Beercat Loc: Central Coast of California

Thanks guys ....

I have a weeding in two weeks so I'll put that new flash through the test and report.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Mentor lesson #1 How to save money on lighting gear and still have great lighting possibilities.

Getting into "room: lighting" and other related methodologies shoud not require a big investment in the latest and greatest battery operated equipment- at least for starters. You 2 Bowens strobes, operated on AC power will do the job nicely. It takes a while to get used to the technique, as to lighting placement- you don't want to place the a stationary lights where they into you field of view and you have to determine the exposure settings to mesh with you on-camera light as to actual exposure and ratio. I recommend starting out with just one room light. The regular parabolic reflector that comes with the Bowens gear is good enough.

Battery powered units are certainly a convenience but most at most venues there is the availability of AC power that is only an extension cord away. You probably won't need full power on your room light(s) and recycling times shoud be pretty fast. Even at out-of-doors reception, there's usually some power available for general lighting and the DJ or band etc.

Depending on your position in the room, in relation to the room light(s) and the subject, the room light can act as a backlight kinda kicker at about 135 degrees to the camera/subject axis, a main light between 25 and 45 degrees or just as an extension of the on camera light to illuminate the background and remedy the "black hole" underexposed backgrounds that is typical of on-camera flash.

What inspired and interested me in this kind of lighting for weddings happened many years ago. One of my early mentors was a staff lab/lighting technician at Life magazine and also was in charge lighting projects. He lighted the interior of the New York Stock Exchange- the first shot that that allowed to be made while trading was ongoing. He taught me his methods. I also found out that those incredible basketball shots made by Sports Illustrated staffers, were not done with available ligh but with 2400 watt-second strobes placed above the stadium- up in the rafters. So- I just started to bringing my studio strobes to weddings and used them whenever possible. Nowadays, I mostly use the same monolights that I use for the formal portraits and groups. In some of the larger grand ballrooms, I secure permission to set up a few of my more powerful lights, the night before the gig. I grab a few 2400 watt-second units that I use for commercial work and set them up in the balconies.

I alwasy have an assistant- shooting a wedding single handedly is rough stuff, especially if you are going to offer more sophisticated lighting. My prices include the assistants' fees. There are benefits that the clients are willing to pay for- better lighting- it certainly shows up in the results, dramatic effects, plus my assistants have many other functions. Besides manning the lights, they make the coverage more efficient, less intrusive and more comprehensive by moving things around swiftly. My assistants are also second shooters so I don't need to try to be in two places at the same time!

Of course TIME and windows of opportunity for setup and takedown are major factors. At most of my wedding assignments, after the ceremony, there are usually long receptions- we are in for the evening and there is plenty of time to set things up. If it's the kind of job where we are running around from one place to another and there are no breaks, we just operate as a 2 person team- one on the camera and the other with a second speedlight on a monopod- my assistants are trained to position the light as needed.

jaysnave Loc: Central Ohio

Thanks Ed! I think I get it. I will be doing some events before my next wedding so maybe there will be an opportunity to "room light". My biggest issue is that I am assistant impaired. I know poor excuse, but it is what it is. Ed, do you have a website or some examples of monolights at 135 degrees etc...?

Beercat Loc: Central Coast of California

This question came up over a year ago, probably 2 years ago and I answered the question and placed examples and a diagram of the setup.

I used a key, rim and fill setup. Works great even when using speed lights only. The key was shot through an umbrella and close to the dance floor, the rim was a speed light on a stand 180 degrees off axis to the key. I programmed the speed light to shoot at 105mm so the starburst would be nice. The fill was on camera. Key and rim where set yo manual, the fill was set to TTL usually -2/3 FC. You shoot at a 25 - 35 degree off-angle of the key.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

OK- I'm working out of town for a few days so I am not at my studio. I do have a quick screenshot on my phone of a brochure from one of my lighting seminars that I teach. There is a shot showing exactly where the light is placed in a large ballroom. There is another shot with typical results of full room lighting. Ill post that- I shoud give you some idea of how it works. Weh I get back home, I can post some more specifics. Also- check out Jerry's post form last year- it shoud be somewhere in this section.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Multiple Lighting

(Download)

jaysnave Loc: Central Ohio

I am good using three speed lights, but looking forward to learning from the master regarding the use of studio strobes and "room lighting". I have an ulterior motive here. I do events in hotel venues where there are speakers in dimly lit rooms (big rooms). My speed lights don't have enough throw to provide proper illumination as I am staying out of the way behind the audience. OCF placed near them would be distractive and intrusive. Ah, maybe this "room lighting" concept would help tremendously. Perhaps firing one of my Bowens strobes into the back wall or into the ceiling combined with my speed light would give me the illumination I am looking for.

bkyser Loc: Fly over country in Indiana

Jay, I'm poor because I have a lake house. LOL

jaysnave Loc: Central Ohio

I know. I set you up for that.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

I can't afford a lake house because I bought too many lights. Now I can't even afford a lake😉!
$$$$

jaysnave Loc: Central Ohio

I am tired of buying stuff only to find that one year later there are better and cheaper alternatives. In the case of lights and triggers, the new technology is not compatible with the old. I have always been jealous of the other wedding service providers that don't have to worry about the latest technology like bartenders, DJs, Flower provider, etc...

Beercat Loc: Central Coast of California

Impressive mono light ... going to have some fun with it

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Sometimes the gear "industry" believes that photographers are made out of money! So...I know what you mean. Myt equipment buying philosophy is simply to buy good durable stuff and keep it running as long as it is useful and enables me produce what I need to. Some of the lights I use at weddings and events are 30 or more years old and still performing well. I have replaced flash tubes and did some repairs over the years but theses units don't owe me any money and I am getting excellent and consistent results.

When I made the transition from film to digital, I found josu about all my gear was completely compatible. Although I have some speedlights, I prefer my old Lumadyne portables- nice big flash geas with shoulder carried power packs, I can ligh up an arena with those things and I have enough battery energy for long all-nighter weddings.

My current full frame DSLR are doing just fine- sharp as a tack. What more do I need in cameras? The biggest image in any of my wedding albums is a 10x24 Panoramic centerfold or some 11x14 prints.

The advertising hype leads some to believe that everything old is obsolete and everyone needs the latest and greatist. This is not always the case in real life.

As I suggested- if you are going to get into more sophisticated lighting you can do well with you existing inventory of equipment. Once you perfect your technique, show a higher quality of imagery, and raise your fees accordingly, if you feel restricted by you present gear, that is the time to invest in new stuff. I only invest in new gear when it is justified- my customers have to pay for it!

jaysnave Loc: Central Ohio

You are right Ed. Practicing technique trumps the latest equipment and knowledge of lighting is more important than what kind of lighting. I imagine you will have forgotten more than we will ever know about lighting and that is why I would love to hang with you sometime.

Having said that ... flash recycle time IS restricting my photography and I will be TORTURED NO MORE! These are two out of camera shots from this morning. I was trying to wait a second or two for the flash to refresh and guess what ... the best posed shot is with no flash. Not wedding photos, but could certainly happen at a wedding. I just ordered a Flashpoint 600ws strobe (like Jerry's) which will recycle in less than a second at full power. I WILL BE TORTURED NO MORE!

(Download)


(Download)

Beercat Loc: Central Coast of California

Good laugh Jay .... thank you :)

I understand ED's take but I must say my change to Sony was for three main issues.

1. The higher ISO usage .... I'm talking very usable up to 10,000 and even higher with a bit of noise reduction but 10,000 straight out of the camera looks pretty darn good.

2. Live EVF .... you get what you see, no need to chimp. You can look at the changes your making in real time.

3. The focusing system on the new Sony a7 III is the finest on the market, the eyeball recognition is incredible.

These are game changers on what I can deliver ...