 Dede Carver |
Homemade Home Studio? I love to experiment with pix of my kids. I've had wonderful success with outside pix now that I am finally getting the "light" idea. Never even crossed my mind how different inside lighting would be. I bought a couple of king size white sheets, hung them over a bar, through in some adorable props, "strategically" set around regular household lamps, read some about high key photography and obviously needed more than a few hours to learn the technique. The only thing that came out of the entire "great idea" was a withdrawl from my checking. Everything went gray or goldish and the lighting stunk. Had some obvious metering failure on the part of the photographer! Is it at all possible to set up a homemade home studio using what I have around the house? I'm not expecting a pro look, but at this point I have so much to learn that spending the money on pro lighting is silly. I have a great camera, an awesome flash with an off-camera shoe cord (of which I know very little about using for either the flash or cord) and a five-in-one reflector. Can anyone suggest something to make the variables that I can control flow better, i.e. film type and speed, a filter? Placing of my regular lamps? Anything? I know I need to work on the metering - that's a given - any comments on this would be appreciated too!
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Judith A. Clark |
Well, first learn to use the flash that you have. Add an inexpensive soft box to it. You probably need to give up on the household lights they are tungsten based and are causing the yellow. If you need extra light try buying the new light bulbs, I think the are called enhance, they are sort of a pink color and are whiter than reqular household bulbs. You should be able to do a lot with just your flash. High key shots may not be the best choice of shots. The gray background is caused by lack of light. White backgrounds in high key are overexposed. This means they have more light than the subject. You can accomplish this with some extra slave flash units, they aren't that expensive. I would say buy a few more sheets, maybe brown, or light blue. These just shoot better with the light from your flash. Make sure your subject is as far away from the background as possible to avoid shadows. I think that's about all the advice I have. I hope I covered some of your question.
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Dede Carver |
Thanks, Judith, for you advice. I need all I can get. Your response poses a few more questions now, if you have the time. The first is going to sound almost stupid. Is there a best way to learn about my flash? The manual that it comes with is assuming that I already now what a strobe flash is for, for an example, and when to use it. This is one example of many "this is how to make it work" but never any indication of what it does, why I would want to use it, and when I should use it. I have a book on flash photography, but it's much of the same thing. I wrote BP and asked if they give classes on flash photography but have yet to hear anything. The same goes for knowing what is intended for slave flashes and master flashes. My flash is a Canon 550 EX. It was around $450.00. The manual mentions using two or up to three of them as slave units to get great pix. Is this what you had in mind when you mentioned getting a few slave units and at this price? You mentioned a soft box. How do I learn how to use it if I were to buy one? All that I have looked at are big tall items. You said learn to use my flash and add a softbox to it. Is there something that goes over the flash? I have an opaque retangular spape piece that pulls out and can cover the light piece. Is this it? I've used it for bounce flash in a different way. Sooooo many questions. I appreciate anyone's help. I work a full time job and live in a small town. There is little to no opportunity to take a class so I am on my own. I am a teacher so I know the value in "doing to learn". I just feel like I am learning about chemistry using only an outline! There has to be an easier way!
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Judith A. Clark |
I'm not familiar with that flash, but I would check with a camera shop. Sometimes they know of where you can take a class, sometimes they will offer them, I don't know off the bat a good web site thay offers flash photography. The piece that pulls over your flash sounds similar to a soft box. I bought mine for less then 30 bucks - it's made by Lumiquest and attaches to the flash with velcro strips. When you go to the camera shop, also ask if you can use a bracket to raise the flash off the camera. As for slave flashes I have to be honest I have two that I haven't really taken the time to figure out yet, they ran about $24. They are supposed to fire when your flash fires but they didn't come with directions, and I can't seem to get them to work, but I have studio lights. Maybe someone on this site can give you some clues to the rest of your questions. I'm just learning myself, but I hope I gave you some suggestions to use. As far as all the features of the flash, if you don't find the answers you need then its just a matter of trying them to see what kind of effects you get. Its probably a waste of film and processing, but you'll see what you like and what really doesn't work.
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Dede Carver |
Thanks again. You have more than helpful. Please remember me as you learn, too. Any pull I can get helps!
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Andy |
You have one of the most powerful and sophisticated flash (I would say 'the most'). This flash has a built in transmitter that can communicate with other 550EX or 420EX. However, the 420EX can only use as a slave unit (it only receives signal) and cost about $200 each. Be careful if you are buying other slave flashes or slave unit (actually a light sensor that you attach a flash onto it). Your 550EX uses a 'preflash' to measure the subject distance and the exposure needed before the actual flash goes off and the shutter opens. This preflash may trigger the non Canon dedicated flashes prematually. The little piece of plastic you pull out from the flash head is the diffuser. Your flash can cover an anlge of a 28mm lens. But if you have a wider lens, say 24mm, you need to pull out that plastic to diffuse the light to cover a wider angle. I have never used a soft box on this flash because I can bounce the light (by tilting or turning the head). Even I am satisfied with the frontal, direct light from the flash (you pay that much money and it better be good). Of course, it's only my opinion. As far as when to use the flash and which feature to use in different situation, I think the manual explains it pretty well, in my opinion. It has pictures to demonstrate each feature too. If you need to understand a specific feature of your flash, we can help.
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Dede Carver |
Andy, thanks for your reply. If you don't mind me saying, the manual explains it pretty well to the person who is ready to use a sophiticated flash. Here is my problem. I am starting from square one with terminology, understanding and technique. My husband knows I love to take pictures. Everything I ever took was pretty much in program mode. I am good at composition and seeing a picture so my pictures always turned out fairly well to the average viewer. I never messed with shutter speed or aperature let alone knew how to. All of the sudden my husband shows up with an entire Canon EOS3 system, two pro lenses, and this awesome flash. Not quite ready for anything like that, but now what? Tell him to take it back? I'm up for the challenge, but as I said - I am starting from square one. I'm trying to learn little by little. The outside shots are going great. I live in Iowa and want to shoot mostly kids. At 9 degrees no one is too excited to go out, so... I am trying to learn lighting and technique inside. If I leave things in program, things aren't too bad. Color is off due to inexperienc of metering. But once I try dinking around with AV and TV mode then my flash requires some other adjusting that I am not confident with and things go screwy. Do I sound frustrated? I am. Do you perhaps live in Iowa? HA! I am wanting one on one hands-on training. Kind of difficult to get when I work full time and nearby colleges or schools do not offer classes at night. I learn so much easier by watching and doing rather than reading and doing, especially when the material already is above my current level. I have signed up for a couple of classes through this sight. Maybe its the best I can do. Please comment back, Andy. I have read many of your responces on several questions and I value what you have to say. Just remember, I am a beginner to REAL photography.
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Andy |
Wow. I would like to start my photography with the equipment you have ;) Since you mentioned the 550EX, a professional grade flash, I assumed ... Wrong assumption. Anyway, I started 'taking snap shots' twenty something years ago with an all manual (no metering) camera, Lordomat, from my father. All exposures were just guesting based on the sunny 16 rule, or distance to subject when using flash. Later my father let me use his Canon AT-1, still manual but with a build in meter. All I did was turning the aperture ring or the shutter speed dial to match the circle with the needle of the build in meter for exposure. I knew nothing about the depth of field in relation to the aperture. Never heard of the terms hyperfocal distance, slow sync or second curtain sync, etc. I didn't even know why there were so many numbers on the lens. Until two years ago, financially permitted, I decided to learn photography and I enrolled myself in NYIP (New York Institute of Photography). Since then, it opened a whole new world to me. The more I learn, the more I like those manual cameras. Last year, I finally purchased my first camera, a Canon 1v, with 550EX of course. I am still learning to 'create' an image. It's really hard to do one on one training in photography because you need to wait for the result to come back. Besides the many fine courses offered from this site, you may also want to take a look at the NYIP site and see what they can offer you. The class I took was a study at home class (I have a full time job too) and covers ALL areas, from the most basic and fundamental. Their URL is: http://www.nyip.com/ About your flash. Even though you use Av or Tv mode and changing the values, you should not need to change anything on the flash. That's the beauty of ETTL unless you want special effects. Maybe you can post your settings and the problem here so we can try to analyze the problem for you. Hope this helps.
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BetterPhotoJim.com - Jim Miotke  Contact Jim Miotke Jim Miotke's Gallery |
Might I also suggest one of the BetterPhoto courses? You might really enjoy Jim Zuckerman's new course because the final four weeks will delve into flash photography. Or I would look into my Beginning Photography course listed below. Also, starting in Spring, we plan to have an excellent course on portrait studio lighting with a special focus on creatively photographing children.
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Michael Grace |
Hi Dede: I know very well the feeling you have. You don't have to have very expensive equipment. Your current flash and maybe another cheap flash unit for a 2 light setup will give you great shots. What you need at this point is a good light meter that will measure incident light from your flash units. That is probably the biggest thing (aside from a little knowledge and experience)that you are lacking. I won't go into a lot of tech stuff. That isn't difficult. But I would visit a site called www.lightingmagic.com by Scott Smith in Texas. That will tell you a whole lot more than I could put in an email. If you want to talk about some of the details you're not sure of I will be happy to explain any questions you have. Check out Scotts site and then get back to me if you want. Have a great day! Sincerely, Mike Grace
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Dede Carver |
Mike, Jim, and Andy, Thanks for your responses! I love this website! I will take everyone's ideas and start to play around a little. IF I can figure out the upload thing, I will call upon you again for your constructive critisim. My husband asked me what I wanted for X-mas. He's pretty indulging. I have a light meter as you suggested, but of course, not sure what to do with it. On top of figuring out this new camera system it was just too much. I gave it to a friend to use and bring back me when I was ready. So guys.....what should I ask for? He flies into NY almost weekly and shops at B&H. (He says this place is absolutely amazing!!!!!!!!!) Mike, you mentioned a 2nd cheap flash for a two light system. Can you give me any specific suggestions? should I get another 550EX or something else cheaper that will work as well? Any filters or special film for inside portraits in a basement? Also if I get a second light, I'm going to need your help to figure where they should be placed. Once I get this photo thing mastered I'll give everyone a free photo session free for your help. He He!
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- Shirley D. Cross-Taylor Contact Shirley D. Cross-Taylor Shirley D. Cross-Taylor's Gallery |
Hi Dede, You've gotten some great information so far. Your experience sounds much like my own at the beginning. Some great sources for inexpensive slave units, soft boxes, light stands, bounce umbrellas, etc., are the Photographers Warehouse, and Porter's Camera Store. Both advertise in most of the major photo magazines. Photographers Warehouse ads are usually in the body of the magazine, not in the back. I purchased all my studio lights and softbox and bounce umbrella from them. You can use your existing flash with a bounce umbrella on a light stand. Another option is to buy faster speed tungsten balanced film, which will work with your lamps, no flash. Your photos will have a bit more grain, but this can also be an 'arty' look. Most of my original still-life photos were taken using one 100 watt bulb in a reflector through diffusion material (mine was a milky white cutting board propped up,) and Ektachrome 160T slide film. Just put your camera on a tripod and use a cable or remote release.
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Michael Grace |
Hi Dede: Another option you might think about is doing some black and white portraits. That way you could use regular tungsten lights or even the really bright halogen lights and the color temperature wouldn't matter at all.(no color cast in B&W)That would be a great way to get used to using your meter and the developing and printing costs would be a whole lot less than using color film. Another way to save money on lighting accessories is to use a diffusion panel made from white ripstop nylon fabric on a PVC frame. You just put your lights behind the fabric panel and now you have anything from a small hard light to a very soft diffused light depending on how far from the panel you place your lights. The only real negative of using a regular flash off camera behind a screen is that you won't have a modeling light to "see" the effect before you take the picture. Before I bought my first pro light system I was using a pair of Vivitar 283's with a reflector panel and was getting good results. You can mount the flash units on a stand and fire them into an umbrella reflector. Also the brand of strobe really doesn't matter much, any strobe that can be used with a sync cord or a slave and has enough power for your purposes will work just fine. You might note that almost ALL pro light systems are completely manual systems because that allows complete control of your lights. You can vary the intensity by how far away from your subject you place the lights.I still use a diffusion panel instead of softboxes because they are a lot cheaper and much more versatile. Go get you light meter and check out Lightingmagic.com and have fun! Later Dede. Sincerely, Mike Grace
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Andy |
Since you already have all these Canon products, I would recommend go for the 420EX if you want another flash. It sells for around $180 at B&H and you don't have to worry compatability and it works nicely with your 550EX as the master. Also you can set the flash ratio easily and still using the E-TTL metering of your camera. Get a couple umbrellas, light stands and shoe mount clamps and you are all set. This is very portable and easy to set up anywhere. For background you may find the Peoplepopper set quite handy (about $150; it comes with a support stand, crossbars, a 6x7 background of your choice and a carrying bag). I can carry all these with two hands to take portraits for my friends and relatives every where. Since you are taking mostly portrait, you don't need any filter except maybe a soft focus filter to create a dream like effect. As for film, I will use Kodak Portra 160NC. Other expoerts here may suggest what Fuji line of film to use. So many options. So many choices. Decision. Decision.
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Andy |
Also go to this site to request brochure about your EOS 3 camera, lens, and other product information. I found the EOS 3 brochure worth reading if you want to know your camera better. http://www.usa.canon.com/html/contacts/litreq.html
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Judith A. Clark |
I agree with Andy on the Portra 100 Nc great film for skin tones. I suggest a warming filter, before I got my lighting set, I had a problem with red skin tones, the warming filter keeps them golden. If you want a cheep color background, I found $15 canvas drop cloths from a paint store I thing 12'x15' dyed them in the washer. Youv'e got a cheap alternative. You can also dye king size sheets. Or try some of the tye dye sprays on the market. You would be suprised at the ideas you get at a large hobby store. Try some netting material, like you use in wedding veils to give a great soft look to props.
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Dede Carver |
I have printed this entire Q&A section and I am going to study it tonight. I am very excited to try some of this stuff out.... like tomorrow. ( I'm not kidding!) So....anyone up for a little "teach the new girl over the web" game:o)? It will be a test for all? Okay mostly me, but most photographers seem to people who are up for a challenge, why else would they spend years trying to perfect this crazy concept? By calling it a test I thought it might tept some of you that have already helped me. Will begging help? With soley the equipment I have: *Canon EOS 3 *28-70mm and 200mm zoom lenses *550EX flash and off shoe cord *remote cable release *tripod *big retractable 5 color reflector ( I have no clue what I am doing, but at least I look good. HE He. Now only if the pix did.) In my living room for X-Mas, I have a white washed wooden fence. Not a lot of white left, lots of aged, gray colored wood. Pine greenery lines the top with little white X-mas lights. On the fence are our 6 stockings. there is a west facing door directly to the camera's left and large North and West corner windows about 18 feet from the wall opposite of the fence. Do not see that the corner windows will affect the shot, but thought I would throw it in there just in case. The ceiling is white, the four walls are similiar to a mocha color. With all of this in mind, is anyone up for a test, laying their rep on the line (HA) by telling me EXACTLY how they would shoot this pose with the system I have? Results can be posted - maybe Jim M will even want to hire you to teach a course? Yes, I know it would be better with the proper lighting and I am working on it. I am just not patient enough to wait. Pretend some pushy, millon dollar photo hotshot wanted you to shoot this same scenerio of his kids in exchange for a job of a lifetime except you fell drastically ill and had to send..... me.....the one with the great equipment that I don't now how to use.... pretending to be you. ( we will not worry about any gender factors)The cool thing about this for all of you great photographers already advising me is that this should force you to really stop and think about the details you already know and take for granted now that you are so awesome. Miss a detail and the shot could be lost. Doesn't this sound fun? ( the correct answer is "yes") Can it be done or have I wasted everyone's time by finally getting through this post? DeDe
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Dede Carver |
Oops;) forgot to mention the hodge podge of film taking up a shelf in my fridge just in case..... Fugi NPC 160 NPH 400 Kodak Tmax 100 Portra 160NC &400NC Portra 160 VC Portra 100 Tungsten Obviously got a little carried away ordering, but I was curious to "see" the differences. Everyone recommends something else yet says it's a personal choice. Thought I would try one of everything and see what look I like , then go with it for awhile until I have more things figured out. Thanks again!DD
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Bill McFadden |
So, lets see, five basic rules that I try to follow are (from an old soldier who has had too many bumps on the head) : (1) Scout the area and make a plan for locations that look right for your subject. (you already know to check the colors of the room and have a great grasp for detail.) Determine at least a basic idea of what settings you will use on the camera and flash or when you wish to use the reflector in various locations. (2) Now we have basic plan. of course, no plan survives contact with the enemy. In this case, the enemy includes the weather, cloud cover, the time of day, etc. (It is not possible to say, for example, Okay, everyone stop having fun now, it is 3 PM (the so-called (and misleading) magic hour for outdoor lighting, and we NEED to take pictures right now!) So, have several locations noted in advance so you can capture the perfect moment when and where it happens. (3) there is never such a thing as too much "ammunition." Ammunition includes having enough spare batteries and film to meet the situation's requirements. (4) Shoot as much as possible, before, after and especially, of course, during the event. You already know you should use professional film. Sometimes the shots you do not think would ever work give the best results. (5) before you take pictures in a new but readily accessible location, use stuffed animals, flowers or other subjects with a wide range of colors to test your plans. (Stuffed animals never ask to see their picture later. They also never worry about having a "bad" picture taken!) I use a real animal, my old and patient dog, fake flowers and a 1940's radio.
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Bill McFadden |
My initial assessment of your challenge is you can get some good texture shots of peeling white paint against a backdrop of aged gray colored wood, using the TMAX 100 film. You can also use the line and shape of the pale greenery line against the wood, taking the viewer's eyes into a corner where an interesting subject is placed using TMAX-100 and NPC 160. If the six stockings are on a horizontal plane, you can alter the composition by holding your camera at a 45-degree angle. place one stocking in the lower right and the top stocking in the upper left. Try the same concept but place the top stocking on the upper left and the bottom stocking on the lower right. (using Portra or Fuji color film. ) Place items in the stocking to add interest to the composition. Include a human subject in part of this process. If no model is available, use your self, the tripod and the camera's self timer to show pictures of you in various poses, moods and clothing, placing items in the stockings. Use the tripod and the Portra 100 Tungsten film to create a soft mood. Use long exposures in the twilight or night hours with the camera of the tripod, the remote camera release and the bulb setting. For example, turn off the room lights, after securing a working flashlight. Take a series of timed exposures (one minute, then two-minute and three-minute exposures) Shine the light on each of the six stockings for about a dozen seconds each time. (turn off the flash in between these times.) Of course, you would need to have your working area clear of any possible obstructions.
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Bill McFadden |
Try a rose in a stocking, with just the top showing and the stem within the stocking. That is a few thoughts I had on the stockings. I would use the 28 - 70 mm zoom lens for the "stocking shots" and the 200mm zoom (28 to 200, maybe?) for the texture shots. You would use the EOS 550 on camera and also handheld off camera (connected with the off shoe cord) to obtain the texture shots. I have to think more about using bounce flash, the light panel and let other ideas develop before I make a bigger fool of myself.
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Carrie C. Brannon |
Well I tried to enter the Picture, but it wouldn't let me! Sorry Dede...I can email it to you if you'd like! Carrie B.
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Dede Carver |
Carrie, I would love to see your pix! dcarver@trvnet.net
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Mark English |
Dede, I'm not sure where you are now with your learning experience, since I am coming to this late. There really is no substitute for taking things methodically, one step at a time. Learning to use studio lighting is an additive process... you learn to use one light, and a reflector for fill, thoroughly. Then you add a second light and so on. There are only two problems with your 550EX. It is not really powerful enough when bounced into an umbrella, or through a sofbox either of sufficient size to be worthwhile in a "studio" setting. And secondly, relying on the automation it provides will never teach you to really understand what is going on. First off, you need to buy a good book on the subject... since you are interested in photographing your kids, Vik Orenstein's "Creative Techniques for photographing Children" is a modern classic, now in atleast it's second printing. She has a fair bit material on simple lighting setups. Any of Nancy Brown's books are also great. A basic book that explains the relationship between light intensity and distance, size of the light source and the softness of the light, and other basic concepts should also be on your list. Any well stocked book store should have at least a few to choose from. You will need to use your incident flash meter to determine exposure, although you could purchase the Canon extension bits to get the unit a few feet away... the Shoe cord is too short (I know because I also own and use all the equipment bits you mention). As a starting experience, I recommend picking up a 36" umbrella, on a short stand and appropriate brackets... much cheaper than a comparable sized softbox. I suspect that you'd be hard pressed to get more than f/5.6 with ISO100 film using this combination at say 4 to 8 feet from your subject, although I am guessing here. This should be fine for headshots and small groups... and for learning. You can do a lot with just one light and few reflectors... and you should master this first before acquiring more lights. The lead image in my gallery was shot with one light directly above(a 600 ws monolight on a boom in a 3x4 chimera softbox... but a 36" umbrella would be just as good; you use what you have), a silver reflector below, and a second behind to camera right to bounce some light back into the hair, providing better separation from the background. To really learn this you must be willing to practice your craft, slow and steady wins the race. You have great entusiasm, looking forward to seeing some pictures!
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BetterPhotoJim.com - Jim Miotke Contact Jim Miotke Jim Miotke's Gallery |
This has got to be the best online discussion on studio lighting I have ever seen - bar none! You guys have put together a wonderful collection of excellent and time-saving tips. We have launched three new online photography courses that will be of interest to you:
Check out these courses as a great place to start. As was mentioned above, you get the benefit of having assignments that give you the direction you need. Better yet, you then have enough time to actually do the shooting and get it critiqued by the instructor. Best of all, you get to interact directly with the author/instructor throughout the course. Enjoy your studio lighting adventure!
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Dede Carver |
Thanks a million for all of your insights. I really haven't done a lot with my home studio. My daughter had a friend over a month or so ago and begged me to photograph them. They had gotten all dressed up with fashion boots and make up - obviously feeling like models. It was fun to mess around with them as they were easy to work with. When the photos came back, I was thrilled to see I had finally exposed the white background white and not gold or gray as in my previous attempts. This was probably the most rewarding for me. The lighting was flat all around. I used my 550EX bounced off an eight foot ceiling. It was on a tripod with a connecting cable a 45 degrees from the girls and the camera. I had the reflector out and leaned up against the opposite wall of the flash, but really didn't know how to use it as I had no idea where the flash would be hitting it. Guess that's where studio lights with modeling lights come in handy. I showed someone a few of the photos for critique and their only response was for me to stick to outdoor shots. (I will try to upload them - cant guarentee they will be attached)Kind of took the wind out of my sails and I had just shoved off. So now I am back on shore, searching endlessly for studio lights. I cant believe the difference in quality, price and opinion. I don't think I have ever been so confused as to what to buy in all of my shopping years. I don't want to put a lot of $$$ into a system at this point as my only subjects are my kids and they dont pay well. I looked into Britek and JTL as they are affordable, but then heard to continue looking as these might not be the best choice. From there I went to Allienbees and White lightning. I've heard wonderful things, but to get a three light setup was more than the hubby wanted to spend ( especially in the middle of remodeling our bathroom- apparently indoor plumbing holds some sort of priority) To make a long story short finally, I am still looking for lights. I want to take the Studio lighting course offered on this site and the instructor requires two lights I believe. Any suggestions on brand names and equipment to buy or shy away from would be GREATLY appreciated. My little room is in the basement toyroom, so no natural light is available. It has eight foot ceilings and is only about 10 feet wide. Someone had told me that a 300ws strobe would be plenty bright. I am unsure if he meant in one light, both lights, or in combination of two lights ie. 150ws each. Again, thanks guys for all your time with my question. This is a great site! DeDe
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