closer Loc: Tennessee

Ok, that sounds great. So just take the picture with light available and no strobe. From what I've read on my spec sheet I have to set my camera in manual (always do anyway) Set shutter speed to l25-200. Choose an aperture and increase strobe power until I get desired results?

CaptainC Loc: Colorado, south of Denver

Yeah - pretty close. The falls off with the square of the distance. So if you double the distance, you get 1/4 the light/

Here is the coolest lighting tip in the world:
Instead of f/stops, think units of measurement - let's say feet.

If the light is 8 feet from the subject and you move it to 11 feet, you lose one stop (sound familiar? f/8 and f/11). Now to lose one more stop, move it to 16 feet, one more stop is 22 feet.

Same idea: if the front row of a group is 8 feet from the light, it only take 3 more feet to have the second row underexposed by one stop (11 feet).

CaptainC Loc: Colorado, south of Denver

That about sums it up. Ideally, you want a flash meter, but for this purpose, the shoot-until-it-looks-right approach will work.

donnahde Loc: Newark, DE

I agree with Capt C. Alternatively you could face your aux flash backwards while on your camera and shoot into a large white reflector that's up high and tilted slightly downward toward your group. A volunteer could even hold it for you OR you could put it on a light stand with an arm to hold it. See Cowboy Studios.

Benttree Loc: GA.

Closer,
I done a similar from about hundred people.
By turning all church lights on an setting two 40" reflector umbrellas to get light all over to this large group. The two flash I did use was Canon 560XII with on full power, controlled with pocket wizard radio controls. Camera full frame 5D MarkIII, with 24-70mm lens,f stop on11, camera on the tripod.
You can see some shadows on the people from overhead hat lights, my flash power was not able to totally control.
I did shot this image from the balcony. By taking other shot on level floor to the group, but was impossible to cover all faces on that level shot I did use 16-35mm lens.
This overhead shot was the shot customer used in they year book.

Giugly01 Loc: Woodstock, NY

GREAT thread! Thanx for everyones' responses.

Lucian Loc: From Wales, living in Ohio

You just keep it simple. The most flattering lighting is Rembrandt lighting. For that, imagine a pole hammered in the subjects head, as you look at them, 45 degrees to one side, say to the left as you view them, and 45 degrees above their nose. This is where you place your light source.

A shoot through umbrella is going to be your simplest and most flattering lighting and simplest for you to do. Use the strobe in manual mode, you do not need a lot of power unless you are shooting a larger group, so set it at just under half power.

Now pick a shutter speed, let's go with 200th. Set the aperture to about f8 and the ISO to about 400. Take a test shot. Look at the image if it is properly exposed you are set.

By the way, have the strobe about ten feet away, the umbrella part. If the image is too bright, change the aperture to a higher number. If the image, subject, is too dark, lower the aperture. If your background is too dark, then adjust the shutter to slow it down a but, until your background looks acceptable. If it is too light then reduce you ambient light, because you do not want to go higher than the 200th mentioned for the shutter.

One last thing, use a large sheet of white board, close to the subject on the opposite side of your light source to throw light into the shadow area. Do not throw in too much light though, you need to give some modeling to the face, so do not flat light it. If you use a bounce umbrella, you do not shoot the light source straight into the subject, ever!

You should always feather the light source, that means use the edge of the light source for most flattering lighting. It is also not a good idea to have the light source directly behind the camera, of course elevated, because this give a very flat looking lighting set up and not what a portrait photographer would ever do.

Dik

I agree with the single large soft light approach, with a background light, no modifier needed.
For low budget, look for used Speedotron, they seem to last forever, have plenty of power and good recycle times, and are readily repairable if something does blow. Brown Line M11 heads and all Black Line heads use a nice bright modeling lamp which not only makes seeing the lighting effects easier, it also causes the subject's pupils to shrink, giving more colorful iris area.

For the large soft light, something with a diffuser on the front will produce a better looking catchlight in the eyes, I hate umbrella reflections! Even though the purpose (church directory) means small sizes, it's nice to have shots that will look good large, and you'll likely be able to sell some (fund raiser?).

The other thing to consider is light size / working distance.
I like my soft light about 1 1/2 X the diameter of the light from the subject (4 1/2 - feet for a 36 incher). That gives me nice soft edged shadows, and the catchlight in the eyes is large and retains some detail. Move that same ight back to about 10 feet from the subject and it will be as harsh as a spotlight.

I recommend using two light stands with a cross bar to mount the soft light directly over, but in front of the camera. Light at 4' and camera at 8'. Use a lens long enough to get the right head size.

amfoto1 Loc: San Jose, Calif. USA

I generally do not care for a single light setup. Though bouncing the light out of an umbrella helps a lot, you still tend to get shadows that make for a somewhat harsh look. I also want the lights off to one side or another... having a single light source directly behind you will make for too flat lighting (I do sometimes use a low-powered light at the camera for catchlights in the eyes).

I prefer to use a dual light setup... one light to the left, the other to the right. I use five 320ws Norman monolights. In studio shooting, you can position the lights fairly close.... but as suggested above, don't want to get too close with them or the lighting will become more harsh, though it can be modified with an umbrella or softbox. I often use umbrellas for their low cost, quick setup and flexibility.

But bouncing the light out of umbrellas for more pleasant light output, you significantly increase the distance. So I usually gang up two monolights, making for a 640ws main light, and then use a single 320ws a fill light. If they can be set close enough, I often turn these main and key lights down to 1/2 power so they'll recycle much faster.

I'll often put a fourth monolight on a boom as a hair/background light, usually turned down to 1/8 or 1/16 power. My fifth moonlight serves as a spare or, if needed, can be used as part of the setup in a number of ways.

If taking a series of shots, once you have the lighting set up you won't have to adjust it at all... can just move people in and out of it and quickly take their shots (just check each to make sure all eyes are open and all your strobes went off properly).

Above posted example shows using a portable flash and a sync speed of 1/250... Keep in mind that with most studio strobes you'll need to set a slower sync speed. My cameras with 1/250 portable flash sync have a 1/160 sync with studio strobes. Another camera with 1/200 flash sync has a 1/125 strobe sync.

sirlensalot Loc: Arizona

You can purchase umbrellas that are convertible for use either as a shoot-thru, or reflective. For the purpose you describe, suggest a minimum size of 42".
I made the mistake of buying a cheap set up with stands, umbrellas, lights included. The stands were too short, making them limited for portrait purposes. Picked up a very good quality stand used from a local came a store for $25. I feel confident it will last my lifetime. It extends to 10'. Perfect for what CaptainC is posting. I have not yet used the multiple flash bracket, but after seeing CaptainC's simple but effective set up for groups, I feel compelled to start shopping. Lol Great question and responses.

gsmith051 Loc: Fairfield Glade, TN

I have shot pictures for our church directory for three years using a Canon 6D camera and standard zoom lens 24-105mm f4.0L with a 430 EX II speed light. Absolutely no problem with a diffusion cover on speed light. Last week shot both choirs from back of Worship Center with no flash for our website. Not one complaint. This is not a big deal. Inside church I use AWB white balance with P setting and make final adjustments in Lightroom 5. Good luck and good shooting.

OddJobber Loc: Portland, OR

Thanks, Lucian. Now I'll be all day trying to get that visual out of my mind. :twisted:

CaptainC Loc: Colorado, south of Denver

I certainly don't care what you do, but the one light over the camera is the best deal going. As amfoto1 correctly points out, it IS a flat light. That is exactly what you want here as I would bet the majority of your subjects are middle age or older and flat light will be the most flattering as it tends to mitigate the wrinkles. It is also very forgiving of subject placement- a little off to left or right will be no issue.

I learned this techniques from one of the most successful portrait photographers in the country. For a situation in which you will have singles, couples, and maybe groups, this is the best option. If you were shooting only singles, then I would consider a two or even three light setup as nothing changes. In fact, if it is singles and just couples, then the use of two lights is nice as you can get a bit more creative by varying the output, but when you get to groups - especially if those groups require two rows, you will pull your hair out tying to kill the shadows. If you know there will be no groups, then amfoto1's suggestions can work. But not with 4 lights - this is not worth it.

These church things are the adult versions of school photos. Simple, quick, ....next!

Dik

With the luxury of a 24' long room -
end wall to camera 4'
camera to subject 8'
subject to background 8'
Octobox to subject 4'

Background light to background distance will depend on the pattern it throws, but you want much less power than you put into the Octobox, a zoomable speed light can work fine as long as you keep it supplied with fully charged batteries.
That puts your Octobox 12' from your blue background making it 2-3 f/stops dark. your background light can put a nice gradient glow as bright as you like behind the subject, or light it flat and even if that's preferred (yuck).

If you get stuck using umbrellas, be sure to flag the camera lens so it is shaded. Zoom lens' hoods won't protect enough and line of sight between bare strobe head and camera lens is a big no no. One very good reason to use soft boxes!

sirlensalot Loc: Arizona

For this project, CaptainC nails it .............again. The reflective umbrella will work the best for the situation as described.