Question about using Barn Doors on strobes

Robert,

I think the latest post looks great! I think the hair light reflector is doing its job well. My question....since I don't have my mannequin yet...Can you move the background light higher on the backround to be behind her head? Or does that not work for some reason.

I can't believe I'm actually excited to get a head in the mail, so I can practice as you have (so excellently) done!

Regards,

J.Simonian

JSimonian wrote in post #2516283
Robert,

I think the latest post looks great! I think the hair light reflector is doing its job well. My question....since I don't have my mannequin yet...Can you move the background light higher on the backround to be behind her head? Or does that not work for some reason.

I can't believe I'm actually excited to get a head in the mail, so I can practice as you have (so excellently) done!

Regards,

J.Simonian

Hi,

Thanks for the compliment. I'm not exactly sure what you're asking. I certainly could raise the background light but that's not the effect we're going for in this series of exercises.

The mannequin is great for working like this and studying the light but I'm wondering how you transition to live subject's. It seems that all this carefully set up lighting works because the mannequin stays perfectly still, but what if there is movement and shadows change?

Well, one step at a time. I am learning huge amounts from this and some other recent threads with posts from Scott.

TMR Design wrote in post #2516351
Hi,

Thanks for the compliment. I'm not exactly sure what you're asking. I certainly could raise the background light but that's not the effect we're going for in this series of exercises.

The mannequin is great for working like this and studying the light but I'm wondering how you transition to live subject's. It seems that all this carefully set up lighting works because the mannequin stays perfectly still, but what if there is movement and shadows change?

Well, one step at a time. I am learning huge amounts from this and some other recent threads with posts from Scott.

I think he is inquiring about raising higher the illuminated area. Scott had mentioned 'just above the shoulders' and that would be higher...you're getting fooled by the slope of the base of the mannequin. A real woman wouldn't have a neck that long!

Wilt wrote in post #2516381
I think he is inquiring about raising higher the illuminated area. Scott had mentioned 'just above the shoulders' and that would be higher...you're getting fooled by the slope of the base of the mannequin. A real woman wouldn't have a neck that long!

Dohh!! Yes of course. This modeling mannequin does have the elongated neck. An oversight on my part. Thanks to both of you for pointing that out. I will make sure I raise the background light for future pictures.

Unless you're photographing this woman . Seriously, excellent thread - chock full of good info!

I couldn't resist going back into the studio and working on this a little more. I raised the background light up a bit and I also backed off the hairlight reflector so it's a more subtle effect and still creates some seperation between the subject's hair and the background. Unless this is too subtle I think it's the best of them.
.

HOSTED PHOTO
please log in to view hosted photos in full size.

I just have to say that I think it's pretty cool that the fill and hairlight are created by reflecting light from the main light. So I'm doing with 2 lights what would normally be done with 4. For all those like myself that assumed this could not be done without buying more strobes, think again.

Robert - I find the hairlight a little too subtle. Could you post one of the others please?

Personally, and this may be subjective to the viewer, I like the post prior to this one with the hair light best. It seemed to enhance the edges of the hairline, whereas this is a bit muted (to me.)

In regards to my post about the background light, all I meant was to suggest putting the circular area of the light on the background a bit higher up so that it would create more of a halo around the subjects head rather than around the "torso". I'm not talking too far up...only maybe 5-10 degerees or so. It might give a different look.

Love this thread!

J.Simonian

Your achievement in the exercise gives inspiration to many of us and will likely become a "stickey" for future lighting beginners to understand.

JSimonian wrote in post #2516283
I can't believe I'm actually excited to get a head in the mail

that one gave me a good laugh.

robert, as i've said before, i'm really enjoying this thread and watching the progress you've been making. i don't have the money for lights yet but its been exciting to see what can be accomplished with only 2 strobes and know that i can get great results without really having to break the bank.

by the way, i've been eagerly waiting for the shots with the hair light and i have to say its looking good! it really makes it pop.

I went for a tighter head shot on this one and have another variation of the hairlight. I don't know exactly how it should look so I'm anxious to see what Scott says about the different results I've gotten. In making adjustments I'm trying very hard to NOT have the hairlight reflections strike the face and affect the shadows that have been carefully controlled with the fill reflector. I see that I don't have exactly the same fill control that I did have.
.

HOSTED PHOTO
please log in to view hosted photos in full size.

From Robert (TMR Design):
I just have to say that I think it's pretty cool that the fill and hairlight are created by reflecting light from the main light. So I'm doing with 2 lights what would normally be done with 4. For all those like myself that assumed this could not be done without buying more strobes, think again.

What would you do with 4 lights? Main Light, Fill Light, Hair Light, Background Light.

pparker wrote in post #2517981
From Robert (TMR Design):
I just have to say that I think it's pretty cool that the fill and hairlight are created by reflecting light from the main light. So I'm doing with 2 lights what would normally be done with 4. For all those like myself that assumed this could not be done without buying more strobes, think again.



What would you do with 4 lights? Main Light, Fill Light, Hair Light, Background Light.

Yup. That's what most people do and the way we are all convinced we can't do all the cool things or won't be able to do portrait and studio work without having an arsenal of lights and modifiers. Like many people I don't have a real budget for more lighting equipment right now but it's not stopping me from learning concept and technique. I'm convinced that I don't have to run out and buy tons of gear, softboxes, and lots of gadgets to do this and I'll be evaluating each purchase of new equipment much more carefully.
Based on this and a few other threads I just ordered a set of barn doors for one of my B800's and once they come I'm going to revive and modify my DIY diffuser panel and have my main light behind it with the barn doors on it, giving me more precise control over the light than any other modifier that is a fixed size (umbrella, softbox, etc.).

One of the biggest things that Scott has helped me with is the ability to really see a scene as the lights are going up and positioned. I don't have to take a test shot to know how it's going to look. Now THAT is cool!

TMR Design wrote in post #2518095
Yup. That's what most people do and the way we are all convinced we can't do all the cool things or won't be able to do portrait and studio work without having an arsenal of lights and modifiers. Like many people I don't have a real budget for more lighting equipment right now but it's not stopping me from learning concept and technique. I'm convinced that I don't have to run out and buy tons of gear, softboxes, and lots of gadgets to do this and I'll be evaluating each purchase of new equipment much more carefully.
Based on this and a few other threads I just ordered a set of barn doors for one of my B800's and once they come I'm going to revive and modify my DIY diffuser panel and have my main light behind it with the barn doors on it, giving me more precise control over the light than any other modifier that is a fixed size (umbrella, softbox, etc.).

One of the biggest things that Scott has helped me with is the ability to really see a scene as the lights are going up and positioned. I don't have to take a test shot to know how it's going to look. Now THAT is cool!

Robert and others,

I and other guys will often reply, "Get one light and a reflector" when faced with the question "I want to learn studio lighting, what do I need to buy?" ! I even have suggested, "Buy nothing for now, just use a desk lamp and a reflector to learn to visualize the results of different light setups."

Scott's suggestion of using the reflector for the hair light is a terrific skill. but as your own experiences indicate, this can be a time consuming task unless you pose everyone the same and you use a cookie-cutter studio and lighting configuration from portrait sitter to portrait sitter. And it does not provide the flexibility of quickly altering the pose signficantly and moving the lighting to suit (unless you learn to cookie-cutter the other lighting layouts, too, thru experience).

This is not to dissuade anyone from using one light plus reflectors, but merely to point out why professionals resort to using more lights...speed of execution is critical whereas the hobbyist has more luxury of time to fidget. And greater precision, using a light with modifiers, adds much to the speed of execution.

So eveyone please learn to master one light, then add one more light at time, even if you purchased a multi-light kit! Your learning experience will be far richer and you stand to become a far superior lighting person in the process. And you do not even have to take a photo to learn the effects of different light placement, as Robert has discovered. I have given an entire lighting lesson in the past with no photo taken!

--wilt

Wilt wrote in post #2518894
Robert and others,

I and other guys will often reply, "Get one light and a reflector" when faced with the question "I want to learn studio lighting, what do I need to buy?" ! I even have suggested, "Buy nothing for now, just use a desk lamp and a reflector to learn to visualize the results of different light setups."

Scott's suggestion of using the reflector for the hair light is a terrific skill. but as your own experiences indicate, this can be a time consuming task unless you pose everyone the same and you use a cookie-cutter studio and lighting configuration from portrait sitter to portrait sitter. And it does not provide the flexibility of quickly altering the pose signficantly and moving the lighting to suit (unless you learn to cookie-cutter the other lighting layouts, too, thru experience).

This is not to dissuade anyone from using one light plus reflectors, but merely to point out why professionals resort to using more lights...speed of execution is critical whereas the hobbyist has more luxury of time to fidget. And greater precision, using a light with modifiers, adds much to the speed of execution.

So eveyone please learn to master one light, then add one more light at time, even if you purchased a multi-light kit! Your learning experience will be far richer and you stand to become a far superior lighting person in the process. And you do not even have to take a photo to learn the effects of different light placement, as Robert has discovered. I have given an entire lighting lesson in the past with no photo taken!

--wilt

Thanks Wilt. I can see how this type of setup would not do well if I had to adjust for many different types of shots and clients, and would certainly be time consuming. As a beginning lighting 'student' I do like it because it lets me look and analyze very specific things without the worry about "what if he/she moves?". I'm looking forward to expanding on what I've learned and as I add lights/modifiers I hope to see the entire process grow and become more flexible.
I hope I didn't give anyone the impression that this was the best or ideal studio setup. I simply wanted to point out that the process of learning about lighting does not require a large expenditure and can be done simply, as you (Wilt) and Scott have pointed out repeatedly, and this thread is a clear demonstration of that.

The concept of seeing the shot before it's taken is powerful.