Herb wrote:
When you had the 4 Einstein's set up, what kind of light modifiers did you have on them?
Same setup as usual. One main light camera left with a 66-inch parabolic umbrella -- I think it's 66 inches -- and then 24x36-inch softbox camera right. The back two lights are both gridded, on both sides.
When I do the artistic lighting, it will be more side lighting and creating more shadows. I'm actually going back next month for an indoor shoot, and then when it warms up we'll go outdoors.
I am just a babe in the woods when it comes to lighting....so I need some help understanding your thoughts on the set up....
The gridded soft boxes those were to put light on the back ground but not a lot, is that correct?
The softbox that you used camera right, was that because you only had one large parabolic umbrella or ?
Thanks in advance!
friscoron wrote:
Same setup as usual. One main light camera left with a 66-inch parabolic umbrella -- I think it's 66 inches -- and then 24x36-inch softbox camera right. The back two lights are both gridded, on both sides.
When I do the artistic lighting, it will be more side lighting and creating more shadows. I'm actually going back next month for an indoor shoot, and then when it warms up we'll go outdoors.
Herb wrote:
I am just a babe in the woods when it comes to lighting....so I need some help understanding your thoughts on the set up....
The gridded soft boxes those were to put light on the back ground but not a lot, is that correct?
The softbox that you used camera right, was that because you only had one large parabolic umbrella or ?
Thanks in advance!
Herb, I appreciate the questions. All the equipment I have is to create whatever lighting environment I need, so it's not based on having just this or that. I have two parabolic umbrellas, an assortment of softboxes, more umbrellas, grids, etc. Four Einsteins and an AB B800. Six speed lights, but those are rarely used when I'm using my strobes. I like to think I can light up the Grand Canyon if I need to.
The silver extreme parabolic PLM umbrella intensifies the light, allowing for a shorter duration of the strobe light. Often, I can get it down to 1/5,000 or shorter in the strobe's action mode. The 64-inch umbrella allows me to cover a pretty wide area, but there's a pretty fast falloff of light as well. I use the softbox to the right for a softer fill light. In the back, the lights are gridded, but no softbox is used. It's not necessary as those lights are used for hairlights and rimlights.
Because I'm dealing with dancers (or in this case, cheerleaders) moving, What I do is create a lighting zone with pretty safe 1:1 even lighting. I set the softbox one stop off the main light, but you don't really see it in the image. The lighting looks very even, and it's intentional that way. When you're running multiple dancers through a bunch of shots, that's just the way I find that works best.
When we do a re-shoot next month, we will take our time and set up lights for each individual move they make, slowing down the process but creating more artistic shots. I really can't wait to do it.
Yes that helps...lighting is a tricky bugger....thanks friscoron wrote:
Herb, I appreciate the questions. All the equipment I have is to create whatever lighting environment I need, so it's not based on having just this or that. I have two parabolic umbrellas, an assortment of softboxes, more umbrellas, grids, etc. Four Einsteins and an AB B800. Six speed lights, but those are rarely used when I'm using my strobes. I like to think I can light up the Grand Canyon if I need to.
The silver extreme parabolic PLM umbrella intensifies the light, allowing for a shorter duration of the strobe light. Often, I can get it down to 1/5,000 or shorter in the strobe's action mode. The 64-inch umbrella allows me to cover a pretty wide area, but there's a pretty fast falloff of light as well. I use the softbox to the right for a softer fill light. In the back, the lights are gridded, but no softbox is used. It's not necessary as those lights are used for hairlights and rimlights.
Because I'm dealing with dancers (or in this case, cheerleaders) moving, What I do is create a lighting zone with pretty safe 1:1 even lighting. I set the softbox one stop off the main light, but you don't really see it in the image. The lighting looks very even, and it's intentional that way. When you're running multiple dancers through a bunch of shots, that's just the way I find that works best.
When we do a re-shoot next month, we will take our time and set up lights for each individual move they make, slowing down the process but creating more artistic shots. I really can't wait to do it.
Another question, since you have the Einstein's set in ACTION mode and if so, since the white balance changes with lower power output/faster flash duration, did you adjust the white balance temperature in the camera or did you shot RAW and adjust it in post processing?
I've heard some nits from techies who have evaluated the color temp changes in the Einsteins particularly in the Action mode. Honestly, any differences that there are are so minute, I can't see them. But in a situation like that, I always shoot in Auto WB and adjust the color in LR and again in PS. That's my normal workflow for any shoot.
