Studio set up - lots of questions

I've been doing studio photography all my working life and I can tell you this much...
1. You are not alone. Anyone who tells you that they have all the answers is either a liar, totally inexperienced or not very observant. Every job is different and brings its own problems.
2. Because every job is different, there is no such thing as a studio decor, a lighting setup etc that's 'right' unless all of your shots need to look the same, for example if everything has to have a white background and dead flat lighting. But having the right lighting, the right light shapers and the knowledge to use them well is a big help.
3. You will always need to do some PP work on every image, even if you have a 'perfect' studio arrangement and a lot of skill, unless you just overxpose everything, which isn't good photography. The trick is to get it as good as you can in camera and use PS to improve a good image, not to rescue a bad one.
4. Make life a lot easier by tethering your camera to a laptop - the laptop screen will show you faults that you just won't see on a camera screen.
5. Bear in mind that your clients are just ordinary people, they won't notice slight technical faults - in fact they probably won't notice anything as long as they like the expression on little Johhny's face:) so don't worry about it - it's not the same situation as the one I had yesterday for example, photographing a whole brochure full of 3 piece suites against a white background, when everything has to be absolutely perfect:'(
 
Ruth, thinking about the way you want to work, you might be better off with a paper background... :D

The big advantage of the HiLite is portability and small working space - you need hardly any extra width to place the lights and you can put the subject right up against it. But there's a big jump in brightness between the HiLite and the train and a hard line between them, which is obviously the problem with full length shots.

With paper (not cloth) you get a smooth curve and soft transition and it's relatively easy to angle the lights and extend bright white light some way forward on to the floor. You just need a bit of space. Given your requirements and the fact that you've got some width to position the lights (even wall-mount them) and a bit of length I think this might give you the head start you need. I think Diddy Dave works like this and he gets great results :thumbs:

As I said before, getting this look right is all about careful balance incremental improvements here and there. If going for the shiny floor is not on for you (prolly favourite option) I think paper is worth a try for £30 a roll and you will surely need a background support for other colour anyway. But you should resign yourself to doing at least a little bit of grey mopping in post. If you want bright white straight out of the camera for viewing then you could probably get that by whacking the contrast and saturation right up in Picture Styles, then sort it properly in post.

I can get a good background and floor using four hot shoe-guns with paper - two on the background and two filling-in on the sides at low power, but that needs more space than I get in most folk's front rooms. Perhaps a pair of cheap £40 Yongnuos would help there with just a tiny splash. They should recycle fast on low power and might be an alternative to a reflective floor. Just a thought. Be wary of crossed shadows though.

Glad you're liking the 17-55, it's brilliant for so many things. It was my main portrait lens on crop. Didn't realise you had a 70-200L 2.8 though - the lens hood from that is a perfect fit and will be absolutely clear from about 40mm. Should help a bit with all the light you've got washing around.

PS I'll have your HiLite is it's a small one 5x7ft - looks a bit bigger than that though ;)
 
Garry Edwards said:
I've been doing studio photography all my working life and I can tell you this much...
1. You are not alone. Anyone who tells you that they have all the answers is either a liar, totally inexperienced or not very observant. Every job is different and brings its own problems.
2. Because every job is different, there is no such thing as a studio decor, a lighting setup etc that's 'right' unless all of your shots need to look the same, for example if everything has to have a white background and dead flat lighting. But having the right lighting, the right light shapers and the knowledge to use them well is a big help.
3. You will always need to do some PP work on every image, even if you have a 'perfect' studio arrangement and a lot of skill, unless you just overxpose everything, which isn't good photography. The trick is to get it as good as you can in camera and use PS to improve a good image, not to rescue a bad one.
4. Make life a lot easier by tethering your camera to a laptop - the laptop screen will show you faults that you just won't see on a camera screen.
5. Bear in mind that your clients are just ordinary people, they won't notice slight technical faults - in fact they probably won't notice anything as long as they like the expression on little Johhny's face:) so don't worry about it - it's not the same situation as the one I had yesterday for example, photographing a whole brochure full of 3 piece suites against a white background, when everything has to be absolutely perfect:'(
Click to expand...

Thanks Garry! Great advice as always. I'm a long way off doing product photography yet. How long did it take?

The client I'm seeing tomorrow I've worked with before, with much poorer equipment so I really shouldn't worry. Even so, I just want it to be right for me if no one else! Sometimes being a perfectionist (or just obsessive) is such a pain :)
 
HoppyUK said:
Ruth, thinking about the way you want to work, you might be better off with a paper background... :D

The big advantage of the HiLite is portability and small working space - you need hardly any extra width to place the lights and you can put the subject right up against it. But there's a big jump in brightness between the HiLite and the train and a hard line between them, which is obviously the problem with full length shots.

With paper (not cloth) you get a smooth curve and soft transition and it's relatively easy to angle the lights and extend bright white light some way forward on to the floor. You just need a bit of space. Given your requirements and the fact that you've got some width to position the lights (even wall-mount them) and a bit of length I think this might give you the head start you need. I think Diddy Dave works like this and he gets great results :thumbs:

As I said before, getting this look right is all about careful balance incremental improvements here and there. If going for the shiny floor is not on for you (prolly favourite option) I think paper is worth a try for £30 a roll and you will surely need a background support for other colour anyway. But you should resign yourself to doing at least a little bit of grey mopping in post. If you want bright white straight out of the camera for viewing then you could probably get that by whacking the contrast and saturation right up in Picture Styles, then sort it properly in post.

I can get a good background and floor using four hot shoe-guns with paper - two on the background and two filling-in on the sides at low power, but that needs more space than I get in most folk's front rooms. Perhaps a pair of cheap £40 Yongnuos would help there with just a tiny splash. They should recycle fast on low power and might be an alternative to a reflective floor. Just a thought. Be wary of crossed shadows though.

Glad you're liking the 17-55, it's brilliant for so many things. It was my main portrait lens on crop. Didn't realise you had a 70-200L 2.8 though - the lens hood from that is a perfect fit and will be absolutely clear from about 40mm. Should help a bit with all the light you've got washing around.

PS I'll have your HiLite is it's a small one 5x7ft - looks a bit bigger than that though ;)
Click to expand...

Ugh, I've just got my head round going back to the Hilite and you post this :bang:! You're right though, the Hilite does have some definitely disadvantages in an almost permanent set up. But I've bought it now (7by5) and it seems a shame to waste it. I was thinking of upgrading to the bigger one which would make a difference - but then I'd never be able to use it on location as I'd look like a plum trying to pack it away. If I do sell it you'll be the first to know!

I've got 4 shoots over the next 10 days so I'll see how much PP I end up doing on this and decide whether to buy a reflective floor or a paper roll (rather than vinyl?). Otherwise, I could pack it all in, sell my stuff & take the kids to Florida for a few weeks. Hmmm.... tempting :D
 
Rudesing said:
Thanks Garry! Great advice as always. I'm a long way off doing product photography yet. How long did it take?

The client I'm seeing tomorrow I've worked with before, with much poorer equipment so I really shouldn't worry. Even so, I just want it to be right for me if no one else! Sometimes being a perfectionist (or just obsessive) is such a pain :)
Click to expand...
The actual shoot took from 8 a.m - 7 p.m. + 100 miles of travel and involved 61 setups, so quite a full day.

11 people helping me did help though...
And all the PS work has to be finished today, then it's over to the graphic designer and then to the printers. I sometimes think that social photographers have an easier life - but I don't have to put up with dealing with the public, which is a big bonus!
 
Garry Edwards said:
The actual shoot took from 8 a.m - 7 p.m. + 100 miles of travel and involved 61 setups, so quite a full day.

11 people helping me did help though...
And all the PS work has to be finished today, then it's over to the graphic designer and then to the printers. I sometimes think that social photographers have an easier life - but I don't have to put up with dealing with the public, which is a big bonus!
Click to expand...

That's a long day! I'll think of that when I'm taking shot of a tantruming child, an obsessive mother or PPing snot - my least favourite job :gag:
 
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