In light of the availability of large octaboxes such as the Elinchrom 69" & 74" why do photographers use 72" and 96" light panels for diffusing or reflecting light coming from monolights?
I understand videographers use them because softboxes can't handle high temperatures. This is obviously not a concern in photography, so why do photographers still use lighting panels with lights? Is there a functional or practical aspect I am missing?
Simplicity, softness (a 72 or 96" panel is a huge light source), and versatility. You can make either a giant, soft light modifier by putting your flash further back from the panel, or you can make it act as a smaller, harder modifier by putting your flash very close to the panel. It can also be used as a giant reflector, and a large scrim outdoors if there is no wind.
Ok I understand the principle behind enlarging the light source, but most wonder doesn't a 69" or 74" octabox come to about the same size as a 72" panel?
The price point is true, panels are usually $300, but octaboxes also start around that price and once you add the adapters, panels become more expensive, don't they?
Softboxes are static sources, diffusion panels are vivid. Get the drift?
The type of sources behind, the amount and their distance to the panel creates totally different light sources. Also think of gradiants, not achievable with softboxes.
For instance, one source lights the whole panel and a second (brighter) source throws just a pool of light to a specific area....
PeterBerressem wrote: Softboxes are static sources, diffusion panels are vivid. Get the drift?
The type of sources behind, the amount and their distance to the panel creates totally different light sources. Also think of gradiants, not achievable with softboxes.
For instance, one source lights the whole panel and a second (brighter) source throws just a pool of light to a specific area....
I don't get what you say in bold but the rest makes sense. I get from what your saying that panels offer greater control over the shape and quality of the light. In that sense I can understand your statement in bold as octaboxes giving, more or less, a single light look, where as panels give many light looks.
PeterBerressem wrote:
Also think of gradients, not achievable with softboxes.
For instance, one source lights the whole panel and a second (brighter) source throws just a pool of light to a specific area....
Yeah that's how I light allot of my portrait background a single light with gel for general gradient and then a second light for a selective hot spot.
You hit the nail on the head...gradients. A spotlight with barndoors behind a large panel is the a softlight of a thousand looks..superb with reflective objects where the shape of the highlight is important. With a softbox you have only one look.
An example...logo only as the image is a composite...one panel, three spotlihgts. whole panel lit with a lihgt blue gel, on spot with bardoors for the top highlight, one spotlight with barndoos for the bottom part of the highlight. Many trips behind the panel to adjust lights and barndoors
infocusinc wrote:
You hit the nail on the head...gradients. A spotlight with barndoors behind a large panel is the a softlight of a thousand looks..superb with reflective objects where the shape of the highlight is important. With a softbox you have only one look.
PeterBerressem wrote:
Abdul,
please check: the only word I wrote in bold is 'to', in "...distance to the panel..."
I think he meant the quote from you that he had in his message. He put the top part (static vs vivid) in bold, but ended up answering his own question.
@infocusinc: sweet reflection there. How long did it take you to get the transitions, colours, etc. just right?
It's been awhile but if I had to guess 15 -20 mins tops for the entire process, set to file.
Here is another example of the same comcept, but this time with light bounced instead of shoot through. Chrome logo on the back of an rv, about a half hour to produce.
abdul10000 wrote:
thanks for the feedback everyone.
Ok I understand the principle behind enlarging the light source, but most wonder doesn't a 69" or 74" octabox come to about the same size as a 72" panel?
yes but that leaves out the versatility aspect. With a large light panel I can do several things like:
-Take an already diffused light source (light bounced into an umbrella, through a softbox, or bounced int oa v-ee of flats and make it more diffused.
-Diffuse single or multiple hard lighting sources inot a smooth homogeneous light.
-- move the lights around be hind the scrim to still get a large diffuse effect but control exactly where I wantthe lightlight to be.
- switch out the diffusing screen for a solid black to block light) , white, silver or gold metalic surface for bouncing light.
- slash the diffusing material to get a mix of specular and diffused light.
-- put an object or objects between the light source and the diffusing screen to control hot spots and light fall off without casting obvious shadows.
-- use the frame with a diffusing screen but with objects connected to the frame so that hard shadow patterns can be created.
-- Use a softbox at an angle behind the disffusing screen to create a smooth edged graduated fall off in brightness on reflective surfaces.
Diffuse or block direct sunlight.
All of these things you can not do with a simple single large softbo no matter how much money it costs.
You can even choose a variety of diffusing materials (or gels for that matter) from Rosco or Lee Filters.
After trying several different frames from various manufacturers -- including a few I made from metal conduit and PVC tubing -- over the years I finally settled on the Chimera Panel Frames. They are aluminum, they are lightweight and connected with internal bungee cords, they lock together rigidly. They travel well and are compact, and they are quick to set u pand quick to put away. The one thing they are not is cheap, But I think mine paid for themselves pretty quickly, like within a month and they will last probably forever.
Another advantage of using a reflector, instead of a similar sofbox, is that you can easilly stop up/down to change depth of field effects without having to adjust the light output on a strobe. As long as the sun is out to reflect light in the first place!
With the silver chimera 42x72 shot at about 2.8 but also at other f stops in other shots without having to make any changes to the lighting setup at all. http://www.johnjovic.com/images/l_269_1000.jpg
