basic studio setup

[sarah_19_nz]

Hi there,

I haven't considered a studio setup until yesterday and I was wondering what are the essential items needed for a basic portable studio setup? I suddenly want to dabble in the 'Studio' realm and need specifics on what I should purchase. From googling "basic studio setup" I have come to the conclusion I need a couple of lights on stands with 'the bigger the better' soft boxes attached, a white reflector, a backdrop and backdrop stand. What else? or is this even accurate? I already have a SB-910 speedlight, is this sufficient for one of the light sources? can you get stands for these? What is the advantage of using an umbrella rather than a softbox OR a brolly box!? I know these may sounds like basic and even 'dumb' questions but I want to get started and need to know where and what that involves. I'm on a bit of budget so no 'fancy pants' gear at this stage will be bought. What about the wattage and types of bulbs etc. I will be using my kids to practice on and will probably get into children/family photography when I get good enough. Please help me out by outlining a suggested setup... even post pics to show what you mean if possible! I really appreciate the help and look forward to the replies.

 

[kundalini]

Although you can get very good portrait shots with a single light source and creative uses of reflectors, I think a three light setup as a minimum. Main, Fill and Hair/Accent light, plus reflectors.

However, with your comment of "I'm on a bit of budget so no 'fancy pants' gear at this stage will be bought", stay with your SB-910, get an umbrella for the Main (since they're cheap, I suggest both a shoot-through and a reflective), a 5-N-1 reflector or foam core board from your local art supply house for the Fill. Now you have a basic starter kit. A light-weight stand and universal bracket will be needed if you go off camera. Assuming you're a Nikon shooter, check your owners manual if your camera is Commander Mode compatible. If so, no additional triggers are required. Nuthin' Fancy and quite enough to get yourself down the road. You can use additional reflectors of any description for the Hair/Accent lights. I've used cutting boards wrapped in aluminum foil, mirrors, flashlights/torches, open window. Finding tools around the house is way cheaper than buying. When the budget relaxes a bit, then figure out what is really missing from your arsenal.

 

[sarah_19_nz]

thanks for the answer! curious.... why do some people use big soft boxes and some 'shoot through umbrellas'? Whats the difference? AND I know this is probably photography 101 but in what circumstances do you 'shoot through' and when do you reflect?

Keep the answers and suggestions coming folks!

 

[tirediron]

While I agree that umbrellas work well, my favorite speedlight modifier is the Lastolite Ezybox. You can do some very nice work with one of these (if I do say so myself). In a nod certain members ( ) I will acknowledge that there are less expensive version of this type of modifier available on Amazon and eBay, but I can't speak for their quality.

 

[hirejn]

This first thing you need is to understand how to control light to make a great photograph. If you understand light and how to use it, one light can make some great images, even in an ugly room (see Gary Fong Powersnoot). Without understanding and skill, the gear won't do you much good and you won't magically get good enough with time to open a studio unless you invest in some education. Every professional I can think of has learned something from another photographer. Nobody figures everything out alone.

Learning lighting is a process. I can't give you a gear list because I don't believe gear makes better photography. Skill drives gear, not the other way around. No doubt many will give you a gear list and recommendations. I'd rather have you learn lighting and then through the learning process see what gear you want to try for yourself. You can start with the light you have. There's no rush to open a studio. There's no one correct setup. More gear doesn't equal better images; it just equals more styles. You could have one white background and learn how to turn it into 100 different backgrounds, which is possible, or you could spend money on 100 backgrounds.

Speedlights are plenty for most situations, but you can't do everything with them and you have to understand their limitations. Study modifiers and what looks you like. Master one piece of gear before you buy another. Get control of your understanding of light, and you'll find ways to spend less and get better images.

 

[kundalini]

.... why do some people use big soft boxes and some 'shoot through umbrellas'? Whats the difference?

Usually money . Soft boxes will throw the light more directionally, whereas umbrellas really spill the light. Soft boxes are also generally more expensive and the speed ring must be matched for your light source.

It's true, bigger is better! The larger you can make the apparent light source, the softer the light will be. Read as more pleasing for the subject... generally speaking. Also know that the closer the light source is to your subject, the softer the light will be. Crazy thought, huh?

AND I know this is probably photography 101 but in what circumstances do you 'shoot through' and when do you reflect?

It's usually a matter of personal taste or can be subject/vision style driven. Shoot-throughs are softer light is used properly, but sometimes you may want a bit more contrast for the light.


I also use the Lastolite EZYbox for speedlights as tirediron mentioned.

 

[sarah_19_nz]

taking it all in.... what size softboxes/umbrellas are we talking? the bigger the better right? What shape is best?

 

[sarah_19_nz]

This first thing you need is to understand how to control light to make a great photograph. If you understand light and how to use it, one light can make some great images, even in an ugly room (see Gary Fong Powersnoot). Without understanding and skill, the gear won't do you much good and you won't magically get good enough with time to open a studio unless you invest in some education. Every professional I can think of has learned something from another photographer. Nobody figures everything out alone.

Learning lighting is a process. I can't give you a gear list because I don't believe gear makes better photography. Skill drives gear, not the other way around. No doubt many will give you a gear list and recommendations. I'd rather have you learn lighting and then through the learning process see what gear you want to try for yourself. You can start with the light you have. There's no rush to open a studio. There's no one correct setup. More gear doesn't equal better images; it just equals more styles. You could have one white background and learn how to turn it into 100 different backgrounds, which is possible, or you could spend money on 100 backgrounds.

Speedlights are plenty for most situations, but you can't do everything with them and you have to understand their limitations. Study modifiers and what looks you like. Master one piece of gear before you buy another. Get control of your understanding of light, and you'll find ways to spend less and get better images.

I have been teaching myself and learning how to use my camera and speedlight for about a year and a half, I practice EVERY day in many different lighting scenarios. I am ready to 'practice' using a backdrop with appropriate lighting so any suggestions of equipment is appreciated. I have read THAT many books, followed through THAT many tutorials and online courses, spoken to a well known Professional Aussie photographer and am ready to try something different.

 

[sarah_19_nz]

Thanks Kundalini! makes a lot more sense already.

 

[412 Burgh]

The bigger, the softer the light. Think about it a litter bit and it'll make sense. The best way I found out was to experiment which isn't always easy when you don't have tons of the equipment at your disposal.

 

[KmH]

There is also an umbrella/softbox hybrid known as a brolly. Photek Softlighter II, 46 inch Umbrella with Diffuser.

Light modifier size relative to subject size determines how hard (sharp edged shadows) is soft (diffuse shadow edges) the light is. Bigger is softer. Smaller is harder.
Dramatic light is harder light, and sharper shadow edges.

So you wind up with a range of sizes, and types of light modifiers. Other light modifiers include, diffusion panels, snoots, flags, positive and negative reflectors, and many more.

 

[sarah_19_nz]

great, I am a fan of very soft diffused light so I'm going big!.... going to investigate some brolly boxes! seem to be popular and cheaper than a huge soft box.


Another studio lighting 101 question..... I'm unsure of terminology etc but for example in a 3 way light setup which lights remain constant and which ones "flash" (I know right you are thinking SHEESH she really is a beginner!... well yes I am when it comes to a studio setup!) Thanks everyone

 

[kundalini]

..... I'm unsure of terminology etc but for example in a 3 way light setup which lights remain constant and which ones "flash" (I know right you are thinking SHEESH she really is a beginner!... well yes I am when it comes to a studio setup!) Thanks everyone

Unless you are going to be a product photographer, I would suggest to stay far, far away from continuous lighting setups. Flash photography is the way to go, be it speedlights, monolights or pack & head systems. So the only 'constant' light would be the modeling lamp (which shows you where the is going to fall on the subject) or the overhead room light (which allows you keep from tripping over all the stuff in the room in the dark), all others would flash.

So you wind up with a range of sizes, and types of light modifiers.

True dat.

 

[sarah_19_nz]

brilliant, totally clear in my head now. Thank you for baring with me

 

[Derrel]

Different umbrella designs behave differently. Shoot-through umbrellas do two things: they diffuse the light that goes THROUGH the fabric and strikes the subject, and they also bounce some of the light, and that light tends to add to the ambient light level within the room. When used with a speedlight, the bounce light is, oftentimes, not all that significant. When used with a powerful flash, like say, a 400 Watt-second flash, or greater, the amount of what is called "ambient spill" from a shoot-through umbrella can be extremely significant, espcially in a low-ceilinged room, apartment, or in close confines, and so on.

Imagine these scenarios: One has only one,single studio flash head or monolight, and elects to use a shoot-through umbrella and places the umbrella near a wall,or near a corner, or sets it up in a low-ceilinged room like an apartment living room. This can very easily 1) create a soft,directional Main or Key Light from the shoot-through light and 2) create a large,broad-angle source of fill light from the strong ambient spill. This is an easy way to light up a room, and "lift the ambient" significantly. Using just one light, and one umbrella, and a fair amount of flash power, like 400 Watt-seconds or even a ton of light,like say 2,400 Watt-seconds.

A second umbrella, the dark-backed reflective umbrella AKA reflecting umbrella; it shoots light out in only one basic direction. The dark fabric prevents light from bouncing all over the shooting environment. This allows you to, for example,place one or two or even three or four umbrellas facing forward, away from the camera, and then to shoot from behind the light, without fear of a ton of stray light flaring your lens. Depending on the lining of the reflecting umbrella, the light can be crisp and hot, like from a metallized silver umbrella; or a bit less crisp, but with some specularity, as from a silver/white material; or a more flat, diffused light, as from a matte-white dull-finished interior type of umbrella.

Umbrella boxes, like the Photek Softlighter or the Lastolite Umbrella Box doubly diffuse the light, first by bouncing, and then by their white fabric fronts. They contain their spill light, and are pretty handy. I have a few of these and really like them.