Looking for Basement Studio Advice

Hi everybody,

I would like to start working on a portrait/headshot portfolio, and I'm fortunate enough to have a decently large space in my finished basement that is open and empty. I'm planning on hanging a 10' gas pipe to hold a 9' roll of seamless paper, and I'm also going to take Zack Arias' blog advice and lay down a couple of 4' x 8' sheets of plywood over the carpet (underneath where the paper will lay over the floor.) He also recommends tile board for the model to stand on, so I 'll lay a sheet of that over the paper (which is laying over the plywood.)

Where I need some help is on how much light power I need for my space. I've been shooting sports with fast glass thus far, so my lighting gear is pathetic. I have a Yongnuo 560 with a pair of 603 triggers, and that is all for strobe work. I've built a couple of super bright kino-flo style 4' video lights that might be useful for limited still shots, but I realize that these are much better suited for video.

I've been hunting for a set of used Alien Bees, but I'm not sure on which models I should be searching for. My original plan was to get two AB800s to be able to blow out the seamless paper to white, and an AB1600 to act as a key. My concern is that with my room constraints, I will have way too much light and be wasting money.

My room is roughly 22' x 11.5' but it spills into a much larger adjoining media room. The ceilings are a hair under 8' tall. The walls are a light beige color and the ceiling is bright white with some texture. There is a weird lower wall that juts out about 6" from the outer wall on one side of the room, so I lose a little bit of floor space, but still maintain the air space above. That mostly will affect light stand placement, but I mention it just in case somebody can come up with a concern.

Would I be better off looking for a pair of AB400s and a single AB800, or stick with my original plan of a pair of AB800s and a single AB1600? I want to mainly do high key stuff for others and low key stuff with grids and snoots for my own personal work.

Thanks for reading through this novel, I've included some images to get an idea of what the space looks like. The seamless paper backdrop will hang on the far right wall in what is titled "Game Room" on the blueprint, which is the farthest wall from the camera in the photograph.

My Studio is similar in size and I have 9" ceilings.....I use a 5 light and 3 light set ups. Im using AB400's and 800's. 1600.s are too powerful for this size basement. My 1600's are used for outside work. Frankly, if i had to do it again, i would get Einsteins and not look back.

umphotography wrote in post #16198067
Frankly, if i had to do it again, i would get Einsteins and not look back.

the more i look at what i need/want from my lighting, the more i think i will end up with Einsteins, or something of similar quality. Mainly for the large range of output.

I think i'd rather start with just one light and mix with existing speedlights when needed than have 2 or 3 ABs. Not knocking ABs, at all.

Buff web site shows expected light meter readings with different light modifiers on AB units of different ratings. I would use that as a starting point, to determine if YOUR DESIRED f/stop for whatever flash-to-subject distance would be possible with the AB unit in mind. Depending upon subject matter you intend to shoot, you might want shallow DOF or you might want deep DOF. For example, sometimes I find that 62 w-s from a single head is too much, and that 2000 w-s from a single head is not enough, depending upon subject!

The Einsteins will seldom be over 1/8 power probably less.
You are going to get a lot of bounce fill from the low ceiling, to say nothing of the low light angle you'll have with any subject, even seated, unless the lights are very close. Close lights aren't a bad thing just means you need even less power.

As Wilt mentions, the exception is when you want very deep DoF.

Your biggest challenge is going to be controlling the light from the various sources. Especially when wanting to shot white backgrounds. At least you have the ability to get back in the family room area with the subject and background paper in the game room area. That will help.

Don't misunderstand, the space will work. I've done many a model or boudoir shoot in similar or smaller spaces, often with Einsteins. It just requires planning and careful use of modifiers.

Most of the galleries on www.intimateimagesbyda​vid.com where shot in similar or smaller spaces with Einsteins or AB800. (The site includes nudity.)

Thanks for all of the advice, everybody. I knew that the low ceilings would be a problem, and I'll be working on a few different things to flag the light and keep my subject lighting separate from the background lighting.

Working Einsteins into my kit might be out of my budget unless I just find a phenomenal used deal, so I'll look for two AB400s and an AB800 to start with. I was originally thinking about just building up a collection of YN560 speedlights, but because they would rarely go outside, I would rather have the convenience and greater power capabilities of strobes.

Grids

thcomb wrote in post #16199637
Thanks for all of the advice, everybody. I knew that the low ceilings would be a problem, and I'll be working on a few different things to flag the light and keep my subject lighting separate from the background lighting.

Working Einsteins into my kit might be out of my budget unless I just find a phenomenal used deal, so I'll look for two AB400s and an AB800 to start with. I was originally thinking about just building up a collection of YN560 speedlights, but because they would rarely go outside, I would rather have the convenience and greater power capabilities of strobes.

the YN-560s in umbrella modifiers are not the worst option.

The Alex, Lisa and Annie folios were all shot with speedlites in Westcott type umbrella soft boxes.

thcomb wrote in post #16199637
Thanks for all of the advice, everybody. I knew that the low ceilings would be a problem, and I'll be working on a few different things to flag the light and keep my subject lighting separate from the background lighting.

It could be worse - you can learn a lot about lighting by understanding your limitations (in this case, physical) and then lighting around them.

This.
Also learn how to work with one light only and be able to model the light, contol the BG and control the spill.

I'm thinking about building some PVC stands along the walls to hold black cloth in an attempt to knock down reflections from the sides. Would that be a futile attempt because of ceiling height and it acting as a reflection source, or could it work?

That's a great idea. That becomes less needed as you move your lights closer to subject.