Speaking of gear, here’s an overview of what I’ll beworking 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
same. I use medium softboxes as main lightsmore than any others, and I’m certain you
will too.
Small Softbox. Small softboxes—2x2 or
2x3 footers—are invaluable for use as single
subject hair lights, background lights, or
underlighting fill. They can also be used as
a main light, of course. When placed very
close to the subject, the falloff (the decrease
in light intensity as the distance from the
light source increases) is rapid, as it always is
at close distances, but the spread of the light
is minimal because the source is so small relative
to the subject.
Strip Lights. Strip lights are a somewhat
specialized accessory; they’re long, narrow
softboxes engineered to produce an even
output throughout their entire length. I
have several 1x6-foot strip light softboxes
that I use frequently as accents, side lights,
background lights, or hair lights. They are
not cheap and require a special speed ring
that not all strobe manufacturers make, but
they produce a light that’s beautiful and
hard to define. The manufacturer of my
gear, Profoto, is one of the few making a
1x6-foot box. Should you decide to purchase
them and you don’t use Profoto
equipment, please make sure your strobe’s
manufacturer makes a speed ring that will
accommodate them.
A Final Note on Softboxes. Quality softboxes have an additional layer
of diffusion, an internal “baffle” layer of nylon that diffuses the light even
more before it reaches the front of the box and exits. When buying softboxes,
be sure to check that the corners are heavily reinforced to withstand
the constant pressure from the rods that connect the box to the speed ring.
Umbrellas
Umbrellas spread light by acting as a reflector. There are two types of umbrellas
generally available at your local camera store. The first is a basic reflective
umbrella wherein the light, fitted with a parabolic reflector, is aimed
away from the subject into the umbrella. The spread of light will depend
on the size of the umbrella, and the contrast of the light will depend on the
will provide a slightly different look than white .
The other widely available style of umbrella is called a “shoot-through”
umbrella. Instead of a reflective surface, the umbrella is made of translucent
nylon and the strobe head is aimed at the subject, shooting its light
through the fabric to the subject. It is, essentially, a softbox, though its
light is not quite as soft because there’s only one layer of diffusion. It’s not
as controllable as a softbox, either, as umbrella light
tends to spray in all directions. Use a gobo to block light
Basic parabolic reflectors are usually provided by the
manufacturer when a strobe head is purchased.Most are
6 or 7 inches wide and designed to throw a hard light
evenly over the subject. These are not generally recommended
for portraiture (there are exceptions, of course)
but are used along with umbrellas or as fill or bounce
light
Beauty Bowls. Beauty bowls, also called beauty dishes, are large reflectors
that have a baffle in front of the strobe head that reflects direct light
back to the sides of the dish. The net result is a direct but softer light than
one would get with a basic parabolic. Beauty bowls are usually at least 18
inches in diameter, though there are
some on the market that are 24
inches or larger. They are pricey, as
are their accessory grids, but the
cost is more than worth it for the
quality of light they produce. Some
manufacturers’ beauty bowls allow
the center diffuser to be removed
to produce a more contrasty light
source.
I use beauty bowls in a number
of ways, but I find them especially
valuable as hair lights when used
with a grid
Panels and Collapsible Reflectors.
As you will see, I use a number
of reflectors in my work. My
favorites are bookends, two piecesof 4x8-foot foamcore taped together
along a common spine. You
will see many examples of how I
work with these—especially my favorite
and my own invention, the
bookend bounce
I also use several of Lastolite’s
collapsible reflectors. I’ve found
these wonderful gadgets, which are
usually meant for bouncing light
when working outdoors, are very
useful for studio work .
Grids
Grids are honeycomb-like devices,
about 3/8 of an inch thick, that reform
light that passes through them
to a straight line, expanding a specified
amount from its center. Depending
on the manufacturer, setsof grids for parabolic reflectors may be purchased individually or in sets, in
a range of 5 to 40 degrees. (Grids for beauty bowls are not as numerous.)
The specified degree means that, when a parabolic is fitted with, say, a
20 degree grid, the light will expand from the center of the reflector at
20 degrees.
Grids can be used to create spotlight effects, as controlled hair or accent
lights, or to skim across a surface. One of the great features of grids is that
they can throw bright accents from behind a subject yet keep light from
striking the lens, which could produce flare Accessory Arms
I’ve found accessory arms, essentially short poles that clamp over light
stands, to be invaluable tools in the studio. I have a number of these, under
the Avenger label, that do a great job for me. Some are engineered with
clamps for reflectors, some are just rods to which I can attach reflectors,
flags, or whatever. Depending on the weight of what is being attached, a
sandbag or counterweight may be necessary to keep the stand from falling
over
of grids for parabolic reflectors may be purchased individually or in sets, in
a range of 5 to 40 degrees. (Grids for beauty bowls are not as numerous.)
The specified degree means that, when a parabolic is fitted with, say, a
20 degree grid, the light will expand from the center of the reflector at
20 degrees.
Grids can be used to create spotlight effects, as controlled hair or accent
lights, or to skim across a surface. One of the great features of grids is that
they can throw bright accents from behind a subject yet keep light from
striking the lens, which could produce flare
Accessory Arms
I’ve found accessory arms, essentially short poles that clamp over light
stands, to be invaluable tools in the studio. I have a number of these, under
the Avenger label, that do a great job for me. Some are engineered with
clamps for reflectors, some are just rods to which I can attach reflectors,
flags, or whatever. Depending on the weight of what is being attached, a
sandbag or counterweight may be necessary to keep the stand from falling
In Closing
Astute readers will realize that I’ve written about some of this equipment
before. I apologize if I was repetitious, but not everyone reads everything
I write (as valuable as I think it might be).
Master Lighting Guide for Portrait Photographers, there are no new lighting
styles, only new ways to work with them. My intention is to spark your
creativity with the knowledge , and I certainly hope you’ll find my text as useful to your work as I’ve
found the research a spark for my own.
Learn. Adapt what I’ve shown you to your personal
style. Make me proud.
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