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Home studio.. will this work?
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<blockquote data-quote="WayneF" data-source="post: 596758" data-attributes="member: 12496"><p>To use the SB-400, it being on camera in Manual mode at low power should easily trigger the VK750 in Manual mode using its S1 trigger. That situation would also provide frontal fill flash for your portrait photo. One possible problem could be if the remote flash were inside a softbox and the trigger hidden from the camera.</p><p></p><p>However, this on camera location prevents the hot shoe fill light from being a large light? I failed to mention that you could instead use a hot shoe extension cable (Nikon SC-28, or older SC-17 works fine too, and is plentiful on Ebay cheaper), to move the SB-400 off camera (only a very few feet, the coil cord tension tends to tip light stands over). But very near the camera is where fill light needs to be anyway. The flash works the same on these cables as if it were on the hot shoe. </p><p>(The older SC-17 is identical, except it does not have the pin lock in shoe, but you can still simply drop the flash spring loaded pin anyway, and it will hold fine, never any issue).</p><p></p><p>Portraits do want a large soft light (large umbrella or soft box) on the main light (and normally placed close to subject, to emphasize large and soft). It is located high and wide from the subject (just out of camera view) to intentionally provide some shadows on the subjects face (broad or narrow shading, nose, etc) to show curves and shape. Very much more interesting than flat. The fill light softens them to become very pleasing.</p><p></p><p> For suitable tonal gradients, the lighting ratio (for color work) is commonly that the fill light alone is about one stop less bright at the subject than the main light alone. Without a light meter, a setup clue is that if one stop down, then the two added together will be about 1/3 stop brighter than the brightest alone. The hard part about portraits is to learn to LOOK, to learn to SEE, those tonal gradients. They are very important in portraits. We always think we LOOK, but it always takes a while to learn to SEE (and then, they are the first thing that we see). But ratio is a choice, make them look like you want to see them. Ratio is a conscious choice, part of "control".</p><p></p><p>But regarding large, the fill light (to make those main light shadows be mild tonal gradients instead of dark and harsh), does not actually need to be soft, because it is very close to the lens axis so as to light what the lens sees without making another set of shadows on its own. Usually is large, but there, on axis, frontal and center, it is flat light that makes no shadows (none that the lens sees on the face). So if no shadows, then no need for it to be soft. If near on axis, and slightly higher than lens, the direct fill shadow is hidden behind and below subject, out of sight. Again, it is typically about one stop less bright than the main light (but there are choices).</p><p></p><p>You might see <a href="http://www.scantips.com/lights/setup/" target="_blank">45 degree Portrait Lighting Setup</a></p></blockquote><p></p>
[QUOTE="WayneF, post: 596758, member: 12496"] To use the SB-400, it being on camera in Manual mode at low power should easily trigger the VK750 in Manual mode using its S1 trigger. That situation would also provide frontal fill flash for your portrait photo. One possible problem could be if the remote flash were inside a softbox and the trigger hidden from the camera. However, this on camera location prevents the hot shoe fill light from being a large light? I failed to mention that you could instead use a hot shoe extension cable (Nikon SC-28, or older SC-17 works fine too, and is plentiful on Ebay cheaper), to move the SB-400 off camera (only a very few feet, the coil cord tension tends to tip light stands over). But very near the camera is where fill light needs to be anyway. The flash works the same on these cables as if it were on the hot shoe. (The older SC-17 is identical, except it does not have the pin lock in shoe, but you can still simply drop the flash spring loaded pin anyway, and it will hold fine, never any issue). Portraits do want a large soft light (large umbrella or soft box) on the main light (and normally placed close to subject, to emphasize large and soft). It is located high and wide from the subject (just out of camera view) to intentionally provide some shadows on the subjects face (broad or narrow shading, nose, etc) to show curves and shape. Very much more interesting than flat. The fill light softens them to become very pleasing. For suitable tonal gradients, the lighting ratio (for color work) is commonly that the fill light alone is about one stop less bright at the subject than the main light alone. Without a light meter, a setup clue is that if one stop down, then the two added together will be about 1/3 stop brighter than the brightest alone. The hard part about portraits is to learn to LOOK, to learn to SEE, those tonal gradients. They are very important in portraits. We always think we LOOK, but it always takes a while to learn to SEE (and then, they are the first thing that we see). But ratio is a choice, make them look like you want to see them. Ratio is a conscious choice, part of "control". But regarding large, the fill light (to make those main light shadows be mild tonal gradients instead of dark and harsh), does not actually need to be soft, because it is very close to the lens axis so as to light what the lens sees without making another set of shadows on its own. Usually is large, but there, on axis, frontal and center, it is flat light that makes no shadows (none that the lens sees on the face). So if no shadows, then no need for it to be soft. If near on axis, and slightly higher than lens, the direct fill shadow is hidden behind and below subject, out of sight. Again, it is typically about one stop less bright than the main light (but there are choices). You might see [URL="http://www.scantips.com/lights/setup/"]45 degree Portrait Lighting Setup[/URL] [/QUOTE]
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