Studio lighting
Discussion
So after spending the last two days clearing out my garage with the aim to make it into a studio, I’m not struggling with what lighting to use.
As lighting is a completely new part to my photography I’m struggling with what would be best.
So thought I would ask for suggestions. Now my studio photography will be mainly of pole dancing, so I’m thinking flash will be better than continuous so strobe?
Even some hints on where to start with researching this would be great thanks.
As lighting is a completely new part to my photography I’m struggling with what would be best.
So thought I would ask for suggestions. Now my studio photography will be mainly of pole dancing, so I’m thinking flash will be better than continuous so strobe?
Even some hints on where to start with researching this would be great thanks.
Even though your post says 'pole dancing' I will regain composure and attempt to answer...
I came this way about 12 years ago, converting a spare bedroom into what was effectively a big white box with infinity coves. LIke most newbies I was afraid of flash. I mean, you can't see what you're going to get, right? So I got some 500W lamps. After the first couple of jobs they went on eBay (because they were too dim and too hot) and invested £500 in a s/h Elinchrom 3 head flash setup. Best thing I ever did.
Bits have come and gone but I currently have 2x 400W heads, 1x 100W head (for tabletop work), wireless trigger, a couple of small softboxes, a big octabox, snoot, honeycomb, various backgrounds. Just as a DSLR kit can evolve to suit your needs, so can studio flash.
As for what bits you need to get the effect you want, look at photos you like and try to 'reverse engineer' the lighting to see how it was done.
Oh, and don't forget to post samples
I came this way about 12 years ago, converting a spare bedroom into what was effectively a big white box with infinity coves. LIke most newbies I was afraid of flash. I mean, you can't see what you're going to get, right? So I got some 500W lamps. After the first couple of jobs they went on eBay (because they were too dim and too hot) and invested £500 in a s/h Elinchrom 3 head flash setup. Best thing I ever did.
Bits have come and gone but I currently have 2x 400W heads, 1x 100W head (for tabletop work), wireless trigger, a couple of small softboxes, a big octabox, snoot, honeycomb, various backgrounds. Just as a DSLR kit can evolve to suit your needs, so can studio flash.
As for what bits you need to get the effect you want, look at photos you like and try to 'reverse engineer' the lighting to see how it was done.
Oh, and don't forget to post samples
Simpo Two said:
Even though your post says 'pole dancing' I will regain composure and attempt to answer...
I came this way about 12 years ago, converting a spare bedroom into what was effectively a big white box with infinity coves. LIke most newbies I was afraid of flash. I mean, you can't see what you're going to get, right? So I got some 500W lamps. After the first couple of jobs they went on eBay (because they were too dim and too hot) and invested £500 in a s/h Elinchrom 3 head flash setup. Best thing I ever did.
Bits have come and gone but I currently have 2x 400W heads, 1x 100W head (for tabletop work), wireless trigger, a couple of small softboxes, a big octabox, snoot, honeycomb, various backgrounds. Just as a DSLR kit can evolve to suit your needs, so can studio flash.
As for what bits you need to get the effect you want, look at photos you like and try to 'reverse engineer' the lighting to see how it was done.
Oh, and don't forget to post samples
Thank you, I feel I was about to head down the wrong path when deep down I knew I needed flash and your post has confirmed that.I came this way about 12 years ago, converting a spare bedroom into what was effectively a big white box with infinity coves. LIke most newbies I was afraid of flash. I mean, you can't see what you're going to get, right? So I got some 500W lamps. After the first couple of jobs they went on eBay (because they were too dim and too hot) and invested £500 in a s/h Elinchrom 3 head flash setup. Best thing I ever did.
Bits have come and gone but I currently have 2x 400W heads, 1x 100W head (for tabletop work), wireless trigger, a couple of small softboxes, a big octabox, snoot, honeycomb, various backgrounds. Just as a DSLR kit can evolve to suit your needs, so can studio flash.
As for what bits you need to get the effect you want, look at photos you like and try to 'reverse engineer' the lighting to see how it was done.
Oh, and don't forget to post samples
As for reverse engineer, I went watched a shoot from one of the most well known pole photographers so do know how he arranged his lighting which should give me a little bit of a head start.
I’ll happily post samples when I’m happy with some of my work.
Any chance you might want to shoot video? I know little about pole dancing and its associated art forms, but I would have thought if there was any element of the dancers wanting to obtain work through the use of your produce the ability to light for video as well as stills would be useful.
Tim2k9 said:
Thank you, I feel I was about to head down the wrong path when deep down I knew I needed flash and your post has confirmed that.
There's another option for continuous lighting, LED panels, but if you want big bright ones they'll cost a fortune.Tim2k9 said:
As for reverse engineer, I went watched a shoot from one of the most well known pole photographers so do know how he arranged his lighting which should give me a little bit of a head start.
It will, though I meant something more general - looking at shadows and catchlights in a photo you like so you can extrapolate back to the position and size of the lights/modifiers.Jargon:
Catchlight - eg in eyes - you'll see a mini version of all the lights in front.
Modifier - anything stuck on the front of a light, eg softbox, reflector.
Simpo Two said:
Tim2k9 said:
Thank you, I feel I was about to head down the wrong path when deep down I knew I needed flash and your post has confirmed that.
There's another option for continuous lighting, LED panels, but if you want big bright ones they'll cost a fortune.£40 for 600x600 x 45W including the mounting bezel-
I have a few of these (not this make, can't find where mine came from) and they work very well for continuous lighting situations although I normally use my Elinchrom strobe stuff as I'm not usually shooting video or portraits.
How big is the space? I wouldn't be too sold on a brand if I'm honest; for a home setup especially. We've switched from Elinchrom to Porofoto at work because of the inconsistencies with them.
I use Godox at home - nice, cheap and consistent. Arguably more important than your source are your modifiers.
I use Godox at home - nice, cheap and consistent. Arguably more important than your source are your modifiers.
So much good advice here, I’d like to reply individually however on my phone which makes multiquoting difficult.
So, at the moment I’m not really looking to take video and purely looking at this from a photography aspect. Check back for a thread in a few years when everyone has decided they want to do routines...
As for the size of the space it isn’t huge, will measure out when home. Big enough for a person laid out and lights next to them. I’m still thinking strove but will go and check reviews for some of the names given to hopefully have an idea to see what’s on offer and prices.
Also I’m not going to read up on catchlights, etc as hadn’t heard of doing that before.
So, at the moment I’m not really looking to take video and purely looking at this from a photography aspect. Check back for a thread in a few years when everyone has decided they want to do routines...
As for the size of the space it isn’t huge, will measure out when home. Big enough for a person laid out and lights next to them. I’m still thinking strove but will go and check reviews for some of the names given to hopefully have an idea to see what’s on offer and prices.
Also I’m not going to read up on catchlights, etc as hadn’t heard of doing that before.
Also look at controllability - ie how many stops you can adjust the brightness by. This allows you to control exposure when you're at the aperture you want and the synch (shutter) speed is fixed. If the heads are going to be up high consider having a system you can control remotely (as opposed to having to go over to the light and grope around on the back trying to find the up/down buttons). Depends how much you plan to use it.
Better to futureproof yourself now than buy too cheap and regret it later.
Better to futureproof yourself now than buy too cheap and regret it later.
Simpo Two said:
Also look at controllability - ie how many stops you can adjust the brightness by. This allows you to control exposure when you're at the aperture you want and the synch (shutter) speed is fixed. If the heads are going to be up high consider having a system you can control remotely (as opposed to having to go over to the light and grope around on the back trying to find the up/down buttons). Depends how much you plan to use it.
Better to futureproof yourself now than buy too cheap and regret it later.
This is another thing I hadn’t even thought of, think I need to do a lot more reading before deciding. I do agree but cheap buy twiceBetter to futureproof yourself now than buy too cheap and regret it later.
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