Basic Studio Lighting

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

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.

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

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.

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.

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

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!

SnJPhoto wrote:
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

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.co​m …mages/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.co​m/ootsk/images/crw_556​4l.jpg

Impressive pictures. Wish I could do that.

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

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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

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

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?