Speaking of gear, here’s an overview of what I’ll be
working with over the course . If I haven’t mentioned it before, I’m fully aware that
many of you will not have access to the variety of tool
that I have in my studio. I’m lucky to have been exposed
to some of the best equipment manufactured
today, and even luckier to have been able to acquire
it. If you see a piece of gear you think you’d like to
own, I’d recommend you rent or borrow it before
you buy, work it like a rented mule while you have it,
and then make an educated decision as to whether it
would be in your studio’s best interests to own it or
not. Good stuff is expensive but worth it if, and only
if, you can use it to increase your bottom line.
Softboxes
Large Softbox. In my opinion, softboxes are the
most valuable modifiers you can have in the studio.
My largest is 4x6 feet, and I have two of them. I use
both of them quite often, in the same set, along with
gobos to keep the light directed where I want it.
When placed close to the subject, within a couple of
feet, the light is extremely soft but with rapid falloff.
Based on my calculations the optimum
working distance for a large softbox is 10 feet from the subject. Properly
used, a box this size can be very effective for many lighting scenarios
Medium Softbox. The most used softbox in my arsenal is the 3x4-foot
(medium) softbox. I have two of these also and use them in much the same
way as the larger boxes. They are valuable when working in closer quarters,
as their optimum working distance is 7 feet. The same Inverse Square Law
applies, of course, and the principles of use are the
