Lastolite Hilte

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dwb11

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David
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I am looking into the possibility of getting myself the 6x7 Hilite. I have read a few threads on here suggesting that it takes two lights to give an even spread across the hilite.

My question is will the Lencarta smartflash starter kit with one extra smartflash head and stand be suitable?

Just trying to look at how much this option would cost.

Hilite - £250
Smart flash starter kit - £320
Smart flash head - £110
Reflector - £10
Stand - £35
Radio triggers - £40

I have seen the Lastolite starter kit with 3 x 400W Lumen8 heads, hilite and triggers for £917 but reviews seem to be a bit sketchy of the Lumen8 kits.

Thanks
David
 
Lit the one I had with a couple of speedlites on some occaissions.
 
I saw this being done on the Lastolite site, is it not just as cheap to go for the Lencarta starter kit as it is to buy a few speedlights?

Also on one thread I was looking at a few had said the same thing but in the end went for the studio lights.
 
HiLites are very efficient. If you have a couple of hot-shoe guns, using them around 1/4 power will do it. If you have to buy something, a couple of Smartflashes is just the job.
 
My point was that if speedlites can do this than I'd be confident that the the Lencarta lights will be fine.
 
dwb11 said:
My question is will the Lencarta smartflash starter kit with one extra smartflash head and stand be suitable?
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Yes 2x Smartflash 200 are more than capable of handling the Hi-lite, i use 2x200 on my 8x7 Hi-lite all the time and have no problems lighting it evenly, however you may want to consider the elite pro 300 for lighting your subjects, depending on the size of room/studio you will be shooting in. If your in small spaces a 200 can be used quite effectively, 3x200s is a good kit to get you started though :)
 
Speedlights are not the way to go to light this but will do a job if you have them. Best to get studio strobes from the off and the lencarta ones will do fine. There's a few threads on this subject if you do a little search.
 
Thanks everyone for the advice. Much appreciated.
 
I've the 6x7.
You do need a light at either side for balance.
I dont know lencarta so cant comment on them.
I bought some cheap 200W heads by interfit once and their lighting was just manageable although they kept blowing up.
I've now got some 400W elinchroms which I use at about 3/4 power and have proved reliable.

Add a flash meter to the shopping list.
 
Will add a Sekonic flash meter to that list. Turning out to be quite an expensive list, will just purchase bit at a time tho.
 
Deadlock said:
I've now got some 400W elinchroms which I use at about 3/4 power and have proved reliable.
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blimey that a lot of light to be throwing into a highlight. Most of the time 300/w heads at a max of 1/8 will do it
 
boyfalldown said:
blimey that a lot of light to be throwing into a highlight. Most of the time 300/w heads at a max of 1/8 will do it
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If I'm shooting a basic foreground subject @ f8 on my main and f5.6 on fill, then I'll typically look for a 2 stop difference and have a f16 background and adjust from there.

How do you do it?
 
Deadlock said:
If I'm shooting a basic foreground subject @ f8 on my main and f5.6 on fill, then I'll typically look for a 2 stop difference and have a f16 background and adjust from there.

How do you do it?
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Two stops difference is about 1.5 stops too much. Blown is blown.

Any more than you need eats away at the subject outline and promotes flare.
 
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Deadlock said:
If I'm shooting a basic foreground subject @ f8 on my main and f5.6 on fill, then I'll typically look for a 2 stop difference and have a f16 background and adjust from there.

How do you do it?
Click to expand...

Hoppy is correct. Maximum 1 stop difference is plenty to get a white background. In small areas you may find the background causing wrap, flare and exposure issues with too much light coming from it.
 
Actually, come to think of it, you guys are right. I normally dial the back light down a fair bit as I take my first few test shots to balance the light and get the look I want.
I'll measure it next time I set the gear up and see what I've actually been doing. And then undoubtedly save myself 5 min in future set ups! ;)
 
I know there are guys like Mark Cleghorn who say use 2 stops but it's not really needed and will be much less of an issue in a larger studio than in a small room with light bouncing all around. A light meter assists greatly and you can then do some trial and error.
 
Noice post Mike and this is typical of what I have had in the past when I used to throw too much light - I like Marks training but still can't understand why he promotes +2 stops of over exposure on the background :bonk::bang::cuckoo:
 
EOS_JD said:
Noice post Mike and this is typical of what I have had in the past when I used to throw too much light - I like Marks training but still can't understand why he promotes +2 stops of over exposure on the background :bonk::bang::cuckoo:
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There are a few vids around that promote that 2-stops nonsense. The only reason I can think of why Mark Gleghorn says that, if it's the video I'm thinking of, is that he's using a train. Overexposing in that situation helps with the difficult problem of getting the train as white as possible. It's one of the compromise options, but wouldn't be my choice. Lots of threads on this.

The way I set the background lights is using blinkies - highlight over exposure warning, on the LCD. Set the front light, then turn up the background until it just starts to blow. Then just half a stop more. It usually goes first in the middle (there's almost always a bit of a hot spot, even with a HiLite) and that's the area to go by. If it's a smidge grey around the edges, clean that up in post. There's no perfect solution with this technique.

Blinkies are also the best way of positioning lights in the HiLite, to get it as even as possible. I flag/shade the two heads so that nothing shines directly on the front surface, and aim them just to the far side of centre.
 
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EOS_JD said:
Noice post Mike and this is typical of what I have had in the past when I used to throw too much light - I like Marks training but still can't understand why he promotes +2 stops of over exposure on the background :bonk::bang::cuckoo:
Click to expand...

When I first started in photography the general held concept of lighting white was that you need about 2 stops more exposure falling ON TO the background which would overcome any shadows, creases etc. and also because many white backgrounds are not pure white. This was not a measure of what light was being REFLECTED - the HiLite is a different beast and is transmitting the light and this is the fact that seems to escape many so called industry experts.

The reason that I did this originally was to demonstrate that you need to test and understand your own equipment because just because your meter reads f11 does not mean that is what you set on your camera. Whilst the earlier images might not look to bad (in isolation) if they were adjusted, event photography is about getting it right out of the camera.

Thanks for the positive comment.

Mike
 
This guy has a good system for getting is right SOOC http://www.youtube.com/watch?v=Mw7ZcQ9bAVE Not easy though ;)

Also search threads from Hodders and Edinburgh Gary, using a reflective train.

PS Using a white fabric background makes things even harder, off-white with creases etc. If not a HiLite, then bright white paper or vinyl.
 
As has been mentioned the 2 stop difference was most likely something I picked up from cleghorn.

@HoppyUK I actually seem to do the reverse of you. I start at 2 stops and then dial it down so that the background is still blown on the lcd highlight alert and my start of the day test subject has no trace of the light wrapping around them.

Next time I have the chance I'll take a measurement and refine my start point and save myself a few min.
 
Deadlock said:
As has been mentioned the 2 stop difference was most likely something I picked up from cleghorn.

@HoppyUK I actually seem to do the reverse of you. I start at 2 stops and then dial it down so that the background is still blown on the lcd highlight alert and my start of the day test subject has no trace of the light wrapping around them.

Next time I have the chance I'll take a measurement and refine my start point and save myself a few min.
Click to expand...

Same difference really. Either way, you should double check everything after you've set it up initially, as there is always a bit of the background light affecting the front, and vice versa.

Depends on the room, but I find using a white paper background there's often a lot of light blasting off to each side which bounces round the room to the front.

Check and adjust, double check and tweak. The point is, you don't want a drop more light on the background than necessary to blow it. Not normally, anyway.

NB, blinkies start to flash just before highlights are fully blown, and the exact point depends on your camera pre-sets (LCD image, histogram and blinkies are all derived from the JPEG, even when shooting Raw). In particular, turn the contrast down to get the closest possible level to what's actually on the Raw.

Edit: to reduce flare, screen off all parts of the background outside of shot, and use the best/deepest lens hood you can.

Double-edit: Edinburugh Gary has a studio near you - Inspire I think it's called. He's got it down to a fine art.
 
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Ordered a 6x7 with white vinyl train as a kit from Speed Graphics for £282 delivered next day, Im not affiliated just thought it was a good deal and may help someone. Looking forward to taking it down at the weekend after first use :help:
 
Twist - It's tricky :) but after a litle practice you will be able to fold it in less than 5 seconds flat :)
 
Hope so. really looking forward to receiving it after messing around with some cheap stands and white muslin.

Thinking of the best way to light it and Im sure you'll be able to help me Jim.

I have -

2 x Smartflashes
1 x 120cm Octa
1 x relector brollie
1 x Metz 50 AF1 (50GN)

Not ideal with 2 heads and a gun but will I be able to light the background with 1 gun and 1 head and have the other head with octa as main light?

Thanks
 
Have to let me know how you get on with it Twist......been looking at them myself
 
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