What lighting kit & positioning for my new studio (with pics)

[Triggaaar]

Ok, so my studio is just about finished. The only problem (and it's quite an annoying one) I forsee is the head room, with the ceiling down to 7'3" in the centre.

Here's a few pics of the studio, to get the idea, followed by a sketch with measurements:

This is a sketch plan.
When taking portraits with the key light high right, I could position the key light (octobox) in position Key1 (I could reverse the camera and subject position if I needed the key light high left, which would be a pain, but that's what you get with ceilings too low).

When taking group shots, and wanting the key light directly above the camera, I could put the light (possibly a rectangular softbox on its side) in position key 2, which would require bringing the subject closer to Key2 & camera.

Subject wise I would like to be as flexible as possible within the limits of my studio.
I'm thinking of using an octobox about 95/120 cm for the key light for many portraits, with a fairly powerful light.
I'm wondering if a rectangular softbox on it's side would work for groups.
For balance light (fill) I'm thinking of another, smaller softbox (as I can control spill better than with a brolly).
I'd then like up to 2 lights for the background (one of which could be used as a hair light etc if not do high key).
Not sure which material to go for for the background, but I think 9' wide may not be enough when doing groups and bringing them towards the camera. The walls are white, which could be used for the sides of the background, but that doesn't help with the train.

As for all the walls being white, I thought I'd set it all up and work out which walls/ceilings I had to cover with black material when shooting. I'd like to install some clips/brackets etc that material can clip onto and stretch between.

So...
any advice on what kit to buy, and where to position things will be very appreciated.

Thanks

 

[Garry Edwards]

You seem to have put a lot of thought into this, and you're right about the limitations of the low ceiling. You can't make it any higher, but you can paint it matt black, and you must if you want to have any kind of lighting control.

I understand what you're saying about using a rectangular softbox on its side for groups, this will work and will make the best use of the available height. The only downside will be that you'll end up with rectangular catchlights, which may or may not be a problem for you. This Lencarta strip softbox is worth considering.

I don't understand what you're saying about portraits - unless I'm reading it wrongly you seem to be saying that you think that portraits should generally be lit with the key light on the right and the fill light on the left. In fact, having a light at the side is only really a good idea generally if the subject is a full length shot, for headshots it generally produces a far better result if the light is above the camera (or above where the subject is pointing), because light from above produces good modelling and defines the shape of the face well - that isn't a rule of course, there are no rules because every subject is different.

And as for the fill light, that goes where the camera is, on axis with the lens, so that it illuminates all of the subject as seen by the lens. In any other position it isn't a fill light, it's a second sun - and there's only one sun on my planet
And the fill light can be literally any kind of light you want, it's a bit pointless using a softbox for it if it's placed behind the camera (the normal position) because an umbrella is cheaper and will do the job better (because it spreads the light more).

There are some basic articles on studio lighting in the Lencarta Learning Centre.

And as for your choice of lights, if you want high quality powerful lights you may want to look at the Lencarta ElitePro range

Hope this helps

 

[Triggaaar]

Hi Garry, thanks for the reply.

you're right about the limitations of the low ceiling. You can't make it any higher, but you can paint it matt black

That's what you think Ideally I'll be able to stretch material across it, between my ridges, because the building also doubles as a place for people to stay.

I understand what you're saying about using a rectangular softbox on its side for groups, this will work and will make the best use of the available height. The only downside will be that you'll end up with rectangular catchlights, which may or may not be a problem for you.

I think I (or more importantly, clients) could cope with window shaped catchlights. I had thought of the 140x70, as I wasn't sure the 140x30 was enough - the 30cm option would no doubt fit more easily.

you seem to be saying that you think that portraits should generally be lit with the key light on the right and the fill light on the left.

Not specifically right & left, equally vice vera, but yes I do like portriats I've seen lit that way.

for headshots it generally produces a far better result if the light is above the camera (or above where the subject is pointing), because light from above produces good modelling and defines the shape of the face well

Ok, I will research more and play when I get the kit. What I'm picturing also defines the shape of the face well, but doesn't light the face equally on both sides.

And as for the fill light, that goes where the camera is, on axis with the lens, so that it illuminates all of the subject as seen by the lens. In any other position it isn't a fill light, it's a second sun - and there's only one sun on my planet

I'm not talking about equally powered lights - more one sun, and balance light coming from refelctions off buildings etc (which is why I call it balance light, rather than fill). Maybe I'll learn that your way is normally more useful.

And the fill light can be literally any kind of light you want, it's a bit pointless using a softbox for it if it's placed behind the camera (the normal position) because an umbrella is cheaper and will do the job better (because it spreads the light more).

What I had in mind had the softbox in front of the camera, just out of shot. The reason I was thinking of not using a brolly is because I don't want too much light hitting my white walls/ceilings.

if you want high quality powerful lights you may want to look at the Lencarta ElitePro range

Already done Garry. Once I've worked out what I need, I'll certainly be asking if you can put a suitable package together for me. One question on that, what is the minimum shutter speed sync available with your flash trigger systems (I understand they're not all the same)?

Thanks

 

[Garry Edwards]

Already done Garry. Once I've worked out what I need, I'll certainly be asking if you can put a suitable package together for me. One question on that, what is the minimum shutter speed sync available with your flash trigger systems (I understand they're not all the same)?

Thanks

The minimum shutter speed (which won't matter at all in a studio anyway, unless you have sunlight streaming in) has nothing to do with the lights and everything to do with the camera.

Personally, I find that I can get 1 notch down from the theoretical maximum (1/180th sec instead of the theoretical 1/250th sec) when using the Lencarta radio trigger. This is probably due to the fact that most radio triggers have a slight firing delay. Using a synch lead, I can get 1/250th - but that's only on test, I actually set the camera to 1/125th or 1/90th

 

[Triggaaar]

The minimum shutter speed (which won't matter at all in a studio anyway, unless you have sunlight streaming in) has nothing to do with the lights and everything to do with the camera.

Well the default for my Nikon is 1/250, but there is the option to use faster. While that might not be necessary in a studio, I may well use my trggering system on Nikon flashes when not in the studio. I've seen shots using PWs at 1/400th, and I understand that there's a limitation with the YongNuo rf-602 of 1/200, so I just wondered about your triggering systems.

 

[HoppyUK]

There's a new Elinchrom radio trigger that I believe has a high speed mode and will sync your Nikon at the full 1/250sec. I don't know much about it though. I use a simple little Elinchrom optical/IR trigger for studio that has never let me down and that syncs at the native speed, ie 1/250sec on your Nikon. It's £50 I think (cheaper identical unbranded on ebay).

If you want to go faster, and that's well handy outside, then the auto-TTL Pocket Wizards with Hypersync are the only way. I'm not sure what results you'll get with studio flash using them though, with the generally longer flash duration you get. I would check that carefully - possibly uneven illumination across the frame. Dunno, just a hunch; I've not looked into it. The regular PWs should give you full a reliable full native sync speed though, as they have faster processors.

 

[Triggaaar]

Thanks Hoppy. I could just go cheap as possible, and then get a PW or 2 when they're available with TTL for Nikons.

I can see my ceiling height giving me nightmares. Might end up having to move the background around depending on the shot I'm after. Any particular advice anyone?

 

[HoppyUK]

Thanks Hoppy. I could just go cheap as possible, and then get a PW or 2 when they're available with TTL for Nikons.

I can see my ceiling height giving me nightmares. Might end up having to move the background around depending on the shot I'm after. Any particular advice anyone?

Sounds like a plan A few RF-602s should serve you well and when PW get around to their Nikon version it should at least be properly sorted which has not been the case with Canon. I'm still not 100% sure they've got the Canon ones right - I'd really like a set for all their cool features but I'm sitting on the fence for a bit yet That may be unfair but at £200 for each unit (I'd need five) you need to be sure it flippin works!

On the studio thing, you need size becasue a) light stands and backgrounds etc just take up ten times more floor space that you ever imagine (ceiling runners an option for you?), and b) you get much more control of fine/subtle effects if there's no light bouncing back. If you're generally shooting trendy blitzed white anyway that's maybe not so much of a problem but you can get around it with lots of black paint, black curtains and screens etc.

While height is always beneficial for full length and groups etc, if you stick a big softbox on a boom and literally raise it to the ceiling you'll probably be okay.

 

[Triggaaar]

I'm still not 100% sure they've got the Canon ones right - I'd really like a set for all their cool features but I'm sitting on the fence for a bit yet That may be unfair but at £200 for each unit (I'd need five) you need to be sure it flippin works!

I din't know the Canon ones weren't perfect. They had the Nikon prototype 4 months ago, but these things are clearly not straight forward. Now why would you need 5 - you're not talking in studio are you? In studio, I don't think I'll be interested in TTL, but when there's ever changing ambient light outside, and just 1 or 2 flashes, that's when I'd like TTL PWs.

you need size becasue a) light stands and backgrounds etc just take up ten times more floor space that you ever imagine (ceiling runners an option for you?)

I don't see too much trouble with my floor space, it's just trying to get hair & key lights above the subject. It's going to limit the size of softbox I can use as the key light, and make changing shots a pain. I'm not so sure it's a problem for the background - I've taken a few test shots, and since I like the keep the camera at subjects eye level or above the backround height seems ok (although saying these are early days in testing is an understatment). Have you got an example of ceiling runner - that probably is an option, yes.

you get much more control of fine/subtle effects if there's no light bouncing back.

I definitely want the control, I don't want everything to be high key. Black paint is not really an option, but screens are. I could screw brackets into the ceiling and stretch black fabric between them, and simillar for the walls. There won't be any abient light to worry about.

While height is always beneficial for full length and groups etc, if you stick a big softbox on a boom and literally raise it to the ceiling you'll probably be okay.

Yes I'm sure it'll be fine for head and shoulders, with subjects on a stool (still may have to move around the studio). Full length and groups will involve compromises, and (as advised in the white seamless tut) lots of swearing.

 

[HoppyUK]

PW have had lots of problems with their new E-TTL Canon system, and they still do have major RF interference issues with most Canon guns, at least on the US frequency, with some pretty unsatisfactory Heath Robinson-style solutions. The latest trick is to have the guns modified internally (more expense).

I guess they are not just reverse engineering everything, but also doing things that even Canon themselves do no offer like Hypersync and the optimsed HSS stuff. And then maybe Canon could make the whole lot redundant with their very next camera/flash model I'm sure they won't and are as keen as anyone for PW to make it work and keep everybody happy, but the problems have been considerable and of a fairly fundamental nature.

I would want five because I'd like to have everything covered indoors/studio and outdoors/strobist style. That's one unit on camera and four remote receivers, even though I don't often use more than two or three remotes, I have the flashes so I would want to be able to use them. TBH right now I've never been let down by the built-in E-TTL optical system even in quite bright light and if/when that time comes, it's not that much trouble switching to manual and the RF-602s. The PWs are actually a solution to a problem I don't have, but well, they're really trick and if I had a set I'd surely find a way of justifying them

From your photos, I would be very happy to make that space work as an excellent portrait studio. It's not as if you're getting cars or massive stuff in there. By the looks you're not going to get much light coming back off the far walls etc, but I would certainly black out the ceiling above the shooting area and use a few screens.

I'm no expert on the options for ceiling runners (Garry Edwards?) but I do have a 170-page Manfrotto catalogue with masses of lighting stuff, including a big section on their Sky Track system. Here's a pic I just googled to give you an idea http://www.photonbeard.com/FF3054.jpg Wall mounting is another option. If I was working most days in a studio I'd try to get something like this for sure. I've used studio with Sky Track once or twice and it's just so liberating to not be tripping over stands and leads all the time and it actually makes moving the lights around a pleasure when you just have to grab them and put them where you want, and they stay there! Think about remote control too for the lights if you want a really easy life

 

[Triggaaar]

Thanks for the help Hoppy.

I thought you meant runners for screens etc, not for the strobes. While keeping the lights away from stands would be nice, I think I'm going to have to move about too much to be able to do it with runners. I'd like to find some nice clips to install on the ceiling for fabric though.

 

[Garry Edwards]

We can go on for ever about the limitations of your studio and the problems you may have with the ceiling height.

But the fact of the matter is that you won't know what you can and can't do until you try, and with practice you'll find workarounds to many of the problems.

Studio size only affects the range of work you can carry out successfully - it doesn't affect the quality, so although you may find that full length shots can be a problem, you'll also find that shots that 'must' be full length often work better when they're not full length anyway

Oh, and you don't have anywhere near enough height for a track system - you need a minimum of 14'. Wall booms are useful though, if a bit restrictive

 

[HoppyUK]

Haha thanks Garry! I completely forgot about the extra height for the track - kinda defeats the whole object The studio I used it in was at least 15ft high I'd guess!