Photo Notes

November 27, 2012

Lighting Kits?

Filed under: Lighting Technique,Photographic Education,Photographic Equipment — John Siskin @ 11:49 am


Most people buy strobes twice. I’ve said this before. They buy a cheap kit first, and unfortunately most kits aren’t really cheap. They can learn a couple of things from this kit. The first thing they learn, and this is an important thing to learn, is whether or not they enjoy controlling the light in their pictures. What most people want to do with a camera is to capture a scene, to keep it as a memory, or to share with others. A few people want to make a photograph, control the light subject and background to make an image that wouldn’t exist without the photographer stepping in. For instance few families stand in order of height around the holiday decorations, unless someone is making a picture. Since I’ve been teaching lighting for more than twenty years, the people who want to control the light, make good light, in their pictures, are the people I’m working with. As people who read this blog know, I often write about light and I’ve written a couple of books about light Understanding and Controlling Strobe Lighting: A Guide for Digital Photographers and Photographing Architecture: Lighting, Composition, Postproduction and Marketing Techniques. These books might make good gifts for other photographers. You might consider giving a photographer one of my classes: An Introduction to Photographic Lighting, Portrait Lighting on Location and in the Studio and  Getting Started in Commercial Photography Or buying a class for yourself. By the way, all the images this week are strobe image, and most of them are from my books.

In addition to teaching you about whether or not you want to make good light, that first lighting kit often teaches you about what you want when you buy lights again. Of course you learn this by being frustrated by the problems with your first lights. Many inexpensive kits use fluorescent bulbs for light. These can only be used effectively in rooms without other light sources, and they have little or no control over the relative power of the lights. These and other continuous light sources might be good for cheap video lights, but they aren’t much use for still shooting, because you won’t have good depth of field and a short shutter speed. Strobes, or flash if you prefer, are much better lights for still cameras. They give you more light, better color balanced light, and they stop action. Unfortunately there are many strobe kits that have too little light power to do any of this. In my An Introduction to Photographic Lighting class at BetterPhoto.com I ask students to work with a couple of very cheap clamp lights. You can learn the important first lessons from $15 worth of lights as well as from a $300 kit. Plus you can use the clamp lights in the garage when you’re through doing photography with them.

Here’s the way I think about power on a strobe, or even on a continuous light: I might want to shoot in a room that had direct sunlight, and in that case I would want my lights to be much brighter than the sunlight or whatever other light there might be. If my light isn’t much brighter than the existing light than the existing light will define the kinds of pictures I can make. Of course the size and color of the room will have a lot to do with how much power I’ll need. The other big consideration is the way I modify light. If I was using hard light, direct from the strobe, I’d need much less strobe power than if I was using a large light modifier, like a soft box, umbrella or a light panel. Since I often use an umbrella and a light panel together, and the combination is inefficient, I need a lot of power. I find, based on extensive experience, that I need at least 600 watt-seconds to be able to overcome ambient light in most situations. I have and use many lights with less power, but in most situations I have at least one strobe with 600 watt-second to set the tone of my shot. Keep in mind that raising the ISO will raise the sensitivity of ambient light as quickly as the sensitivity to light from the strobes, so a higher ISO won’t always reduce your need for powerful strobes. In my classes I often recommend the Alien Bee B1600. I like this unit because of both the power and the quality.

If I were doing location work, where portability was critical, I would compromise on this. I might also accept longer recycling times, but in most location situations I would really want to have quick recycling. Keep in mind that one common location situation is shooting an event, and picture opportunities can happen very quickly. The first choice for a location strobe will probably be a powerful dedicated strobe from your camera manufacturer: perhaps a Canon 580 IIEX or a Nikon SB900. Many will get additional dedicated units from the manufacturer when they want to do more complex lighting. I can see that a second dedicated unit might be useful for shooting events, but only if you have an assistant to position the light, but for most situations a manual unit would do as well, and it would save a lot of money. I particularly like the Lumopro unit.

Of course the type and quality of the accessories is really important to evaluating a kit. Much of the advantage in a kit is the discount you get on accessories. Unfortunately many kits include poor accessories. For instance I like to see umbrellas in a kit, as I think they are good tools. If the umbrellas don’t have a removable black back they are pretty much useless as light modifiers, because you can’t control the direction of the light. Many people selling kits save a couple of bucks and include only translucent umbrellas, which is too bad. Here’s a list of the tools I would like to have with one light: light stand, barn doors, bowl reflector, 45 inch umbrella with a black back, a light panel and a sync wire or a radio slave. Here’s an article about shooting with one light, there’s a lot you can do! Additional useful accessories include: a snoot or a grid spot, a small light stand and a large umbrella, maybe 60 inches. I already put a list of the basic kit I often recommend on this blog here

Happy holidays. I hope that you receive light for the holidays!

November 12, 2012

Shooting Large Format at Indiana Landmarks


Since I’ve been writing about architectural shooting lately, I should start off by mentioning my book Photographing Architecture. Available at Amazon and other fine booksellers.

Of course my other book: is also available, why not get the set?

And my classes continue at BetterPhoto.com. I’d like to meet you in class.
An Introduction to Photographic Lighting,
Portrait Lighting on Location and in the Studio,

Getting Started in Commercial Photography

I’ve been continuing to shoot architecture with the 8X10 camera, and I must say I am having a fabulous time doing it. I did a shoot at a building called the Indiana Landmarks Center, which was formerly the Central Avenue Methodist Church. After restoration the facility is just stunning. I did several shots with the big camera. Two of my favorites are reproduced here. These are scans of the Vandyke prints. As I mentioned in previous blog entries the reproductions are very different from original prints. I will be selling originals soon, so you’ll be able to have an original for yourself. I am going back to the Indiana landmarks Center, probably tomorrow, to do some more shooting.

I should add a few technical details, in case anybody is keeping track. Both these images were made with my widest lens: a 165mm Angulon. This lens has about an 85º angle of view, which is very wide for large format, but not quite as wide as a 20mm lens on full frame 35mm film. I’m continuing to process in a two-bath version of D-23. The first bath is 5 minutes and the second just 3 minutes. I’m pretty happy with this, but I do need to increase the exposure a little. I’m using HP-5 film from Ilford currently, but I’m looking at other options. A box of 25 sheets of 8X10 film costs almost $90, so I want to be careful about what I choose. I’m actually shooting two 4X10-inch images on a single sheet of 8X10-inch film. I use a dark slide I’ve cut in half to protect the unexposed side of the film in the camera. This works really well, but I have to be careful not to double expose.

The image on a Vandyke print is made from silver, like modern black and white photo papers. However the light sensitive coating is mixed by hand and the chemical reactions are very different from modern photo papers. The coating is then brushed onto watercolor or other fine art paper. I’ve been having some difficulty coating the paper, but I think I have it figured out now. If you’re interested in more information about hand coated papers and the chemical/mechanical history of photography you should check out The Keepers of Light by William Crawford. Since it is out of print a new copy can be quite expensive, but Amazon offers used copies at reasonable prices.

After shooting digital for the last few years it is really interesting to travel back in time to large format cameras and older printing processes. As always shooting a big camera makes me a more careful shooter when I return to shooting digital.
Please consider one of my classes at BetterPhoto.com:

An Introduction to Photographic Lighting

Portrait Lighting on Location and in the Studio

Getting Started in Commercial Photography

If you’re in the Indianapolis area there are other opportunities as well. I’ll be teaching a class in commercial photography next spring at Ivy Tech.

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