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First attempts with lights
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<blockquote data-quote="WayneF" data-source="post: 533006" data-attributes="member: 12496"><p>Just talking, not doing, but my thought was an aluminum reflector (like from the cheapest clamp-on shop light, maybe 25 cm diameter) could be effective to block most of the spill, and to direct more into the umbrella. However, then its larger diameter blocks the umbrella (to some small degree in the center at small radius). Gain seems much larger than the loss. I normally use flash for still life, but have used these reflectors for one bare bulb for video work (moving pictures, which require continuous light).</p><p></p><p>The ganged 4 or 5 CFL can work in a softbox, which itself is a reflector to contain the side spill and direct all the light forward. We want 180 degree bulbs in a softbox, to use its reflector as designed. 4 or 5 will be stronger, but it will still NOT be as strong as flash. But to me, multiple CFL just seems a very bad plan in an umbrella. Absolutely nothing at all wrong with umbrellas, they are very effective with speedlights, but these CFL lights become a question.</p><p></p><p>Speedlights can be inexpensive, like the popular Yongnuo brand for example. Such studio setups (umbrellas or softboxes) are fixed, we set them up and adjust them, and then do not move them for the rest of the session. That means that Manual flash is not only very effective, but also the most useful in fixed studio situations. Manual lights offer the greatest control.</p><p></p><p>A Youngnu YN560 (maybe model II or III) is a very popular Manual flash model about $60 US. We probably also ought to have one Yongnuo YN565 for hotshoe walk-around bounce TTL use too. Only a little more expense, and it is fully usable with the others in manual mode too.</p><p></p><p>Flash is a big change. Certainly more useful power and shutter speed, but again, the camera cannot meter studio flash, and we cannot see its lighting effect until we take a test picture. Working procedure becomes very different. But we learn fast.</p><p></p><p>With multiple flash in the studio, the norm is to use a handheld flash meter, to be able to set each flash units power level to exactly meter to be the effect that we want. The meter will become the expense. We see the result in a test picture, but we quickly learn about what to expect. The meter lets us quickly duplicate last times lighting setup. We quickly learn for example, set the main light power to meter f/8 at the subject. Set the fill light to meter maybe f/5.6 (one stop fill ratio). The background light is typically near same as the main (for colored backgrounds). Hair light starts there, but we adjust by eye for the color of the hair, up to a stop either way for dark or light hair. See for example, <a href="http://www.scantips.com/lights/setup/" target="_blank">45 degree Portrait Lighting Setup</a></p></blockquote><p></p>
[QUOTE="WayneF, post: 533006, member: 12496"] Just talking, not doing, but my thought was an aluminum reflector (like from the cheapest clamp-on shop light, maybe 25 cm diameter) could be effective to block most of the spill, and to direct more into the umbrella. However, then its larger diameter blocks the umbrella (to some small degree in the center at small radius). Gain seems much larger than the loss. I normally use flash for still life, but have used these reflectors for one bare bulb for video work (moving pictures, which require continuous light). The ganged 4 or 5 CFL can work in a softbox, which itself is a reflector to contain the side spill and direct all the light forward. We want 180 degree bulbs in a softbox, to use its reflector as designed. 4 or 5 will be stronger, but it will still NOT be as strong as flash. But to me, multiple CFL just seems a very bad plan in an umbrella. Absolutely nothing at all wrong with umbrellas, they are very effective with speedlights, but these CFL lights become a question. Speedlights can be inexpensive, like the popular Yongnuo brand for example. Such studio setups (umbrellas or softboxes) are fixed, we set them up and adjust them, and then do not move them for the rest of the session. That means that Manual flash is not only very effective, but also the most useful in fixed studio situations. Manual lights offer the greatest control. A Youngnu YN560 (maybe model II or III) is a very popular Manual flash model about $60 US. We probably also ought to have one Yongnuo YN565 for hotshoe walk-around bounce TTL use too. Only a little more expense, and it is fully usable with the others in manual mode too. Flash is a big change. Certainly more useful power and shutter speed, but again, the camera cannot meter studio flash, and we cannot see its lighting effect until we take a test picture. Working procedure becomes very different. But we learn fast. With multiple flash in the studio, the norm is to use a handheld flash meter, to be able to set each flash units power level to exactly meter to be the effect that we want. The meter will become the expense. We see the result in a test picture, but we quickly learn about what to expect. The meter lets us quickly duplicate last times lighting setup. We quickly learn for example, set the main light power to meter f/8 at the subject. Set the fill light to meter maybe f/5.6 (one stop fill ratio). The background light is typically near same as the main (for colored backgrounds). Hair light starts there, but we adjust by eye for the color of the hair, up to a stop either way for dark or light hair. See for example, [URL="http://www.scantips.com/lights/setup/"]45 degree Portrait Lighting Setup[/URL] [/QUOTE]
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