegas Poboy]

I've used a couple different configurtions. In all cases the main light was an AB either 400 or 800. I've found the lights are actually a bit more than I really need (power wise) so I tend to use them at the lower settings. In a couple shots I've used hair lights. For the most part it was just a basic 2 light setup, with an optional one for hair once in awhile.

Email me if you want more info on specifics, I will help walk you through what I did. This section of the forums probably isn't the right place for lighting etc.

Scott

Nice Low Key Pictures, I've being trying to decide on Alien Bees or there big brother White lightnings. If you don't mind could you post what equipment you've purchased.
Thanks

[mttmrphy]

I was actually looking at this package http://alienbees.com/digibee.htm

2 B400 Flash Unit
2 10' General Purpose Stand
1 48" Silver/White Reversible Bounce Umbrella
1 48" Shoot-Thru Umbrella
2 AlienBees Single Light Carrying Bags
$599.00
You have the option to upgrade to the B800's

I assume that this would be a pretty good starter package...

They also offer a "beginners" package that only includes one of each for $399.00.

[SnJPhoto]

I have 2 B400s and 1 B800, a 420EX and 550Ex. In some cases I experimented with the EXs, but tend not to use them inside very much. I've used a cople 42" umbrellas on the lights, and tend to like the gold reflectors better than the siver or white.

Generally, I'll use one light at 45 degrees from the subject and adjust the #2 light depending on shadows I may want, or sometimes just use a reflector for slight fill. The hair light is straight down or from anywhere high as available.

I picked up a cheap (relatively) gel holder and filter set which also came with a focusing grid. That has been fun to play with for the hair light. The gel holder is a generic kind made for 7" studio reflectors so it works well on the ABs.

Its on ebay... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3806077351&category=30 082

Next time I have the setup ready I'll take a pic and send it/post it. My apartment is rather small, so it tends to be a tight operation. The B400s are more than enough light in my case.

I think a good basic studio set would be 2 lights, 2 stands, 2 umbrellas a reflector (maybe a 20" or so) (for fill). And of course you might wanto to think about backdrops as you go on....lots of room for spending money there. My sources so far for equipment have been the Alien Bees, J and K Group for stands and reflectors (ebay), and Dream Maker (ebay) for the barn door/gel/grid stuff. I liked the 10' air dampened stands from JandK better than the AB version, and cheaper.


Thanks for the compliments, I'll pass these on to the model (my wife), she's also a photographer in the making...... Hope this helps.

Scott

[MediaMagic]

I have used both alien bees and white lightnings. Here's my take between the two.

1) The AB's have a 100w modeling lamp, the WL's 250w.
2) The WL's are more solid and heavier.
3) The WL's are a tad bigger/longer.
4) The WL's are easier to adjust/control
5) The quality of light is superb with either AB's or WL's.

I use 4 WL X1600's for a portable studio. The durability issue is very important to me. I stuck with the 1600's (power overkill in most every circumstance) just in case I ever would need the power all the way around (I'm doing some experimental stuff in a gym with overhead mounts, the power output comes in handy there). There is a hi/low power setting on the X1600's or X3200's which is useful.

Now, all of that seems to suggest that WL are better lights. Yes they are. However, if I didn't have to lug the lights to different environments 2 - 3 days a week, I'd have probably stayed with the AB's. The AB's are very nice monolights.

I prefer the WL's, obviously, but that's because they are extremely solid and durable. The AB's aren't quite as sturdy, but that may not be a concern to you if you just shoot them at home or occassionally on location.

The Paul Buff company gives excellent customer service and will help you sory out any difficulties you may have.

Having used both, I would say that you'll be very happy with whichever choice you make.

I wouldn't recommend mixing and matching. Go with all AB's or all WL's.

[Longwatcher]

Adding my experiences in,
I have two AB800 and 2 AB1600. The 1600's are overkill for my home studio, I usually have them at 1/4th power or less.

I find that two lights work well, three better and the fourth is used mainly with the 10 degree grid to highlight something specific when needed. If not for the fact that I am looking for a permanent studio location, I would probably wish I had gotten two AB400 and two AB800 instead. I have seen the WLs and if you set up on locations frequently, that extra bit of ruggetness will probably help, but if only travelling occasionally (about once ever motnh or less) the ABs will serve you quite well.

As a cheap alternative. Since you already have the 550EX, try using a Home Depot work light. Although it gets very hot at times, it balances well color wise with the 550EX flashes. Just bounce the flash off the ceiling (or wall, or reflector) to get the best results. This is a cheap low-cost solution that will work if only needing a studio occasionally and in the process of learning. However, if you can afford ABs go for those.

Just my experience,

[SnJPhoto]

I dug up a link to a guys pbase that uses the Home depot floods in his work. I am always in awe at the quality that can be achieve with minimal cost. Not to mention some of the subjects of his work....


****Warning - contains nudity***

http://www.photosig.com/go/users/userphotos?sort=id-d&page=2&id=64212

[5 Type]

I dug up a link to a guys pbase that uses the Home depot floods in his work. I am always in awe at the quality that can be achieve with minimal cost. Not to mention some of the subjects of his work....


****Warning - contains nudity***

http://www.photosig.com/go/users/userphotos?sort=id-d&page=2&id=64212

Do you have a Premium account, so you would be able to send me a Basic membership pass code to jslessard@ifrance.com

Thanks.

[karusel]

SnJ the thumbs look great. I think I may have found a role model! :D

If you can, PM me the basic membership code please...

[dpanicc1]

Wouldn't two AB lights on stands with softboxes produce a softer light for portraits (verses reflective umbrellas)?

Second question:

I have a Canon 10D. If I were to go with a lighting system, I'd have to buy an exposure meter and shoot manual, correct?

TIA

[OviV]

If I were to buy a set of the ABs what would I need on my 300D to fire them?

Ovi

[dpanicc1]

Does a couple of 550EX flash units offer any advantage over AB dual lamp system? Like, automated exposure control?

[MediaMagic]

Wouldn't two AB lights on stands with softboxes produce a softer light for portraits (verses reflective umbrellas)?

Second question:

I have a Canon 10D. If I were to go with a lighting system, I'd have to buy an exposure meter and shoot manual, correct?

TIA

Yes, you would need a light meter. You *could* do it by trial and error, meaning it's not impossible, but you would be much better off using a meter. A meter would allow for quick accurate adjustments with accurate ratios.

A softbox will throw a different light than a reflective umbrella. It's usually softer, but not necessarily. The way it works is, the closer and larger the light source, the softer the light, the further or smaller, the more contrasty the light. You would want a selection of umbrellas and softboxes. Umbrellas are inexpensive so you could begin with a couple of umbrellas and add more accessories as you go. You can get reflective, or shoot thru umbrellas (which work similar to softboxes by diffusing the light). There's another umbrella style attachment called a Brolly Box which is basically a softbox umbrella.

So, a softbox is softer/smoother, but the further you move it away from the subject, the more contrasty it becomes. So, the key is to keep the light as close as possible while keeping the light source out of the frame. Another way to think about it is this: measure the softbox diagonally at the longest diagonal (if rectangle)... the light will be softest/smoothest within that distance of the subject. As you move further away, the light will have more contrast. This is neither bad nor good, it's just how the light is thrown so you can use the distances to create the amount of softness you want.

The basic setup will be one light at roughly a 45 degree angle (main), and the second light at the camera position (fill). You will look at your scene and select a working aperture, such as f11. You then adjust the main light's power until your meter reads f11.0 (not 11.1, or 10.9, but exactly 11.0). Meter each light by itself first. Once the main is at f11, then turn it off, and meter the fill light until it reads f8.0. Now you have a good ratio. Next you will take a reading of both lights together. You will probably get a reading of f11.2 or f11.3. Here you will make adjustments until the two lights together read your working aperture of f11.0. Whatever adjustment you make to one light, you must make to the other to keep the ratio. If you adjust the main down by 1/10 of a stop, you must also adjust the fill by 1/10 of a stop. Or, you can move the lights further away to decrease the power. Again, if you move the main back by 10 inches, you must also move the fill back by the same distance. There are shortcuts, but, they are best avoided until you know your lights inside and out.

You take your reading from the subject position by placing your meter under your chin, which puts it at the distance of the eyes, and aim the sphere directly at the lens of the camera, not the light. Main and fill are metered toward the lens. Kickers, hair, background are metered from the subject position but pointed at the lights. So, to measure a hair light, you'd put the meter on your head with the sphere aimed directly at the hair light. There are varied opinions of how to meter, but this is the method espoused by many pros I've talked with. Styles of metering vary, so you may find that you adopt your own style.

A meter really is necessary in my opinion.

Two 550ex's will work, and you can get good results, but really won't compare to what you can do with the AB's, umbrellas, softboxes, and a meter.

edit: error correction. When metering a background light, place your meter in the center of the background light spread against the background facing the light. Main and fill, meter sphere aimed at lens. Kicker and hair, sphere aimed at light from subject position, background, aimed at light from background position at center of spread. Temporary brain spasm there in the original post.

[SnJPhoto]

As for ABs and what is needed to fire them. They have a optical sensor to detect any sort of flash (on camera etc) and will trip when your cameras flash trips. or you can hook to them via a PC connection (comes with lights). This just plugs into your PC socket on the 10D. Some folks are concerned over the voltage of this connection. So they use a voltage regulator to control any voltage spikes. The ABs are at 6 Volts I believe and I've used them for about a year with my 10Ds without a problem. I have recently decided to become more cautious (old age is making me smarter?) and have gone to a connection that alieviates the voltage concern. There are a couple ways you can do that. RF triggers such as Pocket Wizard products (my choice) or line voltage regulators that go between the light and cameras PC socket or hotshoe (such as a Safe-Synch product).

I'm not familiar with how the DRebel would connect. If it has a PC socket it sounds the same as the 10D, not rally sure. I did see some threads on the 300D and how they are used with other studio lights. I would defer to them for more info.

As for 550EX over AB (or other lights). I'm not really sure how to answer that. They are functionaly (purpose) not the same kind of lights. The obvioous answer would be ease of mobility. The studio lights are not an immediate use configuration. They will require a few minutes of setup and prep. This topic and perception of value could be a big area of debate. I'd let your needs/requirements dictate the selection of a solution. If you need something you could use in an occasional studio (garage/home etc) shot, then they will both work. If you need something for a serious numbers of studio shots but don't think you will be doing impromptu location shots you may want to get the studio lights. In my case, the light modifiers were also of concern (softboxes, grids, gels etc) and the affects they produce were of interest. So the choice included an emphasis on studio lights. One really nice thing about the 550EX/420EX option is that you can reuse it later in the studio roll as well, albeit, you may need to invest a bit more to make it perform more as a studio light by getting it off the camera. But this is also achieveable through use of cords or remote firing with one of the ST-E2 type devices (or use the 550EX and 420EX together). As for benefits of automated light control... I shoot almost all studio shots in manual mode. So I can't help you there. To me that is the benefit of digital, I can go manual and adjust to create the desire without the programs getting in my way. I don't always like what some of the automated functions do to images.

As for softboxes....yes. You are correct on softening the image. There is a good quicktime video on the 5 minute portrait over at Sportshooter.com. As they put it...its all about the relative size of the light sources....watch the video, its alot better than I can explain. P/S....I just ordered a softbox and yes, I will be using that in the future as well.

Not sure any of this helped.

Cheers.....

Scott

[MediaMagic]

If I were to buy a set of the ABs what would I need on my 300D to fire them?

Ovi

I'm not sure about the 300D, but it should be the same I'd guess:

You can use a pc synch cable, a pocketwizard transmitter on the camera and a receiver on one of the lights (the AB's have a slave trigger that will trigger whenever it sees the flash of another light). Or you can use the Radio Remote system available from AB. I just purchased this system for the WL's and it works extremely well. Each light has a remote receiver, and the transmitter can be used to adjust individual lights, then adjust all lights up or down at once (bracketing), test fire any or all, and then plug it into the camera with the included cable (pc synch), and it becomes a radio master fired by the camera.

[MediaMagic]

After going through and reading the thread again, I noticed I left out a piece of key information.

Your camera will be in manual mode. Set the shutter to 1/125 to eliminate ambient light. The aperture will be your working aperture.

Set your meter to shutter priority at 1/125. Now the fstop values will have meaning. Without the shutter reference, the f values are meaningless. Sorry about that omission.

[dpanicc1]

MediaMagic and SnJPhoto and everyone else who contributed to this thread I say thank you. This is a topic that I am only now starting to investigate, and the detailed help you folks provided is excellent; heck, it's a lot better than rehashing L lenses :o

[DAMphyne]

This question is for MediaMagic.
Why would you be concerned with ambient light? If you are working in a studio with flash, the only light you should have on is the modeling lights.
That's another positive about studio lights VS the 550EX, you can see the position and shape of your light, because of the modeling lights.
One thing about digital, you can shoot for free.
I like to shoot samples with each individual light by itself, that really let's you see what each light is doing.

[MediaMagic]

This question is for MediaMagic.
Why would you be concerned with ambient light? If you are working in a studio with flash, the only light you should have on is the modeling lights.
That's another positive about studio lights VS the 550EX, you can see the position and shape of your light, because of the modeling lights.
One thing about digital, you can shoot for free.
I like to shoot samples with each individual light by itself, that really let's you see what each light is doing.

Heya Damphyne,
You are absolutely correct in the most times in a studio situation you can have complete control over the lighting environment, in which case, you can safely (photo-wise) have only the modeling lights without any ambient light if you wish. The problem I've found with this approach is that most subjects, even in the studio, are more comfortable and relaxed if the normal room lighting is on, rather than just the modeling lights in an otherwise dark environment. A well lit environment is also a safer environment. Usually I have a family in the studio also taking individual shots so safety in the peripheral areas is also a concern to keep an eye on those not in front of the camera.

There are other times though where you don't have control over the ambient light even if you preferred shooting that way. This is primarily for on location work. I do portraits at a couple of the local high schools. Sometimes I have a room to myself to work (I can turn off all other lights if I choose), but most times I'm in the corner of an auditorium, gym , or cafeteria, taking photos while other things are going on which makes shutting off all other lighting prohibitive.

Same goes with a hotel banquet room. I may get a small corner somewhere within the quagmire of people running around to set up, but have to snuff out the other lighting with the shutter so only my lighting is seen by the sensor.

They way I've become accustomed to working is to use the modeling lights for setup (lighting angles), and then shut them down so that the only light from the WL's are the flashes. The system stays cooler that way, the Vagabond battery system lasts a hell of a lot longer, and people can see what they are doing, where they are walking, and any paperwork needing attention. When organizing a session with a couple hundred subjects, there really needs to be plenty of house lighting. It's just safer that way for everyone and the equipment. I also take test shots with each individual light as well to make sure I'm catching exactly what I want from each source.


In portrait photography, the only rule is that there are no rules. There are guidelines for standard portraits, lighting ratios tested over time, etc., but there really is not right and wrong way to capture a beautiful portrait. Whatever works in a given situation. I'm always open to new ideas and approaches. I think it's probably best to learn the tried and true methods for certain situations, and then expand from there.

Take care!

[Ballen Photo]

You will find many opinions on this subject in the forums. I've used the Alien Bees series and liked the results. I typically convert my living room into a studio and am able to get some fairly good results.

www.alienbees.com
Scott

Scott, Those Alien Bees are very tempting. Seen em before, but thanks for the link, and refreshing my memory.
.........Bruce

[ootsk]

I've got the AB 800 with the 60inch softbox. It's a great setup, and the previous posts are correct about the soft lighting. I get the models about 4 ft from the light. Very smooth.
Here's an example of one light at about 1/8 power
http://hometown.aol.com/ootsk/images/crw_5595%20copy.jpg

Here's another one with a slaved vivitar (on camera type) flash used as a hairlight. I used it on a monopod and had my daughter hold it above his head. It's too bright, so in future pictures I used some neutral density filter paper over it to tone it down some.
Notice the speculars in their eyes....it reveals the size/placement of the softbox.
http://hometown.aol.com/ootsk/images/crw_5564l.jpg

[burkdog]

Impressive pictures. Wish I could do that.

[Dans_D60]

Hi all:

Late to pipe in on this subject. Studio lighting is not rocket science but does take a little time to get comfortable. I would suggest starting with the classic lighting setups that can be found in any camera lighting book. From there you may want to find “your look�.

I have attached this image in other treads. Shows a home garage setup with enough equipment to practice and find “your look�. And, have fun! … Dan

http://www.pettusphoto.com/light/studio-light.jpg


After some experimentation, I found my preferred setup for images that have black or very dark backgrounds. Of course, I would alter the setup for high-key appearance.

http://www.pettusphoto.com/light/3122.jpg

[VonClev]

Hi all:

I've just started to get into studio work and found the discussion here useful. To add my two cents worth, I just got two JTL Versalight-D 500's and really love them - the ability to tweak them remotely is great, and they are almost as affordable as the AB's. The recent review in the April Shutterbug (which is what prompted me to get them in the first place) is dead on. Now I'm debating whether I want to round off the set with a couple of 300's or 800's.

Aside from the usual books on this subject, any good web sites on studio flash set up/use?

Chuck

[Ballen Photo]

Hi all:

Late to pipe in on this subject. Studio lighting is not rocket science but does take a little time to get comfortable. I would suggest starting with the classic lighting setups that can be found in any camera lighting book. From there you may want to find “your look�.

I have attached this image in other treads. Shows a home garage setup with enough equipment to practice and find “your look�. And, have fun! … Dan


Hi Dan, Better late than NEVER.
Judging by your website and mostly by this portrait you posted, I'd say you're no newcomer to this game. This portrait looks flawless to me.
Thanks for posting your .02 cents.
..........Bruce

[Ken Fong]

That's a great tutorial MediaMagic and everyone else....thanks. So I am getting the impression that the flash ratio control of an ST-E2 is not necessarily the best thing. Although it controls the ratio from the flash side, it sounds like it is more accurate to control the ratios from the subject's point of view. In other words, you make a lot of assumptions when using ST-E2 ratio control (like equal distance of both strobes). Is this so?

[Headcase650]

A very cheap alternative to studio lights that I have found very useful. Find a used Photography shop In your area. Pick up a cheap light weight 8 foot light stand with a piviting umbrella light mount bracket, and a 40 inch white or silver umbrella, you should be able to find for less than $40. For your light pick up a used Vivitar 283 flash gun less than $40 used (has a guide number of 120 at ISO 100 witch is pretty powerfull for a flash gun), you will want the ac power cord so you dont need batteries, new is about $25 used is around $10 or $15. A optical hotshoe slave, $15 to $35 depending on brand. And the vivitar veripower modual for the 283 that allowes you to set the flash output from full down to 1/32, $15 to $25. Now you are ready to start learning. Set up your stand and umbrella at a 45dg angle to subject, mount the hotshoe slave to the flash gun and mount on the light bracket pointing into the umbrella so it reflects the light back to the subject. Use your light meter to set the output of the flash for your apiture and use your 550ex on camera in manual mode dialed down as fill flash. now when your 550ex fires so will your vivitar studio light. So for $125 give or take you have a very useful , light and portible Studio light that combined with your 550ex and maybe a reflector should give you professional quality shots with some experimenting, oh and dont forget the flash meter, cheap flash meters can be had for between $100 and $200.( you can also get pretty good results by going off the hystogram but its always better to have a meter. If cash is tight than pick up the meter later)

This is my current set up and It works very well. The only advantage to monolights for a smaller room, say 12x16 is thy recycle much faster, the vivitar takes between 5 and 8 seconds depending on the output setting using the ac adapter..

By the vay the vivitar 283 and accessories have been around sense the early '70's I beleive and they havent changes a single thing about them, they have lasted the test of time, they are still made today and are available at many retailers includint B+H. So if you want to buy them new you can but there are tons of them on the used market.

Adrian

[rkoshy]

For occassional use, why not invest in home-depot lights as someone suggested... here are some shots using such a setup -- I couldn't for the life of me find a white sheet, so the background is actually off-white :-) Bummer...

http://photography-on-the.net/forum/showthread.php?p=352714#post352714

[Rob r]

As to the home depot lights folks are showing off, what light exactly is it? Do you have a Home Depot SKU or Model name?? are these the halogen lights?

I purchased an additional Sigma super 500 dg flash to use as a slave for "studio " lighting and to experiment with something other than the on camera flash. what a waste of money. the wireless ttl doesn't work for crap and i can't get two pictures to come out the same. there is NO consitency. and sigma is not really that helpful. he actually asked me "what does the manual say"

so anyway, i'd like to try something else, and home depot lights sounds a lot cheaper than the bees. although those are cool. but 600?? maybe if i didn't blow 210 on the sigma flash.

thanks, rob

[toddb]

I never got the Home Depot halogen lights to work for me. In my smallish apartment, they just get too hot. Everyone is sweating and get cranky. I want something I can adjust the power so I can set up that "ratio" to give depth to the photo and I just couldn't get it....not to say it can't be done because there are samples, but it's not easy. And the shop lights can come in useful for working on your car. :-)

I'm still on the fence a little about getting a second 550EX and a wireless unit or going for the Alien Bees. Since I don't have money for either I guess it's an easy choice right now, Lil.

[rkoshy]

As to the home depot lights folks are showing off, what light exactly is it? Do you have a Home Depot SKU or Model name?? are these the halogen lights?

thanks, rob

Don't remember the SKU, but will post some pics if you're interested. They are $20 (on sale) a bit more normally I guess. One is "double headed" -- two 500W halogen's on a stand that can go up to about 6 feet. I bounced this off a piece of white melamine clamped on (of all things) a ladder :-) The other one is a small 500W halogen, again about $15, put it in a large cardboard box (about 2'x2'x4') and covered the front with white cotton gives a relatively nice white color. Then I bounced my 550EX (on camera) off the ceilings which are white. All done in my living room, which was about 20' x 12', but I have a rather open layout so it wasn't really hot or anything.

[Cordell]

I purchased an additional Sigma super 500 dg flash to use as a slave for "studio " lighting and to experiment with something other than the on camera flash. what a waste of money. the wireless ttl doesn't work for crap and i can't get two pictures to come out the same. there is NO consitency. and sigma is not really that helpful. he actually asked me "what does the manual say"

thanks, rob

Don't blame the inconsistant issues on Sigma. The flash works just as the Canon 550EX and 420EX. It's more of a matter of learning the flash in ETTL. The problem with trying to use either of these flash guns in portrait setups is that they are automated when using ETTL. To some degree ETTL is smarter and/or dummer than it needs to be. For best results with this kind of setup you want to use manual just as you would be doing with regular monolights or other studio lights. Never ETTL, TTL, DTTL, etc. The automation of today's flashguns are great in the right situations. This includes the Sigma you speak of. I use it all the time in manual for portraits.

Good luck,
Cordell

[caldgrp]

I use a 550EX as a main (key) light and a 420EX as a fill, controlled by an ST-E2 on the 10D. Both Canon flashes are on stands and go through small (12” by 18”) soft boxes

I also have three different models of Lowel tungsten lights which can be modified with barn doors and color corrected with day blue gels. I want to use the tungsten lights as hair, background and accent (kicker) lights, as desired

Let’s say I set the 10D to Manual Exposure, f5.6, 125, using ETTL to do the flash exposure for the main and fill lights. In this kind of setup, having selected a working aperture of f5.6, can I use a flash meter to set up the exposures I want for the tungsten lights based on that f5.6 aperture?