MrT Loc: Gilbert, AZ

I bought 3 used Elinchrom BX 500 Ri monolights along with some umbrellas (shoot through and reflectors) and softboxes. I bought a cheap backdrop and holder and I have a light meter that does flash. I have been playing with it for a week now and took the best photos of my sons EVER yesterday for their mom for Mothers day. I have been watching Youtube videos and started looking at the Strobist website. Other than Practice, Practice and more Practice. What "Secrets" do you have on the use of studio lights?, So far I have been mostly using the 70 to 200 and 24-70. I saw a response to a question about the Nikon 200-500 lens that it was being used in the Studio. i NEVER would have though to do that but now might try it with the 150-600. I'm sure I will get some great ideas on how to get started with studio Strobes from this group. Thank you for your comments.

Pablo8 Loc: Nottingham UK.

No reason why things would not work OK. After all, the flash is 'Connected' / Triggered by the camera body, (Cable or Wireless slave), not the lens. You must have a large room/studio, to use the 150~600 though. Have fun.

Rongnongno Loc: FL

Beside practice there is a little thing called 'experiment'.

Haydon

I personally would not use a 150-600 lens in a studio environment. It's simply way too long. The best piece of advice I can offer is start by learning how to use one light effectively. For simplicity buy a piece of white and black foamcore to offer fill light. Practice your 4 basic light patterns daily. I personally find loupe and paramount lighting to be the most flattering for male and females. I find Rembrandt lighting great for dramatic masculine shots. Learning how to feather your light is extremely useful.

The key to great shots can be found in creating a relaxed environment for the subject. Learning to set the person at ease in front of the camera is important. Building that verbal repore is an art in itself. Many portrait photographers prefer to use an 85 mm lens in the studio to keep a perfect distance to interact with the subject. Longer focal lengths generally isolate your subject from building the needed verbal repore.

Learning to pose your subject in desirable ways will create interesting and expressive images. Here's a great YouTube link exploring classical posing/lighting by a master.

https://www.youtube.com/watch?v=DxPkxS_ezVg

MrT Loc: Gilbert, AZ

Thank you. Fun is definitely on the list. Steve

MrT Loc: Gilbert, AZ

Thanks. My kids had a ball while I was experimenting this weekend.

MrT Loc: Gilbert, AZ

Thank you for you well thought out and insightful recommendations. Would you start with softboxes or umbrellas? I inclined to use the softboxes they seem to be easier to control. I understand the feathering point. I get very different looks NOT pointing the light directly at the person. I can't control it yet but it changes the look dramatically. Steve

CamB Loc: Juneau, Alaska

Not wanting to mess with light readings and extra flashing with customers in the studio, I use strings on the movable lights. End of string to the face, f8. First knot to the face f11, second knot to the face f16. This makes the setups and adjustments really fast. The modeling lights on studio flashes are not always accurate, though the "look" can be pretty close. The strings, pre adjusted with a flash meter, are always spot on, and it only take a second to determine placement with one hand and they are never misplaced during a busy studio session. (one end is attached to the light stand) Learned this at the PPA school long ago. My small studio was a perfect fit for my 24-70 f2.8. though most of my studio time was done on an RB67.
...Cam

CO

There are a few things I use with my studio strobes that are useful. I like to use beauty dishes because they accentuate features a little more than with an umbrella or softbox. Umbrellas and softboxes are great and definitely a must for a studio but they can also make things a little flat. I use mine with the center direct light blocker disc installed and the diffuser sock stretched over the dish. Mine are 22" diameter and have a white interior.

A strip softbox with grid is good to have. The light can be feathered more. I have a 10" x 36" with grid.

Reflectors cam be useful. Adorama Camera has their Flashpoint ballhead reflector holder. I use it with a 42" round reflector. It has a ballhead type joint. I can adjust it to practically any position and quickly lock it in place.

Adorama Flashpoint ballhead reflector holder


22" beauty dish

CO

I have four books about studio photography by photographer Christopher Grey. He has a direct approach and gives information that can really be used. I would recommend getting his Master Lighting Guide for Portrait Photographers. He covers all of the different styles and shows how they look using many different light modifiers. For example, when he describes Butterfly lighting he shows that style shot with an 18-inch beauty dish, 60-inch umbrella, 36-inch umbrella, bare tube, large softbox, medium softbox, shoot-through umbrella, and small reflector.

Manglesphoto Loc: 70 miles south of St.Louis

Notorious T.O.D. Loc: Harrisburg, North Carolina

Robert Harrington YouTube videos are good. Even though his focus is single Speedlite shooting his ideas are also applicable to a strobe.

spraguead Loc: Boston, MA

Look for online instructions in places like fstoppers.com, or follow this facebook group, https://www.facebook.com/groups/644161752402622/?fref=nf
it has a lot of notes on lighting set ups that I use a jumping off points.

Haydon

My personal preference are octaboxes. The look you wish to achieve is entirely subjective. Square & rectangular softboxes do not imitate the look of the sun in the catchlights of the eyes but should not be dismissed. They offer great edge control and feathering because of a flat edge. Besides, Rembrandt lighting, at it's most early conception was said to use square/rectangular light sourced from a window creating a truly compelling and dramatic look.

Some may argue the following point, but I find the use of umbrellas in an outdoor environment to be perfect. In most cases, controlled lighting outdoors isn't as much of a concern as in a studio. The caveat of umbrellas is the wind trapping. This can easily topple a lightstand and or collapse the umbrella. The price point of an umbrella is a real selling point. You can easily purchase a shoot through/reflective umbrella in the 4 foot range for $40.00. You would be hard pressed to find any other light modifier at that price point.

Beauty dishes can create stunning results in an outdoor/indoor environment but are best suited for young skin. Most *True* beauty dishes range in the 20" variety but the light created accents the mask of the face. The light isn't totally soft because of it's relatively small size. Soft light is determined by the size of the modifier to the distance away from the subject. Generally speaking 1x to 1.5x offers the most flattering light but it's subjective. Example at 1x a 3 foot modifier can be placed 3 feet away from the subject or at 1.5x 4 1/2 feet away.

In an outdoor environment, the ideal size is around 36" in size to achieve minimal sandbagging. Anything larger would require additional sand bagging or an assistant. I'd recommend a C stand for the best stability outdoors.

There really isn't any right or wrong modifier. Much of it is personal choice and the look you wish to achieve. Good luck.



Harrington was instrumental when I was first learning. His presentations were mostly speedlights but I found him interesting to listen to and informative. It's too bad he isn't still around. He's a resident of the state I live in but I believe he tragically got into some type of accident and has removed himself from the circuit. I really would have like to have met him. B&H had several visits by him. He's a good recommendation Todd. My favorite presentation was from a B&H visit where he explored hard light creating a Hollywood 40's look.

https://www.youtube.com/watch?v=TPBO9paDGmA

berchman Loc: South Central PA

Thank you so much for this link which is fantastically good. Posing, for me, is the most challenging part of studio portraiture, and this is just what I needed. Of course, interacting with the subject to bring out natural expressions is essential.