Setting up a small studio help /advice (Page 2): It also depends on the type of Umbrella. A shoot thru for example I use for groups as it will spread light more than a bounce...

strikerazde Loc: Phoenix, AZ

amehta wrote:

A softbox directs light toward the subject, like with a reflective dish, and then diffuses it a little on the way out. The umbrella just lights up a piece of cloth and hopes some light gets to the subject. Therefore, the softbox is more efficient, so you need less flash output for each shot, and your recycling time is shorter.

It also depends on the type of Umbrella. A shoot thru for example I use for groups as it will spread light more than a bounce umbrella. For large groups, I may use my 7 foot Parabolic as it really spreads light and produces a very cool light. But for general portrait work soft boxes rule.

romanticf16 Loc: Commerce Twp, MI

Hankwt wrote:

Could you please explain why soft boxes are better than umbrellas ?? thats what has me in a conundrum !!

You can put a grid on the front to make the light directional for more control when feathering; you control light spillage from main to fill; they come in various rectangular shapes to meet your lighting needs(more so with Pro equipment); you can change the specularity of the light by changing the front diffuser or adding reflective material in the box. Go to the various lighting manufactures and collect their catalogues- you'll see illustrations of each type and how it is used. Better yet, invest in a book on photographic lighting- it can be 20 or 30 years old- the basic concepts haven't changed. Check out used bookstores and sales.

Wall-E Loc: Phoenix, AZ

Bret wrote:

Yes Hank your cameras both have commander mode. Have a look at Nikon CLS Creative Lighting System....also u-tube has some video tutorials on setting up commander mode.

Absolutely! Since all the speedlites will be able to 'see' the pop-up flash, there is no need for radio triggers for your 'small studio'.

It's when you venture out of the studio, that radio triggers will be necessary.

Learn to use what you have first, and then, when you've outgrown their abilities, consider purchasing new stuff.

And if you ARE going to do portraits, make sure you have enough room for the subjects to be 4-6 feet in front of the backdrop.

Hankwt Loc: kingsville ontario

Back drop !!! E Gads I forgot about a backdrop !! white , Black ??? oh no .... more choices !!!

strikerazde Loc: Phoenix, AZ

Wall-E wrote:

Absolutely! Since all the speedlites will be able to 'see' the pop-up flash, there is no need for radio triggers for your 'small studio'.

It's when you venture out of the studio, that radio triggers will be necessary.

Learn to use what you have first, and then, when you've outgrown their abilities, consider purchasing new stuff.

And if you ARE going to do portraits, make sure you have enough room for the subjects to be 4-6 feet in front of the backdrop.

Generally this is true, but they can sometimes have issues seeing the flash once you stick them inside softboxes or if you put them off axis in any way. Kind of hard to get creative if you are limited to line of site.

amehta Loc: Boston

strikerazde wrote:

Generally this is true, but they can sometimes have issues seeing the flash once you stick them inside softboxes or if you put them off axis in any way. Kind of hard to get creative if you are limited to line of site.

It isn't pure line of site, reflections of the commander flash off walls are often enough. I'll have a flash behind a softbox high in the corner as a hair light, facing somewhat towards the camera, and there's never a problem with it popping. Maybe it's getting the signal through the diffuser panel on the softbox, maybe it's the walls, either way, it works fine.

paulw Loc: nottinghamshire

how about a double sided vinyl backdrop black/white cost me about £130 in uk for 2.9 metres x 6 metres comes on an aluminium tube just wipe clean when marked

strikerazde Loc: Phoenix, AZ

amehta wrote:

It isn't pure line of site, reflections of the commander flash off walls are often enough. I'll have a flash behind a softbox high in the corner as a hair light, facing somewhat towards the camera, and there's never a problem with it popping. Maybe it's getting the signal through the diffuser panel on the softbox, maybe it's the walls, either way, it works fine.

Basement walls are generally made of brick and concrete and do not reflect light very well, if anything they absorb light. He originally asked about Pocket Wizards, and sounded like he could afford them. And in a studio or a basement they are the way to go, they are the defacto standard. Especially if you can afford them. If you can't afford them, then I started with a large disco ball hanging from the ceiling, those can bounce light around a corner. There are a ton of things that can be done on a budget.

amehta Loc: Boston

strikerazde wrote:

Basement walls are generally made of brick and con... (show quote)

I agree that Pocket Wizards are the way to go, and that Hankwt can afford them: "I prefer quality every time over price." My suggestion of using the Nikon CLS isn't that it is better than PWs, but that he has everything he needs now, so he can get started shooting, and then decide on the PW as the need arises. I would not suggest he buys something cheap that needs to be replaced. But since he already has the CLS, there is nothing lost in using that for now.

Hankwt Loc: kingsville ontario

Interesting idea - Disco Ball may have to dig out an old polyester suit and a old Bee Gees LP !! wouldnt the disco ball scatter stray hot spots ?? While I can afford the PW i do think it is perhaps a valid idea to just perhaps start with the CLS . Affording and being smart are 2 different but entirely the same things! My basement is painted like a hockey arena ( after all I am Canadian ) Floor is a very very light shade of blue to simulate ice, walls are white with stripes to assimilate boards , white ceiling tiles. Virtually no windows for ambient light. Ceilings are only about 7 feet high though hope thats not to big of an issue .

as for quantities it has been suggested 2 light setups ( either umbrella or soft boxes ) and 1 reflector

Thoughts on above ??

strikerazde Loc: Phoenix, AZ

Hankwt wrote:

Interesting idea - Disco Ball may have to dig... (show quote)

Not sure how many kids ./ grandkids you have, but if more than a few you may want a softbox, and a shoot thru umbrella. Shoot thru's spread the light more than a bounce umbrella. Yes I would add a reflector to your equipment as well. If you start with 2 speedlights, the reflector turns 2 lights into 3. For a lot of lighting setups 3 lights are needed. For standard portraits I use 2 lights in front and most times a separation light in back.

With that set up you can do a lot of different lighting patterns, including Broad light, short light, butterfly light, Rembrandt lighting, loop lighting, etc.

Glider Loc: Austin

Often in studio the issxue you have is controlling the light and that may mean preventing it from spilling on an area where you do not want it. Softboxes are far better at that that umbrellas. Don;t misunderstand, you need umbrellas in your kit as well, for when you simply need general fill. But one of the issues with umbrellas is that they tend to scatter light everywhere and that is often not desirable.
Back to CLS...it's a great system, it's just that it's not reliable in strong daylight. I've been shooting Nikon since the mid '50s, so I'm obviously high on their gear, but when I do a shoot, I need for the gear to work EVERY time. Pocket Wizards do that and the TT5's will do everything the other PW's can do plus some things they don't.

strikerazde Loc: Phoenix, AZ

Glider wrote:

Often in studio the issxue you have is controlling... (show quote)

While I agree with you, the specifc post asked about shooting grandkids and groups. Softboxes won't work for groups. Umbrellas are needed to spread the light. Having said that a softbox would be great for when there is one person in front of your lens.

Wall-E Loc: Phoenix, AZ

amehta wrote:

I agree that Pocket Wizards are the way to go, and that Hankwt can afford them: "I prefer quality every time over price." My suggestion of using the Nikon CLS isn't that it is better than PWs, but that he has everything he needs now, so he can get started shooting, and then decide on the PW as the need arises. I would not suggest he buys something cheap that needs to be replaced. But since he already has the CLS, there is nothing lost in using that for now.

:thumbup: :thumbup: :thumbup:

pauleveritt Loc: Erie, Colorado

I went out on ebay and found softboxes, stands, and mounts for Speedlights for about $80 for the pair.

I shoot with a D90 and setting the camera in commander mode and the two speedlights into slave mode with a disfuser on the camera flash, I have a VERY functional and portable three light camera system for cheap.

Something to consider and you get double duty out of you flash without having to buy yet MORE equipment.