Home Studio - Beginner

introlux

introlux

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Hi,

I am a beginner in taking pictures but looking to setup a home studio for personal use but would like it as professional as possible. I am my daughters first birthday coming up and would like to have this kIt ready by the 28th Feb.

We currently have a Nikon D700 with a couple of different lens which I can provide if required.

I am looking to take pictures in the living room.

Any help will be appreciated in what speedlights to buy, was looking at the SB700 but what do I know. You guys are the expects. Please advice.

Regards,

Introlux
 
It all depends on your complete set of requirements, but taken at your word, to put together a 'home studio' I'd recommend a starter kit of studio lights, Lencarta do a 2 head kit for less than the cost of a top of the range Nikon Speedlight. If you can afford it, upgrade to a profold softbox, for a 'sometimes' studio, traditional softboxes are a PITA that eat into the enjoyment IMHO. Avoid the eBay specials, there's bargains to be had, but sorting the wheat from the chaff requires knowledge and a penchant for gambling.

If you really do want to stick with speedlights a Yongnuo system with remotes could be less than just a single Nikon speedlight and more useful, as a starter kit you'll need stands and brackets too, don't forget the simple stuff like reflectors and Spring clamps.
 
Hi Phil,

Thank you for your response - Are you able to list the products that I would need and possible good place to get these from. The money is not an issue as I am looking to take more pictures of my family like this going ahead. So I look at it as an investment but as long as I get the right stuff and compact too as it will not stay built 24/7. I would appreciate if the list includes a backdrop too.

Thanks in advance!
 
The starter Lencarta kit that'll give you almost everything you need to start is this.

I'd personally change the softbox to a profold, speak to @Garry Edwards and he'll tell you how much that'll cost and how to do it. (Given the number of times it's said here, you'd think they'd have started offering the option) ;)

The only other thing to add is a reflector

I wouldn't start with a background system, I think they force you into behaviours that stifle creativity, but if you really want something get a pop up grey one.


If you're desperate to go with speedlights, the list is much more complicated.
 
Good reply from Phil. Kinda standard answer to your question around these parts and Lencarta is great value. When you have mains power available, studio heads are favourite over speedlites because a) they're not expensive, b) they have modelling lamps so you can see how the light is behaving, c) they recycle fast, and d) they have more power. You probably won't need more than say 200Ws-ish, and having too much power can also be a problem if the lights can't turn down low enough.

But if budget is less of an issue, then you could also look at Elinchrom or Bowens. And there is no shortage of other options, many of them very good, but nothing better on a pound for pound basis. From what you've said, my personal choice would be Elinchrom BRX 250 heads, mainly for the slightly faster flash durations than most.

I echo Phil's comments re easy-folding softboxes. They make life so much easier. I would also suggest you get a couple of umbrellas as they are very cheap and take up less space in a normal sitting room. Those Lencarta Profold softboxes are good (I use them) but are professional standard, ie deep, and take a bit of room.

Welcome to TP. Let us know how you get on :)

ps For starters, use just one light. For a lot of work, one is all you need/want and it'll help you to learn a bit about light. Knowledge is key to good studio work, rather than kit. Having multiple lights when you don't know what's what will be a mess of conflicting shadows and exposure problems that'll get you into a pickle.
 
Hi,

Sorry to sound stupid and from how knowledgeable guys you must get a little annoying explaining things to beginners like me. I understand that I need:

  • SmartFlash 2 400Ws Lighting Kit With 1 Softbox & 1 Umbrella - This includes a single flash light, softbox and an umbrella. You mention Phil that I should use a profold instead of a softbox. Well this one comes with a softbox, what will I do with the one that it comes with? Why is Profold better than softbox? I have already sent Garry a message in the meantime.
  • Neewer 43-Inch Portable Photographic Lighting Disc Reflector with Bag for Studio - Translucent/Gold/Silver/White/Black - What will I use this for?
  • PIXAPRO 1.5m x 2m Grey Collapsible Studio Background Backdrop 59"x79" PIXAPRO Collapsible GREY Background Board - Does this work better than a back drop with the poles supporting it that you see always on starter kits etc? Any reason you recommend a grey one and not white?
  • HoppyUK, you mention you have a Elinchrom BRX 250 heads - Is this better than the Lencarta SmartFlash 2 400Ws Lighting ? why do you prefer this?
Anything else I need? using the above I don't need a speedlight?

Sorry for all the question.

Regards,

introlux
 
introlux said:
Hi,

Sorry to sound stupid and from how knowledgeable guys you must get a little annoying explaining things to beginners like me. I understand that I need:

  • SmartFlash 2 400Ws Lighting Kit With 1 Softbox & 1 Umbrella - This includes a single flash light, softbox and an umbrella. You mention Phil that I should use a profold instead of a softbox. Well this one comes with a softbox, what will I do with the one that it comes with? Why is Profold better than softbox? I have already sent Garry a message in the meantime.
  • Neewer 43-Inch Portable Photographic Lighting Disc Reflector with Bag for Studio - Translucent/Gold/Silver/White/Black - What will I use this for?
  • PIXAPRO 1.5m x 2m Grey Collapsible Studio Background Backdrop 59"x79" PIXAPRO Collapsible GREY Background Board - Does this work better than a back drop with the poles supporting it that you see always on starter kits etc? Any reason you recommend a grey one and not white?
  • HoppyUK, you mention you have a Elinchrom BRX 250 heads - Is this better than the Lencarta SmartFlash 2 400Ws Lighting ? why do you prefer this?
Anything else I need? using the above I don't need a speedlight?

Sorry for all the question.

Regards,

introlux
Click to expand...
  • SmartFlash 2 400Ws Lighting Kit With 1 Softbox & 1 Umbrella - This includes a single flash light, softbox and an umbrella.
The kit includes 2 lights, a softbox, an umbrella, 2 good stands and a set of wireless triggers.
  • You mention Phil that I should use a profold instead of a softbox. Well this one comes with a softbox, what will I do with the one that it comes with? Why is Profold better than softbox? I have already sent Garry a message in the meantime.
The profold is a softbox, it's easier to assemble, I can't do a better job than to say if you go to the Lencarta site and click products and softboxes, you can see videos showing how to put up both types of softbox, that'll give the answer. You should get the profold instead of the standard one, Garry will sort that for you.
  • Neewer 43-Inch Portable Photographic Lighting Disc Reflector with Bag for Studio - Translucent/Gold/Silver/White/Black - What will I use this for?
A reflector in its simplest sense helps to control the depth of shadows by reflecting light back into them. The 5 in 1 has a white and silver reflector, a gold reflector (warmer light) a diffuser (to use between a light and subject to diffuse light) and a black reflector which deepens shadows.
  • PIXAPRO 1.5m x 2m Grey Collapsible Studio Background Backdrop 59"x79" PIXAPRO Collapsible GREY Background Board - Does this work better than a back drop with the poles supporting it that you see always on starter kits etc? Any reason you recommend a grey one and not white?
It's easier to manage than backgrounds on poles, most of which are completely unsuitable for the job they were bought for. Grey is interesting, can be made white or black if necessary (or indeed other colours), white backgrounds require their own lighting and aiming for a white background is the biggest source of frustration for new photographers. I would rather you choose to leave background sets completely at first, but most newbies choose to ignore this advice.

That is all you'd need. The reason @HoppyUK mentioned other makes was to provide balance, there are many manufacturers at many price points, Lencarta do seem to get the lions share of recommendations here, mostly because they're good value, but feel free to shop around.
 
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Thanks Phil. Another silly question, my camera D700 is suitable for this setup? I have always questioned how the auto lights would work because the D700 only comes with its inbuilt light, therefore I believe there would be no use for this as I would be buying the Smart Flash. I have questioned how the click would integrate/sync with the camera. Any idea?
 
introlux said:
Thanks Phil. Another silly question, my camera D700 is suitable for this setup? I have always questioned how the auto lights would work because the D700 only comes with its inbuilt light, therefore I believe there would be no use for this as I would be buying the Smart Flash. I have questioned how the click would integrate/sync with the camera. Any idea?
Click to expand...
The Smartflash comes with triggers, a transmitter that sits in your camera hotshoe and 2 receivers that plug into the flashes.

The transmitter gets a 'fire' signal from your camera when you press the shutter (the same way a flashgun does).

THIS IS OVER SIMPLIFIED BUT WILL GET YOU OVER THE START LINE...

The thing that trips up some people though, is that once you're controlling the studio flash, you have to ignore your cameras meter. Put the camera in M mode with an ISO of 100 and a shutter speed of 1/125 and then you use only the power control on the flash and the aperture to control your exposure. In reality it can be much more complex than that, but there's no need to go any further until you've got the basics sorted.
 
Phil you have spoken like a Pro!! :-D

Great, Garry has emailed me back so I will look to get this new gear and give it a test. I hope the end result doesn't require too much Photoshop editing to be done.
 
Ordered everything that you have recommended Phil - any more hints/tips to take on board before I set this all up?
 
After equipment I'd suggest back button focussing when you come to the shooting. If you don't already that is. A quick search on the subject will explain it better than I could, but I couldn't imagine shooting portraits again without it.
 
Have a look in the people and portraits section, and read the critique.

The beginners mistake with lighting is to believe you're looking to eliminate shadows, which isn't just untrue, it's the opposite of the truth.

The reason we control light is to create shadows, because the shape of shadows shows the viewer the shape of the object.

3 tips:
  • Start with 1 light and learn all about it before you add to it. Even the most elaborate lighting setup us based on one keylight, so learn that first
  • Remember to keep your light high, we are used to seeing people lit by the sun, if the light comes from too low the shadows fall wrong and it looks unnatural. In a domestic setting for a stood subject your modifier should touch the ceiling.
  • Keep as much distance as possible between the subject and background,
And if you're aiming for a soft light source my general rule is 'if your softbox isn't getting in the way of your shot, it's too far away'.
 
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Thanks Phil, I have gone for the 70x100cm Profold Folding Softbox instead of the Octagon shape as Garry advised that would have been a better option. Looking forward to start using the kit, if I hit any issues, is it OK to come back on the forum and raise issues that I may encounter?
 
introlux said:
Thanks Phil, I have gone for the 70x100cm Profold Folding Softbox instead of the Octagon shape as Garry advised that would have been a better option. Looking forward to start using the kit, if I hit any issues, is it OK to come back on the forum and raise issues that I may encounter?
Click to expand...
Course it is, that's what we're here for, post your results and you'll get help from lots of experts.

Btw it helps (from a forum use perspective) if you quote posts (as above), or tag users @introlux so that people get alerts at the top of the screen to return to a thread.
 
Phil V said:
I would rather you choose to leave background sets completely at first, but most newbies choose to ignore this advice.
Click to expand...

Not wishing to hijack the thread with more questions - but can I ask why you give this advice Phil? I've got a pop up (6x5ft) background to try and cut out the clutter from the (domestic house - no studio) background in the belief that bad backgrounds can distract - dodgy wallpaper etc. I hate getting the thing out, and more often than not it prevents me moving about to try different angles, so if there's a good reason for not using it, I'd appreciate hearing it.

Useful info on the thread too.
 
Phil V said:
Course it is, that's what we're here for, post your results and you'll get help from lots of experts.
Click to expand...
Experts...
X = an unknown quantity
Spurt = a drip under pressure:)
Harlequin565 said:
Not wishing to hijack the thread with more questions - but can I ask why you give this advice Phil? I've got a pop up (6x5ft) background to try and cut out the clutter from the (domestic house - no studio) background in the belief that bad backgrounds can distract - dodgy wallpaper etc. I hate getting the thing out, and more often than not it prevents me moving about to try different angles, so if there's a good reason for not using it, I'd appreciate hearing it.

Useful info on the thread too.
Click to expand...
I don't know what Phil's thoughts are here, but being a curmudgeonly old b****r who is also a know-all, I'll tell you what I have against the "automatic" use of backgrounds...
Subject and background are in fact two separate subjects which need to be lit separately. I call them "Front subject and rear subject" rather than "Subject and background" - and most people simply don't have a large enough studio space to do it well, so they are better off avoiding the problem in the first place.
And most people don't have enough lights to do it well either, so it's either a case of do it badly with less lights than needed, or avoid the problem in the first place.
And what's wrong with taking photos in your front room and making it look like your front room anyway? It's natural to photograph people in their own, comfortable surroundings. You wouldn't photograph a violin maker in a studio setting, you'd photograph him with his cluttered workshop as the background.
 
Harlequin565 said:
Not wishing to hijack the thread with more questions - but can I ask why you give this advice Phil? I've got a pop up (6x5ft) background to try and cut out the clutter from the (domestic house - no studio) background in the belief that bad backgrounds can distract - dodgy wallpaper etc. I hate getting the thing out, and more often than not it prevents me moving about to try different angles, so if there's a good reason for not using it, I'd appreciate hearing it.

Useful info on the thread too.
Click to expand...

OOPs [Edit]Garry has beaten me to it.

I would have thought the biggest disadvantage of pop up backgrounds, is getting them to 'pop' down again until you get the knack of magically persuading it back into its carrying bag. :) Of course once that is mastered it is a piece of P1ss.

Why not.....having the room in a domestic setting for starters is often a problem to provide sufficient distance from the subject to the background and in some cases height. Then lighting it takes practice. Which probably require another light(s) or speedlights

Incidentally this thread should be pinned to the top of the board, these questions or ones like them do get asked frequently.
 
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Harlequin565 said:
Not wishing to hijack the thread with more questions - but can I ask why you give this advice Phil? I've got a pop up (6x5ft) background to try and cut out the clutter from the (domestic house - no studio) background in the belief that bad backgrounds can distract - dodgy wallpaper etc. I hate getting the thing out, and more often than not it prevents me moving about to try different angles, so if there's a good reason for not using it, I'd appreciate hearing it.

Useful info on the thread too.
Click to expand...
This...
Garry Edwards said:
Experts...
X = an unknown quantity
Spurt = a drip under pressure:)

I don't know what Phil's thoughts are here, but being a curmudgeonly old b****r who is also a know-all, I'll tell you what I have against the "automatic" use of backgrounds...
Subject and background are in fact two separate subjects which need to be lit separately. I call them "Front subject and rear subject" rather than "Subject and background" - and most people simply don't have a large enough studio space to do it well, so they are better off avoiding the problem in the first place.
And most people don't have enough lights to do it well either, so it's either a case of do it badly with less lights than needed, or avoid the problem in the first place.
And what's wrong with taking photos in your front room and making it look like your front room anyway? It's natural to photograph people in their own, comfortable surroundings. You wouldn't photograph a violin maker in a studio setting, you'd photograph him with his cluttered workshop as the background.
Click to expand...
And this...
To paraphrase the other curmudgeonly old b****r 'everything you put in front of the camera becomes a subject to light', so IMHO by putting up a background, you're giving yourself another subject to worry about.
That and getting out lights and stands and brollies and attaching triggers, and running round looking for a charged battery for the triggers.... can create a bunch of stress before you start, add in putting up a background securely, cursing because it needs ironing, then worrying because you haven't got the space to light it properly. And the single most important issue is getting missed - your subject is feeding off your aggravation and you've taken 2 steps backwards in getting nice relaxed images.

You're already finding that it's restricting rather than helping - I'm lucky, because when we decorate I already have in mind the fact I'll occasionally want to use the room for portaits, so we choose suitable wallcoverings - it helps that my wife is also a photographer ;)
 
Phil V said:
...And the single most important issue is getting missed - your subject is feeding off your aggravation and you've taken 2 steps backwards in getting nice relaxed images.
Click to expand...
Thanks for putting into words what commonly seems to happen to me at the moment. I was getting better results with natural light.

Garry Edwards said:
It's natural to photograph people in their own, comfortable surroundings
Click to expand...
Completely agree when it comes to candid photos. For formal stuff, I never considered it - thinking that all the formal stuff I've seen and liked had neutral or non-distracting backgrounds. I'll give it a go. Thanks for the tip!

Apologies again for thread derailment...
 
Harlequin565 said:
Thanks for putting into words what commonly seems to happen to me at the moment. I was getting better results with natural light.


Completely agree when it comes to candid photos. For formal stuff, I never considered it - thinking that all the formal stuff I've seen and liked had neutral or non-distracting backgrounds. I'll give it a go. Thanks for the tip!

Apologies again for thread derailment...
Click to expand...
Like I said, we tend to decorate with photography in mind.
 
Harlequin565 said:
Not wishing to hijack the thread with more questions - but can I ask why you give this advice Phil? I've got a pop up (6x5ft) background to try and cut out the clutter from the (domestic house - no studio) background in the belief that bad backgrounds can distract - dodgy wallpaper etc. I hate getting the thing out, and more often than not it prevents me moving about to try different angles, so if there's a good reason for not using it, I'd appreciate hearing it.

Useful info on the thread too.
Click to expand...

There is a way to minimise its impact on a room i.e. doing away with the stand it needs, I'm currently doing this myself as I only have a tiny area to use so opted for a wall mounted lighting bracket that has a right angle spigot on it (supplied by manfrotto) its certainly beefy enough to take any background, to this I'm adding the lastolite magnetic background holder so it will only protrude approx' 2" from the wall rather than the 2 feet + if I used a stand and avoid all the crinkle problems by just placing it against a wall.

The other issue Gary brought up is one thats often forgotten about, i.e. the need to light the background as well as the subject, its very important in my book and helps separate the subject from the background as well as correctly illuminate the background itself, so I would always budget for a background light if you can.

I'll post some pics of the set up when its up and running. (waiting for carer or brother to get their finger out and put the bracket up ;) )
 
Hi,

@Phil V @shreds @magicaxeman @Harlequin565 @Garry Edwards

The stuff I have arrived but no instructions for a dumb guy like myself to get this gear up and running. What should I setup? Like for instance the light comes with so many heads for instance, not sure what to use. I thought this stuff was for beginners? I guess they maybe but not idiot proof lol

Any help or pointers will be appreciated!

introlux
 
introlux said:
Hi,

@Phil V @shreds @magicaxeman @Harlequin565 @Garry Edwards

The stuff I have arrived but no instructions for a dumb guy like myself to get this gear up and running. What should I setup? Like for instance the light comes with so many heads for instance, not sure what to use. I thought this stuff was for beginners? I guess they maybe but not idiot proof lol

Any help or pointers will be appreciated!

introlux
Click to expand...
I think that this is the page you bought it from. If you go on that page and click on the "Downloads" tab you'll find instructions for the SmartFlash heads, and for the Wavesync Commander system, and you'll also find "Getting started with studio flash". if you click on the "Q&A" tab you'll find a lot more info, and if you click on the "Description" Tab you'll find a video on how to set up the head.

Hope this helps.
 
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@Garry Edwards I have read the info and set the standard setup, we are using the backdrop which is grey and when taking photo's its giving a background shadow effect on there. Any tips to work around this?

I have set both flash lights, one with the softbox and one with the standard metal frame. I have used the small sheet for the softbox instead of the long sheet which sticks via Velcro. I have an umbrella but no idea what to do with this.

Sorry for reaching out for help but would like to overcome the basics of taking photo's (hopefully)

introlux
 
introlux said:
@Garry Edwards I have read the info and set the standard setup, we are using the backdrop which is grey and when taking photo's its giving a background shadow effect on there. Any tips to work around this?
...
introlux
Click to expand...
Move the subject further from the backdrop, it's one of the things everyone gets wrong.
And move your light closer to the subject, another mistake everyone makes.
 
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As Phil V says start with one light and soft box, but for your future information, the umbrella stalk will fit through a small hole on the lighting assembly allowing you to direct the light into the brolley, which will then be reflected back onto the subject. You should be able to tighten this once inserted. So have the light facing away from the subject directly into the umbrella.

When you progress to shoot through umbrellas, its opposite but that is something else, another product and for another day.
 
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introlux said:
@Garry Edwards I have read the info and set the standard setup, we are using the backdrop which is grey and when taking photo's its giving a background shadow effect on there. Any tips to work around this?

I have set both flash lights, one with the softbox and one with the standard metal frame. I have used the small sheet for the softbox instead of the long sheet which sticks via Velcro. I have an umbrella but no idea what to do with this.

Sorry for reaching out for help but would like to overcome the basics of taking photo's (hopefully)

introlux
Click to expand...

As I said in post #5, and others have too...

"For starters, use just one light. For a lot of work, one is all you need/want and it'll help you to learn a bit about light. Knowledge is key to good studio work, rather than kit. Having multiple lights when you don't know what's what will be a mess of conflicting shadows and exposure problems that'll get you into a pickle."
 
HoppyUK said:
As I said in post #5, and others have too...

"For starters, use just one light. For a lot of work, one is all you need/want and it'll help you to learn a bit about light. Knowledge is key to good studio work, rather than kit. Having multiple lights when you don't know what's what will be a mess of conflicting shadows and exposure problems that'll get you into a pickle."
Click to expand...
Everyone has their own way of working, here's my basic approach.

Think of sunlight, outdoors - it may be bright sunlight, it may be diffused by clouds, but it's still just one light.
Moving indoors, still think of one light.
Use that light to create the effect you want. If you want it to be harsh, like sunlight through a clear sky, use a small, hard light source and make it even harder by moving it further away. If you want it soft and diffused, move it closer and make it bigger by fitting a modifier such as an umbrella or a softbox. Experiment with various positions until it is creating the effect that you want to achieve, never mind about avoiding faults, just create benefits.

If you can see something that you perceive as a fault, such as harsh shadows where they're not wanted, add another light source, which can be another light, or a reflector, to mitigate those shadows (but not to remove them).
But, ALWAYS start with one light because almost everything that we see is created with either one light, or with one light doing nearly all of the work.
 
Garry Edwards said:
Everyone has their own way of working, here's my basic approach.

Think of sunlight, outdoors - it may be bright sunlight, it may be diffused by clouds, but it's still just one light.
Moving indoors, still think of one light.
Use that light to create the effect you want. If you want it to be harsh, like sunlight through a clear sky, use a small, hard light source and make it even harder by moving it further away. If you want it soft and diffused, move it closer and make it bigger by fitting a modifier such as an umbrella or a softbox. Experiment with various positions until it is creating the effect that you want to achieve, never mind about avoiding faults, just create benefits.

If you can see something that you perceive as a fault, such as harsh shadows where they're not wanted, add another light source, which can be another light, or a reflector, to mitigate those shadows (but not to remove them).
But, ALWAYS start with one light because almost everything that we see is created with either one light, or with one light doing nearly all of the work.
Click to expand...
Oh my! That reads fab. If i'm ever struggling I need to read this again.

Thanks
Gaz
 
Hi,

Thank you for your posts - I will aim to use one light and see how it goes. I have had an issue with the background drop as I do not have a stand. I had seen this:
https://www.essentialphoto.co.uk/product/pixapro-reflectorbackground-clamp/

But I am not sure what is best to buy and use as a stand. Anything you can recommend? Also the backdrop that I purchased is only grey both sides, so no white. I just wanted to clarify, is it better to have a grey background than white?

My child's first year birthday is approaching (28th Feb) so I am trying to get good at using this kit by then.

Thanks,

introlux
 
Depending on how you light the background you can make it look grey, white or black on the final image.

However for most portraits, grey is good.

Black can make dark clothes or dark hair 'disappear' into the background, whilst white can suffer from the light burning out detail in the hair for instance.
 
Is it a pop up background you have? If so then you can lean it up against a wall, a chair or a lighting stand..

Grey backgrounds are versatile, as Ian says they can be lit in many different ways, or not lit at all
 
It seems some of these people have a light checker device, any idea what the name is and is it really needed? Seems like it was used to adjust the lights on the YouTube Vidoes
 
Probably a xrite colour checker passport . Used to ensure a consistent wb
 
introlux said:
It seems some of these people have a light checker device, any idea what the name is and is it really needed? Seems like it was used to adjust the lights on the YouTube Vidoes
Click to expand...
It's a flashmeter and no, they're not really necessary, though you might choose to get one later
 
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