Setting up a very basic home studio

[josheudowe]

I'm looking for some advice on setting up a very basic home studio for portraits, starting with my kids, friend's kids and perhaps moving

into others down the line. I've been into photography for many years, so I'm interested in what accessories I should look into (screens,

accessory lighting, etc.) and what things I'll need. Again, I'm very new to any type of studio work, so if you're suggesting lighting, etc...

explain in detail what you're talking about!

 

I shoot a Nikon D300 with two main lenses (all Nikon): 105mm f/2.8 and the 18-200mm VR. Other lenses I have are for landscape. I

would like to pick up a lens for Portrait work, but need suggestions.

 

Thank you!

[cphoto]

Looks like your camera and the 105mm is great. I, too, am looking to set something up. Am researching Denny Mfg. Co. for

equipment needs. They have everything you need. Lighting goes all over the place. Nothing wrong with Paul Buff and White

Lightning. Midwest Photo has a section on Strobist gear. Check out Strobist site and blog.

[pulpmojo]

all you need to get started is one light, a light stand, a cable or transmitter (cables are usually included with the light), some kind of a diffuser (i.e. an umbrella or softbox; I prefer soft boxes but they're bulkier and more expensive) and a backdrop. A backdrop stand would also be handy but I've been able to use ductape when in a pinch. As far as what type of light... the most inexpensive way to go is simply using your detachable flash unit if you already have one. You'll have to figure out how to trigger it though. Some can can be connected with a pc cord but most can't. Another option is using an infrared trigger or a hotshoe extension. If you don't have a flash already than maybe consider getting a monolight (pc cables are normally included with these). As far as power, you won't need much if indoors. I have a small 200 watt light I use sometimes and it works just fine as long as I don't have a lot of outside light bleeding in through the windows. Hope this helps.

[pulpmojo]

oh and about your lenses. The 105 is a great lens for portrait worek as you probably already know but practically speaking you might have a bit of trouble using it indoors unless you have plenty of room to back up. You'll probably end up having to use the 18-200. Just FYI.

[carlos_rodriguez3]

Basic set for most portraits:

 

1 monolight - 150-300Wats - (100 to 600 dollars, depending on brnad)

 

1 umbrella - 40 inches (50-150 dollars)

 

1 Stand for monolight (60-300 dollars)

 

1 Reflector for fill light (20 dollars, or use a white board of any kind)

 

1 Hotshoe to PC terminal for the Nikon D300 (50 dollars)

 

Any background: wall, colored material, cotton, muslim, etc

 

Total: 280 dollars

 

Second basic set, more control over portraits

 

2 monolight - 150-300Wats - (100 to 600 dollars, depending on brnad)

 

2 umbrellas - 40 inches (50-150 dollars)

 

2 Stand for monolight (60-300 dollars)

 

1 Reflector for fill light (20 dollars, or use a white board of any kind)

 

1 Hotshoe to PC terminal for the Nikon D300 (50 dollars)

 

Any background: wall, colored material, cotton, muslim, etc

 

Total: 490 dollars minimum

 

Third set, medium set:

 

2 monolights - 150-300Wats - (100 to 600 dollars, depending on brnad)

 

2 umbrellas - 40 inches (50-150 dollars)

 

2 monolights - 100 Wats for backlight, hair light, background light (50-100 dollars)

 

2 snoots (30-80 dollars)

 

4 Stand for monolights (60-300 dollars)

 

1 Reflector for fill light (20 dollars, or use a white board of any kind)

 

1 Hotshoe to PC terminal for the Nikon D300 (50 dollars)

 

1 Stand for backgrounds (150 dollars)

 

Any background material

 

Total: 920 dollars minimum

 

It is important that your main light and fill light (150-300 Wats) to have variable output. So you can control main and fill light diferential

 

here is an estimate of the lights used in studio portraits in Photo.net:

 

1 Light - 15%

1 Light and fill reflector - 20%

2 Lights, one main and one for fill light - 50%

3 and more lights - 15%

 

I hope this values help you decide what you need: However, I should mention that the most of the best studio portraits of this year in photo.net use 1 light. One light portraits create very dramatic pictures. More traditional lgithning uses 2 or more lights

 

Also, you need to decide what brand of monolights you can afford. Durability, consistency and other characteristics may change from brand to brand. This decision depends on your budget. I have seen budget studio lights with two lights, stands and umbrellas for 150 dollars in ebay.

 

I hope this helps you

 

Carlos Rodriguez

[josheudowe]

Thanks everyone for the help. I don't really have a budget, so whether I spend 2-3 hundred or 6-7 hundred it's okay.

More importantly, I'd like to start with something basic and know that if I love it and want to continue to build with

more equipment, I already have some good things.

 

I'm a little confused as to what each light actually does. Again, I use my D300 and have an SB-800 flash, but

wouldn't using a flash (even off the camera) be too harsh and extremely bright?

 

Carlos, your list is great - thank you. A couple of more questions:

 

1. Can you recommend specific brands that you feel are high enough quality that again, if I want to grow down the

line, won't feel thatI need to replace?

 

2. Is there a way to attach the D300 to my MacBook Pro so rather than using a CF card, the shots can be viewed

and saved to the HD instantly?

 

3. The monolight is the light used on a stand wih the umbrella, right? What is the reflector for? (I assume equal light

balance for the other side of the subject)

 

4. Are there certain colors, materials and quality of backdrops? Would the color be based on personal preference or

the colors in your subject?

 

I'm going to pick up a book too, but this help is really super - thanks.

[pulpmojo]

actually your SB-800 is less powerfull (i.e. potentially less bright) than even your cheapest monolight. The difference is in the diffuser. So if you put an umbrella or softbox on your flash it will give you the same light quality you would get with a larger studio light using the same diffuser.

 

"the monolight is the light used on a stand with the umbrella"

 

Sort of, it is one of the types of lights that can be used on a light stand with or without an umbrella. You can also use a flash on a stand with an umbrella and you can also use a flash head (i.e. without the battery pack directly attached) on a stand with an umbrella, and of course there are continuous lighting units which I'm not even going to go into. Monolights are lights that have both the flash head and battery pack in the same enclosure.

 

The reflector won't give you equal light balance on both sides, only another light will do that. The reflector will reflect some of the light though and can therefore lighten up the shadows a bit.

 

There are definately different materials used in backdrops. The two big ones you have to choose from are either paper or muslin. As far as quality... paper is paper and muslin is muslin no matter who makes them. Only difference is some might be a bit thicker than others but I don't really see that as enough reason to buy one over the other.

[johnw436]

http://www.strobist.blogspot.com/

 

Spend a little time here first before you spend the money.

[carlos_rodriguez3]

Josh:

 

You need to search for "Rembrandt studio light" in the photo.net. Also, Glamour light, Hi Key light, Low Hi light. Once you see diagrams and disposition, the function of main light and fill light (or reflector will be clear)

 

The more you learn before you buy the better. This way you will know why you need something.

 

You also can begin to learn with 1 stand, umbrella and your SB800. Very fast you will realize why you may need additional lights and accesories.

 

You can use your SB-800 mounted in a stand. But you will need some atachments to put and umbrella in the same stand. I think there is a nikon accesory to fire the SB800 wirelessly, but I am not sure. Alternatively, you can use the following:

 

1 Hot shoe to PC, this goes in you D300

1 PC cable (watch out for the kind of terminals)

1 PC to Hot shoe. This goes in the stand. It normally has a 1/4" entry in the bottom for the stand. The SB800 mounts in this attachment

 

A monolight is just a flash adapted to be mounted to a stand and umbrella, with terminal for synchronization, and a optical sensor slave for wireless triggering with other monolights. All the controls are in the back of the monolight

 

The other option is head and battery. The primordial difference is that controls are in the battery, not in the back of the head.

 

Many brand make both types. The best are Bowen, Dynalite, Novatron and Profoto and some others.

 

About your question on d300 attaching to your Mac, I dont know if that is possible. I would love to have this for my Nikon D40x.

 

On you question on reflectors, you may need the same intensity of light from both sides of the subjects, but most of the time you will not. And I agree that reflectors cannt match the intensity of the main light

 

I attached a diragram of "Rembrandt light" I found in the net

 

Carlos<div></div>

[steve_robb1]

Hi John,

 

You said you were after basic, I think that's the absolute best way to start, have a look at Lloyd Erlick's portraits, I got lots of inspiration from him: http://www.heylloyd.com/toc.htm

 

You don't get much simpler than using a window!

[craig_shearman1]

Go to Amazon.com and search for portrait photography or portraight lighting. There are dozens of books on this subject.

[neil_colton]

Hi Josh,

 

The current issue of Professional Photographer (the magazine of the PPA) has an article on affordable, simple, portable lighting rigs. It's worth a look.

 

I mainly shoot outdoors (freelance photojournalist), but when I shoot indoors w/ DX format, I like the 50mm f/1.4 + the 85mm f/1.4 for portraits-the 50mm for full length shots, the 85mm for 3/4 + head shots. The f/1.8 versions of these are also very good lenses, but the f/1.4s are a cut above

 

IMHO, the 18-200 is a great walkin-around town w/the family type of lens-good for everyday use-but the primes are the best for razor sharp, professional quality images. Except for the newest 50 f/1.4, top primes can be purchased used at a reasonable cost. I buy used gear through KEH or Ebay. So far, I have had good experiences.

 

There's a trend toward longer focal length portraits (200mm, 300mm +) in the fashion world. If you have the room, you could use the 18-200 for those shots, though I'm told the high end of that lens is very soft.

 

Happy shooting,

 

Neil Colton

Washington, DC Metro Area

[josheudowe]

Thanks everyone... I've been reading a lot of had looked at everything suggested. I do have another question - in terms of

using a background, are there specific colors that are preferable for certain results? I'll shoot both black & white and color.

 

Thanks a lot.

[William Michael]

Black, dark Blue or Maroon heavy Cloth Backdrops, for greatest separation with Caucasian Skinned Subjects, in the ``Traditional Portrait`` sense.

 

If you are working Black and White, it is often more important to get tonal (and Pattern) variations in the CLOTHING, rather than focussing too much on the Background Colour: so long as the Background TONE separates from the skin tone, you are pretty much OK.

 

If you have enough Studio space to use a Shallow DoF and to allow you subject enough space in FRONT of the backdrop and if you are using Backlight or even a strong Hairlight with the Key (Main light): then the background / backdrop colour, or pattern, often does not matter at all, that much.

 

Similarly if you are using a strong Key light for impact, and you have good Studio Black (i.e. no windows), the background becomes irrelevant.

 

***

 

In reference to the first barrage of answers about lighting equipment, within those answers, there seems to be two camps:

 

. the minimalists who suggest getting one flash and

 

. those who seem to suggest to a buy a truckload of lighting gear, all at once.

 

I strongly side with the minimalist approach, and I disagree with any suggestion to buy more at the outset: even with an unlimited budget.

 

The reason is simple: learning.

 

When learning lighting it is very easy to stuff it up with lots of tools, and, it is almost IMPOSSIBLE to learn lighting BEFORE buying any of the tools.

 

This is an ``hands on craft``: no craft learns all the theory . . . and then goes out and uses ALL the tools. It is theory and practice learning together . . . any other approach is just silly IMO.

 

Perhaps it sounds clever to learn a lot of theory and then buy a truckload of gear, but having built three studios (physically built them) and taught for about 22 years at Technical College . . . I beg to differ on this point.

 

Studio Lighting is a course and a discipline, in and of itself.

 

IMO and IME it is MUCH easier to learn studio lighting, beginning with one light only: in fact there are many situations where very experienced Portrait Photographers use only one light. The great Portrait Painters did, they had a window.

 

Get one light and a diffuser or umbrella and learn lighting with one light. Then add to that. I suggest taking a formal a studio lighting course.

 

The very, very important point I make: To Learn Studio Lighting correctly, you need to buy One STUDIO HEAD with a MODELLING LIGHT.

 

Using your portable Flash Unit is not a good method at all, IMO.

 

***

 

Concerning lenses, the upper limit of the FL will be dictated by three concrete factors:

. your room dimensions;

 

. the number subjects in shot; and

 

. the length of shot.

 

At a guess, in most home studios, a 105mm on a D300 will suit only an half shot through to a tight head shot of one subject and will be too long for a 3/4 shot or Full Length and hopeless for full length shots of a Couple or a Family of six . . . and the Dog.

 

So IMO, long term view for you, is a set primes, my answer: 35; 50; 80/85; and 105 will do most anything in a smaller to medium studio at home on a D300. If you have the space a 135 added to that list would just be super.

 

***

 

Concerning learning studio lighting:

 

As an example, the two images are submissions from a lighting /portrait assignment (two Year Photography and Digital Imaging curriculum – Secondary Certificate). The (14 year old) students had three portraits to submit, after learning Studio Lighting basics in a set of Eight 40 minute Practical/Theory lessons. Two portraits had to be done in a studio the students had to make. They were allowed one hot light only, no baffle, reflector or diffuser.

 

I draw your attention to these because they highlight several points, which are both interesting and relevant to you:

 

Firstly the element of creativity in the Colour shot: the room became the backdrop, a re arrangement of the props makes a different backdrop, very economical and diverse. I am not suggesting this is a solution for every shot, (for you), I am suggesting your horizons be broadened from ``a backdrop``

 

Secondly the B&W: the lighting, and the fact it is B&W negates any Backdrop.

 

Thirdly the Black and White: there is no point playing with a second light, until the Photograper`s eye sees and understands what the main light is creating in the eye socket rendering. And then learns how to fix it: banging in another light will only make that eye socket worse.

 

Forth: both images show the value of a modelling light, because as these were both shot with one hot light, the scene was exactly how the viewfinder showed it to the Photographer: so is it when we use a modelling light.

 

I think if you take a look at any Studio Lighting Course or that portion of a recognized Photography Certificate, Diploma or Degree, all begin with one light, and many still use hot lights for training, for the reasons above.

 

I am not suggesting you get hot lights, but I strongly suggest you just get One Quality Studio Flash Head, with Modelling Light, a Quality Light Stand and a good Umbrella or Diffuser and master the lighting with those tools, and then move on from there.

 

Indeed, you might like to get a second and a third and a fourth head within two or three weeks, or two months, or two years: but if you want to learn the craft correctly get a good handle on what one light can achieve, first, you might find that you are very happy with just that.

 

Even if you do end up with a truckload of lighting gear: in two or three year`s time with a waiting list for your studio time, it is likely you will often choose just one head, for many of your shots.

 

WW

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[steve_robb1]

Great post William, very insightful, thanks! (...and I'm not even the thread originator!)

[josheudowe]

William, thank you... excellent post filled with great information. VERY helpful to me.

[William Michael]

You`re welcome, good luck.

 

Why not post a few of your first results: the ``leaning ones`` might be useful for others.

 

WW