Need some advice on a studio lighting kit

Continuous lights are the wrong tool for the job. You can make them work to a point, but the real answer is to use strobes. It doesn't have to be expensive either ... see http://strobist.blogspot.com

Uh oh. You are going to be very disappointed. You need MANY thousands of watts continuous to do what one little flash can do in 1/1000 second.

Two 1000 watt lamps is 2000 watts total on the subject. If your camera exposure were 1 second, then this could be rated 2000 watt-seconds of power. But 1 second shutter is totally unacceptable for most pictures. Suppose you instead use 1/100 second. This 1/100 second shutter means that camera cannot see the light from the lamp over the full one second. You use only 1/100 of it, which is now 2000/100 = 20 watt-seconds, which is an extremely puny rating.

Bottom line, you would hope and pray you might be able to shoot at 1/60 second at f/4 at ISO 400 with the lights up very close. Heat will be fearsome, everyone in the room sweats. It is 17 amps load on your 20 amp house circuit, so don't turn on anything else. Not good.

In contrast, a small studio light (flash) would be 160 watt-seconds, which would allow working at f/11 at fastest sync shutter speed, say 1/250 second. Its actual flash duration that stops action would be more like 1/1000 second. This is a huge, gigantic, unimaginable difference. No heat. Usable vs unusable. You want flash.

I just ran a quick check metering and testing one AlienBees B400 light , rated 160 watt-seconds (this is a small size flash). The modeling light in mine is a 150 watt halogen household lamp.

Without softbox or umbrella, direct flash from only just the regular 80 degree reflector, at ten feet, the flash easily does f/11 at full power. This is using ISO 200, which is what my camera does. At any shutter speed, this flash duration is probably near 1/2000 second (if t.1 ... this one is rated 1/6400 second at t.5). Plus, its white balance is fantastic.

Using the 150 watt halogen modeling light alone (continuous, same ten feet, same reflector) meters and tests f/11 at 4 second exposure (ISO 200 again). That is four seconds, not 1/4 second. This is 10 stops less than a 1/250 sync shutter, but of course, the actual flash duration is much shorter than even that. This difference is astronomical in this context. 10 stops is 2^10 power which is 1024x difference, so based on this comparison, 150w x 1024 = 154,000 watts of tungsten power would be required to equal f/11 at 1/250 second (from this one little flash unit). We couldn't attempt to equal it of course, we would try to make do with a little less. :)

2000 watts is 2000/150 = 13.3x times more power than my bulb. Call it 16 times to make math easy. 16x is 4 stops more, so using it should now be 1/4 second. Instead of f/11, call it f/4, which is 3 more stops, or 1/30 second. Ten feet is pretty far, call it half distance, or 5 feet. That is 2 more stops, or 1/125 second now. But put the softbox or umbrella on it and lose a couple of stops again. Step up ISO speed to 4x to compensate again. Debatable if it is usable at f/4 and 1/60 second, but it does not begin to compare to f/11 and 1/1000 flash speed. And the 2000 watts of heat will make everyone in room sweat, like a portable room heater.

There is an extremely good reason flash is used for this. Flash works, continuous just doesnt. So just use flash. Difference is essentially unimaginable. Flash is extremely usable.

Even using a camera speedlight flash will be a huge improvement (you can put them in umbrellas). My Nikon SB-800 (at 24 mm zoom) in the same umbrella above meters only one stop down from the 160 watt-second AlienBees B400 light (both at full manual power). Very usable. Continuous is not really usable, and is a giant pain.

This package is way overpriced for hot lights. For not too much more, you can get a decent package with Alien Bees.

You won't be able to use these, or many other studio lights for weddings, for that you need battery operated on-camera flash.

For portraits, hot lights make people uncomfortable and sweaty, not an ideal situation for great portraiture.

<Chas>

Wayne....I think you didn't read the part about me being a beginner. You totally lost me on your response. Thanks though :).

Charles....this package has backdrops and a backdrop stand included, which is something I need, so that is part of the extra cost. AND they actually advertise them as being cool light with a fan to keep them cool. Does that still mean they will be hot?

I am afraid of going flash because I have read that it is not for beginners and I am not even sure if my camera has the attachement to get the strobes to fire. Is there a flash lighting for dummies? LOL Everything I have read just leads me to think that flash would be too difficult for me at first......

"could be rated 2000 watt-seconds of power" - of course Watt-seconds is a measure of energy not power.

...but you get the drift, will equivalent continuous lighting you could certainly "burn down" your house.

>>of course Watt-seconds is a measure of energy not power.

OK, but that is how flash specs use it.

The real problem is that watt-seconds measures input electrical power, and NOT output light power (yes, I did understood your comment). The flash is easily 4x more efficient as tungsten bulbs, so that is 2 stops more output power right there. :)

>I think you didn't read the part about me being a beginner.

Sorry Heather, I hoped at least the overall idea would come through.

Frankly, there is no concept there that you dont need to know.

Continuous would in fact be easier in only one way, in that your cameras light meter can work automatically same as outdoors. With flash, yes, you need a flash meter, and may have to learn a few new things, and must pay attention to a few details. It is called photography. :)

Bottom line, the continuous lights will be inadequate light power, will be excessive electrical power, and will be like running at 2000 watt room heater in the room. Will be a giant pain. I cannot imagine you trying to use them more than two or three times before buying flash.

I know this wont help either, but back in the old days, before electronic flash, such continuous schemes were used, as there wasn't much choice. Normally used with bare reflectors instead of losing the light to umbrellas. The secret to being able to use continuous lights like that was to wire up a foot switch, which normally puts the two lights in series, dropping voltage to 1/2 and power to 1/4, to avoid burning up the room. Then when the shutter is to be pressed, step on foot switch changing lights to be wired in parallel, for full power, for a very short time.

>>>>I am afraid of going flash because I have read that it is not for beginners and I am not even sure if my camera has the attachement to get the strobes to fire. Is there a flash lighting for dummies? LOL Everything I have read just leads me to think that flash would be too difficult for me at first......

I am sorry, I didnt really know how to answer this part, but thought I should come back and try.

I am assuming you have an adjustable camera that allows external flash. What camera is it? If it is an automatic point&shoot, then maybe continuous is the only answer, but it is still a very poor answer. In that case, you may need another camera too.

First go to your public library, they will have many books on beginning photography. However flash or studio is not often their strong point, but it is the beginning level you seek. Amazon.com has many too. And your community college surely has short adult night courses. And you probably have some friend that knows a thing or two, invite them over to sit down and talk and explain some things. They would likely be flattered if you warn them up front. :)

Flash is easy, however it is manual exposure. You will have to learn enough basic photography to understand f/stops. Maybe with todays automatic photography, maybe it is like parallel parking when learning to drive, but it is easy and we really need to know.

Many cameras dont have a PC connector to connect a flash, so you buy something like this to provide one (assuming camera has a hotshoe): (link)

I use this one instead: http://www.adorama.com/aid003925.tpl?sku=NKAS15 because it has the locking clamp to keep it from sliding offcenter and stop working. I think it is easily the best one, but any of them should work.

With flash, you set your camera to Manual exposure. You set your shutter speed to its specified maximum sync speed, often in the 1/200 or 1/250 second range today. Your camera manual will specify this in its flash section, under "using external flash".

You use a flash meter to individually meter your lights, to set them to the power level you want them to be. I use this one: (link) which is low end and inexpensive, but more than enough. Regular light meters measure continuous light, like the sun or tungstens, but a flash meter measures the flash intensity. You test firs the flash, meter it with the flash meter, and set the camera aperture accordingly.

This manual metering mode is full control by you. This is NOT a negative, it is the the huge plus. You can simply make everything be like you want them to be. You can meter individual lights, to set them how you want them. Then you use the flash meter to meter the total result, and set your camera aperture accordingly, say f/8.

Here are some good articles for beginners: http://alienbees.com/beginnerbee.html

These AlienBees lights are probably the cheapest ones you want to consider. Certainly the cheapest I was willing to consider. These are inexpensive lights, you can pay many times more. Yet these are really excellent and well worth the money, with great support. You can easily find jillions of users on internet using them and very pleased with them. I have them and think they are great.

There are many cheaper ones on Ebay, but those are mostly total unknowns, no descriptions, no brand name you ever heard of, no warranty, no return address, no support, no nothing. Just some cheap stuff, no clue what it is. Seems just a bad plan in general. You want the lights to be good enough electronics for repeatably consistent exposure, and reliable in operation for a long life. And should you ever need a new flash tube or even a new modeling light, you want them to be user replaceable, and you want to be able to find a replacement, at a decent price.

Some cameras like the Nikon DSLR have a remote flash capability where the camera can measure the external flash, but it is not quite the same concept. It does not meter individual lights and does not offer much control. But many do use it, and this may be what you want. Frankly, my Nikon does this, and I have the lights, but it seems much harder to me than manual operation. Not harder to use exactly, but harder to get what I want.

Heather: You never said what kind of photography you do. If it is weddings or events you should use a strobe (flash). If studio & portrait you may choose between strobes and tungsten. Strobes are easier overall and not hard to use. Personally I never use flash anymore. The quality of light I get from tungsten is better. Also, despite modeling lights to show you what you will get with a flash, you still only get a rough idea. With tungsten you see exactly. I prefer the Lowell DP 1000 watt light with barn doors and diffuser. If you want it softer you can bounce it off a reflector or shoot through a diffuser screen (these options may be added later). Yo DO have to use slower shutter speeds with tungsten, so make sure you are ready for that.--Bruce

Before spending hundreds of dollars, go to the hardware store, buy a $30 double head 500W halogen worklight. Take it into the room you intend to shoot in, turn it on, and start taking pictures of a living subject.

You should see very quickly what is meant by how hot these lights get, and how hard it will be to get a living subject sharp because of movement. You can always return the worklight, or if you like it you can keep it as a background light for you new kit. I think you'll be surprised how quickly a halogen light can heat up a room. The fan cooling only cools the light itself, for use with softboxes etc. It will not help the room temperature, it will just spread the heat around more quickly.

You can make your own backdrops out of canvas/muslin from any store with a little bit of work, and if you are handy you can even make the background holding system - there are a LOT of simple ways to hold up a piece of muslin or canvas, that don't require expensive stand setups, especially if you don't need it to be very portable.

If you are worried about the background stands, you can get an Amvona.com background kit for under $100. Add that to a pair of Alien Bee 400's with large softbox and 4' umbrella, and you have a similar price as the kit you linked, but with MUCH more power and flexibility.

You haven't said what camera you are using, but as long as it has a hotshoe on top you should be able to trigger strobes. If you are using a point and shoot without a hotshoe, then it might not be possible, but most decent cameras can either use hotshoe or a built in flash on manual mode to trigger studio flashes.

Wayne - Thanks so much for all your great advice! I have a Nikon D40 Dslr camera. I also have an SB-400 speedlight. If I purchase the Alien Bees that you mentioned, do they have a model light that you suggest as well? Also, I guess with the strobes, the biggest expense is the meter....is this a necessity with flash? Also, thanks for the article links - that helped me a great deal!

Scott - Yes, I know how hot those lights can get - my dad is a carpenter and he has several of those worklights. I guess I assumed since these were made for photography that they would be cooler. And the fact that my sessions will be appointment only and probably last only about an hour or two - I figured they wouldn't have time to get THAT hot. I plan on making some backgrounds myself. I am sure my dad could help me rig something for a stand - or even hang a rod from the ceiling to hang backdrops on.

Wayne - Nevermind I see that the modeling light is 'built-in' to the AB-400/800? SO, I have been checking out their packages. Is a one-light setup good for starting out? Will it be difficult to keep from casting shadows in the background with just one light? Or can that be remedied with just a simple reflector? I really appreciate your help!

Hi Heather,

I think you have been given some very good advice so far, but let me try to help a little more; in your posting you say 'I am just going to be doing portrait photography with these lights.....wedding, children, families, seniors.....', well the kit you are looking at would be unsuitable for most of those subjects, this is why -

For children the lights would not be able to freeze their actions, you would have to get kids to sit very, very still in front of very hot lights - not easy, usually impossible!

For weddings (groups) and families the lights just will not have anything like the output power required to light these larger areas.

OK, now to try to be constructive; the obvious concensus above is that a flash/strobe set up would be far more suitable for your needs and I agree entirely with that. I will give you a link to a 'starter' flash kit that would be able to tackle all of those subjects, the area it would start to struggle is in shooting large groups (but it is easy to add an extra more powerful flash head later to tackle that). This kit by 'Interfit' sells for half the price of the kit you have seen, so would allow the other half of your budget for backgrounds etc. I live in the UK so can?t really comment on the Alien Bees already recommended (not available here/ outside US) but I expect that is similar.

It has been stated that you would need a flash meter - but you can get away without one to start with if you are using a digital camera (you just take a few test shots to set up your lighting) - I see you have a D40, so that is fine, you can use the pop up flash on low power to fire the strobes or use a cable via hot shoe adapter. Eventually you will want to get yourself a flash meter though, but even the cheapest ones do a good job.

Here is the link to the Interfit site, which also includes a bit of a tutorial (link) I have seen it advertised on US sites for about $330.

Background supports and reflectors etc can all be easily home made, leaving the rest of your budget for two or three decent backdrops (better to have a couple of good quality ones, than loads of cheap ones IMO), and/or a flash meter.

Once you have decided what to buy, I am sure you will find plenty of help and advice on this site with regard to setting it up and using it.

Hope all this helps a bit, Regards, Nick.

Heather, I, too, am a beginner and am searching for the same answers. I have been studying lighting techniques from www.studiolighting.net and watching their tutorials. Most of the lighting setups are 3-light setups, although I have seen two and then they use a reflector as the "third light".

I, too, was considering using continuous lighting, but it is my understanding (and this will be QUITE SIMPLY PUT) that the strobe light is a FASTER light and allows you to shoot using a faster shutter speed, which stops motion and allows for clearer pictures. The wattage of continuous lights is so low that it takes too long for the light to reach the camera without having to leave the shutter open too long. Please, someone, correct me if I'm wrong because I may not have this right. I am just learning too! At any rate, I think I'll probably go with two lights with softboxes from AlienBees and then use a reflector as my third light. That's about all I can afford right now!

Good luck to you! Lisa

Really great to hear you have the D40 Heather. I was afraid you might mention some little point&shoot camera, and that there would be no place for us to go. :) So, you have the camera, and you have the desire to do some portraits, so all you need is learn a couple of things about photography, and get the right gear.

Scott offered two great suggestions. Get some temporary work shop lights (sockets with reflectors - Walmart has these, I think for around $10), and actually get 2000 watts of light running in your room to really really understand the situation. Also spend an hour to take some pictures then, using that light, any pictures at all, just try to get the feel the situation, to discover how slow your shutter speed will be. This should be all it takes. :) You will be very capable of making the decision after that. And Scott points out that two AlienBees B400 lights and accompanying gear is near the same price ballpark, but so much vastly more capable.

The continuous 500 watt light bulbs are special photo lamps from the photo store, with a controlled color temperature. They only last 2 or 3 hours before you must replace them, however, you will have them off as much as you can. :)

Hot lights are indeed often used indoors for tabletop photography, with maybe 100 watt lights that are not so hot, at very close distances to be brighter, and with maybe 2 second shutter speeds which work OK on the tabletop. But it just doesnt work that way for portraits.

Yes, for flash, I really do think you would need the flash meter.

At session setup, you connect the flash meter (temporarily) to one light with the PC cord, and there is a button on the flash meter that fires that flash while you stand at the subject with meter (with only that one light turned on). It reads the "power" of that flash (on the subject), in terms of camera aperture, like f/8. This takes into account the distance to the light, and its power setting, and the modifier like softbox or umbrella, etc, etc. The flash meter is the only way you know what you have, at the subject. Then you go to the next light and do the same, and adjust its power level to be either the same f/8 if you want a flat equal light, or maybe a stop stronger at f/11, or maybe a stop weaker at f/5.6, however you want it to be to be, to set your desired lighting ratio. And plug the meter into your light on the background, and adjust its level there to be what you want, say f/8 (however bright you want it in relation to the subject). Do same with the hair light, stronger for dark hair than for light hair. However you want it to be. You will know these things about what you want after a few sessions. The flash meter allows you to do it. And to also meter all lights on to give the correct camera exposure... No guessing necessary. You just simply know, with precision that is repeatable next time.

However, here is a method to get proper camera exposure without a flash meter, when using flash (see white towel method): http://super.nova.org/DPR/#Histogram Just rather tedious, and this does not meter individual lights at the subject, which is a big part having the control. You could always add it later. That site (from top of that page) will be very interesting to you too.

For external flash, get the Nikon AS-15 hot shoe adapter to connect the PC cord to your camera. It is like $4 more than the regular ones, but is well worth it, far best because of its screw lock.

Yes, a modeling lamp is built-in almost all studio flash units. So you can see where it is pointing. The ABs come with 100 watt modeling lamps (standard household lamps), but many users replace it with a Philips 150 watt halogen lamp from Home Depot. AB has buttons on it, so modeling light is always full bright, or it tracks the AB power as you turn the AB power down, or you can turn it off. Having it on helps to keep the subjects eye iris contracted to be a bit smaller, good for the photo look.

There are pictures you will want to take with one light and a reflector. A 3x4 foot sheet of white foam board from craft store makes a fine reflector. This style can give sort of an intimate atmosphere and is sometimes great, but not quite the same as "clasic" portrait. This is a big subject. Some say it is good to learn photography first with one light this way. And you will learn a lot. But frankly, it is easier to use two lights because instead guessing angles and reflections and distances, you simply turn the second light power up or down, or move it over a little, and meter it with the flash meter. This is much easier, but it is just two different ways of working. And a somewhat different look. I think we all want to do both ways at times.

I have two SB-800 lights, but I am not familiar with the R400 flash. If it has a selectable manual mode, you can add a optical trigger hot shoe adapter, to make it optically triggered like any AB light. This may work OK for a Background light but it may be near full power. I use the SB-800 for that (it already has the optical trigger), typically about 1/4 power, give or take. White bleached muslin from the fabric store works as a background, but you have to light it. If you dont light it, it will be sort of a dirty gray instead of white.

Because, if you care, rule one about the light from a flash (or tungsten too) is that it falls off with the inverse square of the distance. So if 2x distance from flash, the light intensity is 1/4, which is 2 stops down, and very visible. So if your subject distance is 5 feet from your lights, and the background is 5 feet farther back, that 10 feet is double distance and two stops down, and dirty gray. So... you put another light on it, metered to be as you want it. That light overrides any shadows you mentioned too. If you cannot yet add a light for the background, then angle your lights so the shadows are more to the side, and are not in camera view. Some things like this, you check in your first test pictures of the session.

Hope that helps.

Heather, My advise would be to get one really good light - either a monolight or a pack and head system. Sometimes monolights can be quite top heavy and unstable up on a lightstand. If you go for a monolight make sure to get a heavt duty lightstand. It may seem like overkill, but you most likely will appreciate having one. I'm not sure if it has been mentioned yet, but get a good flash meter. Let me repeat that. Get a good flash meter. When I started I bought a two light set and it was difficult to control. That is the reason why I suggest one light. The way I handle shadows on the background is to move your subject away from the background - often 6 to 8 feet works well for me.

I don't know your shoooting environment, but the AB 400/800 may not be enough light, particlarly with families. I tried the Bees and for me they did not work out. I mean they literally worked about 50-60 percent of the time. ONe nice thing about the Bees is their resale value so if you go for the Bees and decide to sell down the road you most likely will sell them for close to what you paid for them.

Keep things simple with one light and a reflector and see how far you can go. Don't forget to get a flash meter if you don't have one.

Robert Way

Wow! Thanks Wayne! I really appreciate your help! Now, do you have any books on photography/studio lighting that you recommend? Or website tutorials. Those articles that you mentioned were very informative. I really feel like I know lots more about photography than I did yesterday.

So, what do you think about this kit? (link)

>>> I, too, was considering using continuous lighting, but it is my understanding (and this will be QUITE SIMPLY PUT) that the strobe light is a FASTER light and allows you to shoot using a faster shutter speed, which stops motion and allows for clearer pictures.

Hi Alisa.. that much is very true, much faster, and is much of the whole idea. It also does not have time to make the room very hot in that 1/1000 second it is on.

>>>The wattage of continuous lights is so low that it takes too long for the light to reach the camera without having to leave the shutter open too long. Please, someone, correct me if I'm wrong.

The light is not slow itself, I think all light travels at the speed of light. :) But the brightness of the power of continuous is much less than the brightness of the flash, so that we must use a very slow camera shutter speed with continuous to capture the image.... a slower longer shutter time to let the weaker light accumulate more over time.

The flash is so much faster than our shutter speed, so that it really doesnt matter what shutter speed we use. 1/250 second or 1/60 second, it is all the same to the 1/1000 second flash, which will stop the motion, and our picture is the same either way. Unless however, if we have some bright ambient room lighting, the slow shutter may let a little of that into the picture too, maybe in ways we dont want... So... we often use a faster shutter with flash, not for the flash, but to keep out the room lighting. Or maybe if we may want some of the outside lighting to register in the picture, then we can use a very slow shutter with the flash. But the flash doesnt care about our shutter speed, so long as the shutter is open when the flash fires.

or this one? http://cart.owens-originals.com/V-300-600-W-S-UMBRELLA-KIT-p/v-600umb.htm

Day and night better than the hot lights Heather. :) If you had said these first, I would never have said anything, but since you asked, I will offer opinions anyway. :) I am not familiar with these lights on their site, but the Versalights appear to be JTL lights. Looks like low end stuff, and not sure all things are equal, but at least JTL is a brand name.

The specs are on the JTL site at http://www.jtl-lighting.com

The main light 2002 (vs a AlienBees B400 light) says:

200 watt-seconds (160 watt-seconds) 0.3 to 3.5 seconds recycle (0.5 seconds) 1/1000 to 1/1600 duration (1/6400 second) $200 price ($225)

You would like the AB fast 0.5 second recycle time (to shoot again real quickly when things are going well)

The lesser 1104 J-160 light says 160 watt-seconds, 1/600 second duration, and says its flashtube lasts 8000 flashes. AB says a couple hundred thousand flashes for theirs (in manual, online there). I dont see any replacement flash tubes for the J-160, not sure they are replaceable. It seems to say the 200 modeling light bulbs are $27 from them? NOT household bulbs. I dont know if I am right about them, but you asked, and I am not liking the details myself. It seems important.

I sure do like the better AB specs myself - what is not to like? They are so extremely popular and well known items. AB claims that half the lights sold in the US are AB, and it sure seems true in the forums. I have the, and know and like them, and for the money, I just dont see any reason to look elsewhere myself, but different people have different choices, which is OK.

But two B400 and cases, two light stands, and two 48" umbrellas are $616 at AB. That will start you in fine shape, would be really hard to beat. Look at their Digibees "package", put it in the shopping cart, and then delete items like the radio triggers, and add items at will. The 5% discount per light applies to any accessories you choose. The packages are not fixed content, do it any way you want it. You dont even have to start with a package, same deal.

If umbrellas for portraits, I think you want to start with two translucent shoot-through white umbrellas. You normally use them with the black cover on for reflected light, or remove the black cover for shoot through up close. The white is better for portraits than silver... a smoother softer light.

You really would like a light for a white muslin background, to make it be white and to hide the wrinkles. You dont need a light for a black background, the less light the better. Which can be a large black bedsheet from Walmart. Black can be overused, but some of it is nice. For tabletop closeups with black, use black velvet or velveteen from the fabric store, it is wonderfully black, but overkill for portraits.

To attach the background fabric to the crosspole, just use the large cheap spring clamps, like this: http://www.bhphotovideo.com/c/product/161719-REG/Delta_01622_Super_Clamp_2_.html Get a few of the larger ones, 2 inch jaw opening, to fit your pole easily. Easiest and most versatile way, helps you smooth it too.

There is also the seamless paper from the photo stores. Online too, but the shipping weight is expensive.

There is lots of info if you seach Google.com for studio lighting portrait lighting

There are lots of books at Amazon but one that everyone likes about lighting is Master Lighting Guide for Portrait Photographers, by Christopher Grey. Try your public library, it may likely be there too.

Again Wayne - thanks so much - you have helped me tremendously!!! I did not realize you could customize the packages for Alienbees. I was unsure - although had an idea - about the different umbrellas. Thanks for helping out with that!

At first I was going to just get something cheap to get started, but you have made me realize that I should get something that is going to work and something that is going to last. I really appreciate your helping a little ole' newbie like myself. Most people wouldn't take the time to do so.

I will keep looking and researching and reading and let you know what I decide on - again - I can't thank you enough!

Yes, the lighting equipment is an investment, but a good investment because good stuff can last many years, and it is really nice to work with decent gear all that time, more fun than fighting the cheapest stuff. If ever needed, the AB lights have legendary support and service, which is quite unique today.

Just talking, but the 160 watt-second lights should be more than enough power in the living room (excluding maybe school gyms and outdoor sunlight, etc). Distance and aperture is what determines power needed. 160 watt-seconds should allow f/8 at full power in umbrella at 10 feet (counting that our ISO 200 cameras are one more stop stronger than ISO 100 cameras). The 10 feet could be right for a group of people (or 20 feet should be f/4), but for normal portraits, you would want the lights much closer, really as close as you can work around, and so then you turn them down to maybe 1/4 power, even for f/11.

The main idea of the umbrella or softbox lighting is this: If a light is distant from the subject, it is a "small light source" due to looking small in the distance, and any small light causes dark and distinct shadows (nose and chin, etc). Like the sun is pretty far away. :) But put the umbrella up close at 4 or 5 feet, then it looks really large to subject, in their face, like a big wall of light. Some of its light comes from all directions to the subject, from the left, right, up, down, and this fills in shadows and becomes a very soft light which you will really like. Nearly magic, and add a second fill light, and you have true magic. Large is how it works, and close is how it is large.

This is also why we bounce a little flash head from the ceiling, because the ceiling acts as a very large light source then, shadows become indistinct. If we could just get the ceiling closer... :)

There is essentially no difference in the light from white umbrella or softbox. Softbox light is more contained, better aimed, does not scatter so much light all over the room. You dont want your green room walls to act as a reflector, but if the lights are close and walls relatively distant, this scatter is too weak to be much factor (again due to inverse square law). Primarily, the softbox can be placed closer due to umbrella stand and shaft being in the way, therefore it can be "larger" to subject. But a shoot through umbrella can similarly be placed close too. Overkill much of the time, and the main problem then is that the umbrella spokes probably reflect in the subjects eyes, and the softbox does not have spokes. If you can leave the softbox setup all the time, it is very convenient. But the umbrella is much easier to transport.

You may find this interesting about umbrella choices: (link)

When you get your lights, set up a tabletop with maybe a vase or something round that will cast a good shadow. Photograph it with 1. One bare reflector, 2. Two bare reflectors, 3. One umbrella, maybe 10 feet, 4. Two umbrellas at 10 feet, 5. one umbrella as close as possible, maybe 4 feet to fabric to have room for camera, and 6. two same umbrellas. Examine subject and shadows. Then you will fully understand the idea of it.

If you have a background screen, then a background light really is often an important factor, to make it "be right". We can really change a background with light. But with just two lights, the background could still be the Christmas tree or the fireplace, like regular snapshot settings, but with really nice lighting. The light does fall off fast with distance behind (2x distance is 1/4 light, 2 stops down), but that can help sometimes too. Normally a lighted background is back farther to prevent interactions. A close unlighted background (using screen or not) is much brighter, but can cause shadows. However, with an umbrella (large), the shadow is weak and diffuse, and with two umbrellas, one fills in the others shadow, and it generally disappears.

As to working without a hair light, consider the background to suit the hair, worst choice is dark background with dark hair - hair blends into background that way, subject does not stand out without a light on it. Little things, but it can make a big difference. The hair light is nice to add sparkle to the picture.

Without a flash meter, try to make your lights are as equal as possible in all ways with respect to subject (esp distance and power). If you want a ratio, say one stop difference, then with equal lights, turn one light down one notch of 1/2 power (not as exact as metering, but close enough).

Use the white towel method previous linked for camera exposure. But if you really get into this, and I bet you will, there is a little more to it, and the flash meter will be a real blessing, much like the meter in the camera is a real blessing now for that work. I use the Sekonic L308S meter, about $180 I think, which is cheaper than many, but a fine brand reputation, and is also a really good investment for studio flash. It simply just works.

Anyway, hope some of that helps with the decisions.

Heather, all the geeky tech stuff has been said. So I'll just recommend books by the publisher Amherst Media. I have several, and all but maybe two I love.

Heather, I'm so glad you asked this question, and Wayne, you are an incredible resource!!! Thanks to EVERYONE who replied to this thread with such valuable insight and information! Can't wait to see your pics, Heather! I do hope you'll share something here online!

Lisa

Alisa, Thanks for posting too and I am glad you benefited from this thread as well as I did. I will definitely post some pictures once I get my new studio set up with hopefully a couple AlienBees :)

"If you have a background screen, then a background light really is often an important factor, to make it "be right". We can really change a background with light. But with just two lights, the background could still be the Christmas tree or the fireplace, like regular snapshot settings, but with really nice lighting. The light does fall off fast with distance behind (2x distance is 1/4 light, 2 stops down), but that can help sometimes too. Normally a lighted background is back farther to prevent interactions. A close unlighted background (using screen or not) is much brighter, but can cause shadows. However, with an umbrella (large), the shadow is weak and diffuse, and with two umbrellas, one fills in the others shadow, and it generally disappears."

What light do you suggest for a background light? A continuous lamp?

No - The continuous light will be wrong color balance (tungsten light will appear very yellow) to mix with the daylight flash units. But it really wont even work, because the continuous light will also be extremely dim power compared to the main flashes, and you will have to use an extremely slow shutter speed to pick it up, which will ruin your shot if it moves at all.

You can use another AlienBees light of course. They have a "white shovel" reflector optional accessory that works well in cramped quarters (like five feet behind subject). Or a grid should work too.

For background, I use two Nikon SB-800 speedflash on short background stands, one on each side, at around 1/4 or 1/8 power. The SB-800 has its SU-4 mode which makes it be just another optically triggered studio light, and it works great with the lights. The speedlight recycle time does not keep up with the ABs, but it can fire 2 or 3 shots at 1/4 power real fast (speedlights can, cheap flash cannot).

I have three AB, but I use one with a 20 degree grid for a hair light. I tried using the Nikon for hairlight, and with a paper snoot and a rubber band, it works fine as a light (and is light weight on the boom), but I cannot aim it very well without a modeling light.

Lighting is important - save yourself the heat, money, model's eyes, electricity bill and somewhat less control.

To get the same power as flash, you'd spend as much and blow all the fuses!

Buy Flash!

Okay so right now in my cart (Alien Bees) I have 3 B400 flash units, 2 10' light stands, 1 backlight stand, 2 48" shoot-thru umbrellas and a "white shovel" reflector......now what size room is required for this? My old boss is going to let me rent a room in one of his buildings and there are 3 or 4 rooms for me to choose from - some require more work than others to get set up, but the size may be the deciding factor.....

Wow, you are going all out with rented space. :) I should keep quiet, and I dont know your plans, but I am thinking it seems a bit early to be making that decision, based on what is heard here. Just money I guess, but is there any other way you can play with it a bit first? In the house, or in the garage maybe? We know so much more after the first couple of sessions.

I'm sure it depends on what you want to do, but large space is good. My little space is 11x15 feet (open floor space I can use in the center of a larger living room if I move some tables). The larger "room" does not feel cramped, but the working space is VERY cramped. Usable, but I'd call that minimum and I sure would hate for the walls to be that close. Works better for head and shoulders, and full length is a major miracle. I sure would like to have 20 or 24 feet, to get the camera back more for perspective, and to get the background back more for less interaction. At least I do have a ten foot ceiling, and you want that too, for clearance and for less reflection from it.

BTW, so you know for the opportunity, under "parts", AB has the HSA Hot Shoe Adapter, which works and is a bit less cost - like that matters now :) - but the Nikon AS-15 is really nice and doesnt move around after you lock it down.

Well, he is like a father to me and is not going to charge me rent until I get going really well. Even then, he is going to probably just swap out (I take photos for him in return for rent). So it is no biggy money-wise for that. My only expense right now is my equipment.

I would start out at my house, but I really don't have a spot for it - well not that I want to give up for it. Plus, I have 2 small kids that I would have a hard time keeping out of it. And since he is offering - I am going to take it.

Thanks again for your help!

That sounds like a really great opportunity Heather.... can you tell him you have a friend too? :)

Wayne....it IS a wonderful opportunity and I am hoping to take full advantage...as they say, "Carpe Diam" This has been a dream of mine for many years and I am in shock that is actually happening.

As much as you have helped me, if you were in my area - I most certainly would :)

I would just like to say thank-you Heather and Wayne for this discussion. I mean thank you very much. Wayne, you have been a wealth of information. I, too, am getting ready to make the leap to buy my first studio kit. Can't seem to make up my mind about the Interfit Stellar (300w/s or 600w/s) or the Alien Bees. Heather, I will be watching for your pics! I'm sure they will be great!

Wayne, if you are still watching this thread......

I chickened out with the full-force alienbee set. I ended up just purchasing 1 AB400, light stand, 48" shoot-through umbrella and a 48" Brolly Box. I have been playing with it and am having a little trouble - mainly because I am just practicing in my dining room on my rowdy kids. But I have a question. Can I take decent portraits with 1 light and a reflector (which I purchased from B&H)? I would like to get familiar with my Alienbee before purchasing additional lights (and I need to save some money right now) I am asking for the Sekonic L-308S Flashmate for Christmas from my husband. SO, what do you think, can I get by for a little while with that? You have been so much help already. After doing TONS of research and reading, I went back and re-read your posts and they all make sense now. Thanks for being so patient with a newbie like me and for spending time to share your knowledge....

Sure Heather, one light portraits can be great... Basically, put the light about 45 degrees on one side, and put the reflector up close on the other side. The light bounces back from the reflector of course, as a fill light on that side. The white reflector has to be rather close to get much from it. Generally about as close as it can be to keep it out of the picture. You can position the reflector angles properly by watching where the modeling light is reflected as you move it. Some people suggest one light is the proper starting point to learn how things work.

See google.com for tips on one light portrait

THanks again Wayne for your help. The only problem I have with keep the reflector close to the subject is most of time my subject is a child and they want to grab the reflector or touch it :>) But thank for the link and the suggestion!

Yeah, I can imagine that two lights would be a lot better for rowdy children that will not sit in the spot where the light is. :) I would call that a special case. :)

The second fill light vs. the reflector do work much the same, in that both spill light onto the subject to fill in shadows from the main light.

But the second light is easier... It could be at a greater distance - for safe clearance :) - when you simply turn its power up or down to be as strong as you need it to be. And you simply aim it where you want it to be aimed. It is a lot easier than a reflector.

The reflector has to be carefully aligned to reflect the light to where you want it, only one angle works very well. It also has to be pretty close, due the inverse square law of light. Path distance really matters. Either the reflector pretty close, or the main light back farther, both help to make the reflected light relatively stronger in comparison to the main.

Speaking of the kids playing, where the close reflector may not sound feasible... if the one umbrella were a little more distant than for portraits (light stand pole at maybe 5 feet instead of at 2 feet), and maybe more nearly on the same axis as the camera position (above the camera, so any shadows were below the kids, out of sight - camera is down low with kids anyway - and you can still zoom in with lens), then this is like swapping a dinky shoe mounted camera flash for a four foot umbrella, which should be surprising good too. Maybe not classic portraiture, but not bad at all, maybe still the best you ever shot of them. In this case (above the camera), a reflector could be a larger sheet of cheap white foam board from the craft store, laying on the floor in front of kids. Or a white wall beside the kids, etc. Or both. Experimentation is in order. :)

The one light and reflector can give really excellent pictures. But no doubt about it, a second light is much easier... you point it where you want it, and just dial in whatever power you need it to be, to give the fill exposure you want.

Good luck, I bet you get some pictures you really like.