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.

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.

Jerry, I was on the fence for that deal. As you know I just don't take advantage of TTL, so I was very interested in the same one that you got, the only thing that held me back was that I would have been using it in combination with my Yongnuo trigger system, and I didn't seem to find any info on the Nikon version if that transmitter had the pass through, so I could use both triggers. I know I could have just put a YN 622 receiver on the moonlight, but then I wouldn't have the capability of changing settings on it. The Nikon version of the 622 transceivers have pass through, but unlike Canon, the way you change the settings on the strobes from the transceiver is cumbersome and nearly impossible to do on the fly, so I rely on the 622tx, which doesn't have pass through.

With all that said, I'm still kicking myself, because that was an unbelievable deal. I'm hoping it comes around again near Thanksgiving. I'll probably just take the leap and figure it out later.

I am also looking forward to your review on the performance. Of course, you're ruining me, and making me think about going Sony every time I see one of those posts, so maybe I don't want a review.. HAHA
bk

Many photographers feel that speedlights and monolight are two completely different species, especially where wedding photography is concerned- what with fast shooting and mobility issues as major consideration in selecting lighting tools. There is, however quite a bit of overlap and integrated usages that can improve the quality of lighting in wedding photography.

Moonlights have been and still are part and parcel of my standard wedding gear since the 1960s when self contained studio-like strobes began to appear on the professional equipment market. Here's how I use them.

When working indoors, my moonlight, equipped with a 24” softbox is my 24/7 portable windows light for portraiture, full length and closeup formals and groups. I use my Pocket Wizard radios for synchronization. A simple setup consisting of the moonlight on a light stand and a flat (super silver) reflector can produce studio-like imagery whereby the monolight is the main source and reflector is the fill. Of course, with the modeling lamps on you can see and control the light exactly as you like it- no guesswork! I can easily move the main light from about 10° or 20° (from the camera subject axis for groups and butterfly lighting, to between 35° to 45° for loop and Rembrandt lighting respectively , to 90° for split light and as far as 135° for profile for rim lighting. For portraits I power down the monolight so I can use a wider aperture- usually around f/5.6 to about 6.3- with a full frame camera, I sue a focal length of between 70mm and 105mm and get good selective focus.

For full lengths and groups I use the monolight as a main source and fill in with my on-camera light. I can control the lighting ratio by varying the power of the fill light, using a light modifier or bouncing off a white ceiling. Again, you can adjust the light exactly as you like it. For groups, I power the system up so I can shoot at f/8 or f/11

In large venues, I use my moonlights as “room lights”. If there is a place of elevation such as a balcony or loft, I set the mono light up there- this time with the soft box removed and an ordinary parabolic reflector in place. I direct it so as to skim across the room and the shut off the modeling lamp. The I can work the room, the church, the dance floor etc with my on-camera light and the moonlight will provide a front, side or back light- depending on my position on the floor. This adds drama, texture and ambiance to all my candid shots and also provides depth of lighting to prevents “black hole” underexposed backgrounds. If the is no elevated position available, I can still set up the light somewhere in the room, in a non-trafficked area, on a 13 foot Manfrotto light stand. I lash it to something heavy or a pillar with a bungee cord. In very large rooms, I sometimes set up more than one room light. I expose for the room light(s) and control the ratio with my on camera light. I usually can shoot at one f/stop throughout the room so expose is no issue and I can shoot fast.

Of course, TIME is a factor. I do work with at least one assistant so they can set things up, oftentimes in advance, even before I get there. If there is no time for the setup, I simply work with on assistant with a second speedlight on a monopod until there is a break in the action and I have time to set things up.

I can still drag the shutter, when necessary to combine with ambient light as well.

Out of doors, I can either overpower, augment or fill the available light since my units have a wide variety of power settings.

I can use the modeling lights by themselves to augment candle light, lamp light or other incandescent sources.

The monolight with the soft box is also great for detail shots, flowers, rings, buffet setups and whatever you like.

I am not exactly familiar with the monolight you specify in your post so I am gonna Google it!. Make certain that it has variable power to accommodate a variety of apertures and has enough power to use with soft boxes, umbrellas or other modifiers and that the modeling lamp is strong enough, when bounced, to see exactly what you are doing. Most current monolights will qualify in all theses requirements. I use Photogenic Power-lights, mainly because I already have all kinds of them in the studio and have all the modifiers, snoots, barn-doors and reflectors in my equipment inventory. They have user-replaceable flash tubes and 250 watt quartz modeling lamps. They can also be used in bare-bulb mode.

Many of the guys and gals that I have mentored in this method use a variety of equipment successfully- Boens, Buff, Pro-Foto, Speedotron and many others.

OK- I looked it up- The FLASHPOINT 600 and is ideal for your purposes- indoors and out of doors! It will integrate well with your cameras as to shutter speed usage which is a big plus in daylight shoots...AND if the weather conditions are bad and you are forced indoors, doing a job that is all inside, or need to do your formals in a church or indoor reception setting, you can still produce great lighting. Great for outdoor night receptions as well! In my opinion, it's a good investment!

I hope this helps!