Studio Flash 'V' Dedicated Flash 'V' Video Lighting

Archived from groups: rec.photo.digital,rec.photo.equipment.35mm (More info?)

My first question is what would be the difference between a dedicated flash
such as a Canon 550EX/580EX and studio strobes? For example, would you get
just as good results using a Canon 580EX with an umbrella/softbox as you
would with a studio strobe with the same umbrella/softbox? (Obviously
unless you were shooting a big subject, with a massive softbox/umbrella).

My second question is why use flashes/studio strobes at all? Why not use
video lighting which emit a permanent light source? Especially with
digital, whereby you can adapt the white balance 'on the fly'?

Archived from groups: rec.photo.digital,rec.photo.equipment.35mm (More info?)

Russell wrote:

> My first question is what would be the difference between a dedicated flash
> such as a Canon 550EX/580EX and studio strobes? For example, would you get
> just as good results using a Canon 580EX with an umbrella/softbox as you
> would with a studio strobe with the same umbrella/softbox? (Obviously
> unless you were shooting a big subject, with a massive softbox/umbrella).

Large flashes like the 580EX output about 125 to 150 W-s at maximum
power. This is about the power level of the smallest studio strobes.
They can be used easilly with umbrellas (shoot through better than
reflected). For best results, set the flashes to single power level
with the aid of an incident flash meter at the subject. Shoot at that
one power. Using them with wirelss (or even wired) TTL (or pre flash
TTL) will result in exposure variance according the subject/scene
reflectivity.

I have shot portraits with 2 and 3 accessory flashes in a wirelss TTL
configurtation and it was difficult to achieve consistent ratios and
exposure. Setting each at a manual power level is the only way to get
consistent results.

> My second question is why use flashes/studio strobes at all? Why not use
> video lighting which emit a permanent light source? Especially with
> digital, whereby you can adapt the white balance 'on the fly'?

Fluorescent video lighting is wide spectrum, but not smooth, so not
ideal for photo lighting. (It's not bad, just not ideal). It's cool.
Recent products include fixtures that hold up to 9 spiral fluorescents
in a 'gang'. So 9 x 27W (~100W equivalent, each) is quite a bright
light. Unless the lighting is very very bright, small amounts of motion
will be caught at lower shutter speeds, and the crisp look of strobe
will be lost.

Hotlights are fine and the camera can be adjusted for the white balance.
Makes for a hot studio for everyone. Same comment egarding crisp
strobe look.

The advantages of studio strobes are: consistency in exposure, frozen
motion, cool lighting, fast recycle. For a small home studio you can
use a couple 160 to 200 W-s strobes for key and fill, plus a slaved
camera flash or ac strobes for background, rim and hairlights.

Cheers,
Alan

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Archived from groups: rec.photo.digital,rec.photo.equipment.35mm (More info?)

"Russell" <nospam@nospam.com> writes:
> My second question is why use flashes/studio strobes at all? Why not use
> video lighting which emit a permanent light source? Especially with
> digital, whereby you can adapt the white balance 'on the fly'?

It depends on what you're shooting. Studio lamps are usually called
hotlights, since they give off a lot of heat, as the name implies. If
you're shooting portraits, pets, etc., the subjects get uncomfortable.
Similarly if you're shooting something like food, the heat can make it
wilt or melt or whatever faster. If you're shooting stuff that
doesn't mind the temperature, hotlights are a good economical
alternative to strobes.

Archived from groups: rec.photo.digital,rec.photo.equipment.35mm (More info?)

"peter" <nospam@nospam.com> wrote in message
news:JHIle.6135$tv3.1587@trnddc06...
[SNIP]
>
> This is a minor point, but some people like to shoot portrait > showing
the subject with a large iris. You do that by using
> studio strobes in a dimly lit room. If you use continuous
> light, iris shrinks.
>

I've always thought this is an interesting one. The pupil expands when we
look at people we love, so that 'look' has romantic associations for us.
However, expanded pupil = less visible iris (I think Peter meant "pupil" in
the above) so the eye colour is less obvious. Hence people go both ways -
fashion especially is often shot with bright modelling lights so as to
contract the pupil and get a strong eye colour.

I tend to think close head-shots benefit from the large pupil effect, since
the eye colour is still clearly visible close to, whereas shots from further
back need the pupil contracted more in order to make the colour come
through. Just my unscientific opinion.

Of course, people often boost the eye colour in PS these days...


Peter