First Time Practicing Studio Lighting - any basic tips ?

I would like to see the photos.

It's ok to be humbled...it's all learning.
I just bought 2 Einsteins and an AB400 with all the fancy modifiers and what not, and after playing around for a week I can tell you that i'm turning everything off but one light and starting from there.
I was able to get some good shots, but I wasn't truly understanding what each light could/would do to effect the scene. I started turning lights off and on and then watching a bunch of YouTube vids on simple setups and figured I needed to drop back and start from the basic one light setup so I could really understand each light and what it could/couldn't do for me. I am truly humbled, to say the least!

You're on the right track. Look forward to seeing your work!

Kechar wrote in post #12212798
I would like to see the photos.

It's ok to be humbled...it's all learning.
I just bought 2 Einsteins and an AB400 with all the fancy modifiers and what not, and after playing around for a week I can tell you that i'm turning everything off but one light and starting from there.
I was able to get some good shots, but I wasn't truly understanding what each light could/would do to effect the scene. I started turning lights off and on and then watching a bunch of YouTube vids on simple setups and figured I needed to drop back and start from the basic one light setup so I could really understand each light and what it could/couldn't do for me. I am truly humbled, to say the least!

You're on the right track. Look forward to seeing your work!

I agree! Especially with the flash being used and no light meter.

In my opinion, using any automated exoure in a studio defeats a lot of the learning. I could not do it without a light meter because it helps me plan the light ahead of time rather than react to what I see on the image afterwards.

In this case I see no alternatives other than turnig the flash to manual and calcuating exposure by distance, then practicing with a one light setup taking reflactions into account. Once confortable wth your flash output an lighting quality, add the second as a fill at diffrent power ratios to practice with the two light setup.

Problem is that once you get the bug,you'll most likly be spending ore money anyways.

m.shalaby wrote in post #12212545
Shadows were very tough to deal with....

Can you explain what you mean by "tough to deal with"? Did you use a lamp or continuous light to observe shadows, where they fall, and how to move them around and control them?

If not then I believe this is a recipe for a great deal of frustration. Using a Speedlight and guessing will be a slow road to learning.

TMR Design wrote in post #12213200
Can you explain what you mean by "tough to deal with"? Did you use a lamp or continuous light to observe shadows, where they fall, and how to move them around and control them?

If not then I believe this is a recipe for a great deal of frustration. Using a Speedlight and guessing will be a slow road to learning.

its just such a tight space, my subject can't stand any further then 3-4 feet away from the backdrop. It seemed no matter how I angled the continous light, a shadow was cast.

I could eliminate the shadows by having the light source above pointing downward and doing headshots. Thats as far as I got.

Anything with 1/2 body shots were very tough to elimate shadows in my 10x10 room with a single strobe.


Question - how I described my headshots in the previous post - the only ones I was happy with - does that seem like a decent route to go for a single strobe set up?

Diffusing the light will soften the shadows and transitions. The Qbox 24 will diffuse light but it's still a relatively small light source at 2 to 3 feet from the subject and the falloff that occurs at another 3 to 4 feet from the background will soften the shadow cast on the background but eliminating the shadow is very difficult.

That was why I suggested that you find the most pleasing shadow and work with it instead of fighting it. I do a lot of work at close distances to backgrounds and I do it because I intentionally want some shadow. Depending on the mood and intent of the shot, shadows can look really great.

What color are your walls and ceiling?

If they're white and you have a second light source then you can use the white wall behind you and the ceiling to create a very effective, large, soft fill light that can also work as a hair light. It works great.

If you don't have a second light source and want to try an experiment then you can take your Speedlight and position it off to one side (as you would position a main light) and point it behind and above you. It's not at all ideal but it works surprisingly well and gives you very nice soft light.

TMR Design wrote in post #12213200
Can you explain what you mean by "tough to deal with"? Did you use a lamp or continuous light to observe shadows, where they fall, and how to move them around and control them?

If not then I believe this is a recipe for a great deal of frustration. Using a Speedlight and guessing will be a slow road to learning.

This is exactly why I want to get the monolight.
Using OCF is extremely difficult if you want to get shadows in precise locations. A lot of guess work and moving around the OCF and by then, the model moves. GAH!!!!

I was thinking about getting the ab800, but I'm looking at einsteins now. POTN, I hate/love you...

TMR Design wrote in post #12213482
Diffusing the light will soften the shadows and transitions. The Qbox 24 will diffuse light but it's still a relatively small light source at 2 to 3 feet from the subject and the falloff that occurs at another 3 to 4 feet from the background will soften the shadow cast on the background but eliminating the shadow is very difficult.

That was why I suggested that you find the most pleasing shadow and work with it instead of fighting it. I do a lot of work at close distances to backgrounds and I do it because I intentionally want some shadow. Depending on the mood and intent of the shot, shadows can look really great.

What color are your walls and ceiling?

If they're white and you have a second light source then you can use the white wall behind you and the ceiling to create a very effective, large, soft fill light that can also work as a hair light. It works great.

If you don't have a second light source and want to try an experiment then you can take your Speedlight and position it off to one side (as you would position a main light) and point it behind and above you. It's not at all ideal but it works surprisingly well and gives you very nice soft light.

Thanks for the input. I’ll try to stop fighting the shadows and work with them instead. Its all I can do in such a tight space.

I only have 1 light source for now… so I’ll work with that for the time being.

I do also think the QBox is a tad on the small side now. Do you think I should go with a 36” Cheeta Octabox, or an umbrella route ?

You said you had an old hot light I think, right?
Why not throw a white pillow case on it to soften it...would'nt worry much about it catching fire cause you will only have it on for a short time.
Use the hot light to position and view shadows. Won't be exact because of light quality and modifiers, etc... but should give an idea.
Then flip the hot light off, throw it out of the way, and put your strobe in its place.

You don't even need the hot light on a stand, just hand hold it.

Seems quick to me.
Any experts have thoughts on this? Rob?

m.shalaby wrote in post #12213699
Thanks for the input. I’ll try to stop fighting the shadows and work with them instead. Its all I can do in such a tight space.

I only have 1 light source for now… so I’ll work with that for the time being.

I do also think the QBox is a tad on the small side now. Do you think I should go with a 36” Cheeta Octabox, or an umbrella route ?

I would rather have a softbox in a smaller space...it's very difficult to control the spill from an umbrella in a 10x10 room. I know in the beginning of the thread you were asking about general rules of thumb, the inverse square law is an essential one to understand, (and as it relates to your space), if you can keep the light modifier very close to your subject -- which is why I think people were talking about the space being enough for headshots -- you will get more "fall off" to the background, making it darker that way. The other good thing to keep in mind as a very general rule of thumb is a modifier is most effective within twice the distance of its diagonal face. If you have a 22" beauty dish, it's best to use it closer than 44", or you just have a hard light source again. I like to have my softboxes within 1 diameter if I can...meaning that 24" softbox would be within 2 feet of my subject to really make best use of the soft light it gives off. If you're keeping a 24" softbox within 2 feet of your subject, you're going to have a tough time lighting more than a chest-up area most likely, but I like the idea of using a desklamp to see what your light is doing as a basic starter. Once you understand that, then you'll want to understand the differences in the different size and type modifiers. It's great if your wife will sit for you while you learn...I have no such luck; you know what I've resorted to hahaha

anlenke wrote in post #12213773
The other good thing to keep in mind as a very general rule of thumb is a modifier is most effective within twice the distance of its diagonal face. If you have a 22" beauty dish, it's best to use it closer than 44", or you just have a hard light source again. I like to have my softboxes within 1 diameter if I can...meaning that 24" softbox would be within 2 feet of my subject to really make best use of the soft light it gives off.

Awesome explanation! You guys are awesome - so much info in your combined heads and so willing to educate!

anlenke wrote in post #12213773
It's great if your wife will sit for you while you learn...I have no such luck; you know what I've resorted to hahaha

Tried that - I've since stopped trying to get her to sit. The pictures I take are coming out mediocre at best due to the subjects lack of enthusiasm.

Exactly, Kechar. you can even keep the flash right next to the hot light or right above/below. This isn't exact but if you can see how the light is falling, get a sense of directionality and model the face.

When you have placement that works and shadows are not 2" off the side of the nose or creating deep shadows under the eyes, take a shot with the flash.
If you don't have a meter you're going to have to wing it in Manual mode. Stay away from any 'auto' mode on the flash or camera.

Get yourself a piece of white foam core as a reflector. If you don't have foam core you can use anything (literally!) that is white or silver to return light to the face. Cover a piece of cardboard with aluminum foil. Use a camping emergency blanket or even a white piece of paper.

Very simply, anything that reflects light without a color cast is usable as a reflector. If you keep your main light in place and add the reflector to the fill side of the face you'll see a dramatic improvement and the shadows will soften up. Do the same thing to return some light under the chin to lift shadows.

I wouldn't dismiss the Qbox24 so quickly. Just because it's still a relatively small light source doesn't mean it's not usable or that you need to replace it. If I were you I would spend time with the gear you have and understand it before moving forward.

A 24" softbox can produce beautiful, soft light and you can absolutely produce great portraits with a Qbox or Qbox and reflector.

CiM_Photography wrote in post #12213845
Tried that - I've since stopped trying to get her to sit. The pictures I take are coming out mediocre at best due to the subjects lack of enthusiasm.

I hear that. Finding green models on modelmayhem is one way to go; I was joking with Matt, because I use myself as a subject. I know my own face very well, and, as boring as it is to stare back at your own face, I'm always available and I get to see what different types of light look like on the same subject. Some use mannequins too, but I like using a real person. Narcissistic? Fairly. Effective? Yes.

thanks for all the tips guys.

i'm going to wing a shoot tonight, mostly headshots... i'll try for some half body, so we'll see what happens... sigh. i'm anxious.

m.shalaby wrote in post #12216166
thanks for all the tips guys.

i'm going to wing a shoot tonight, mostly headshots... i'll try for some half body, so we'll see what happens... sigh. i'm anxious.

You should be alright man. It's simple enough to start with the Qbox 24" about 30-45 degrees off to one side of your model, about a foot or two higher than her head, at a total distance at about 2'-3' from her face. 1/8th power, f/5.6, possibly reflector underneath or other side. salt to taste