Foolproof lighting advice for shooting a group of 70 people

[eddie_chan4]

<p>I was asked to take some group photos of a choir of 70-80 people. They're working for a charitable organization. I'm the only guy in the town who is willing to do this task for free. They don't have much expectation as they just want to have a few group photos to keep. They are going to perform at a local church. They want to have a group photo taken right after the performance, so I don't have much time to do setup (30 mins max). I don't even have any chance to do some test shots before the performance.<br>

All I know about the setting are:</p>

<ul>

<li>very high ceiling</li>

<li>no powerful stage lights</li>

<li>they'll remain standing on the stage (4 rows of 20 people) for the photo shots after their performance</li>

</ul>

<p>I have:</p>

<ul>

<li>2 400ws monolights</li>

<li>3 580ex flashes</li>

<li>2 some 48" white umbrellas</li>

<li>2 24"x36" softboxes</li>

<li>2 15' stands</li>

</ul>

<p>My questions are:</p>

<ol>

<li>Are my monolights too weak in this kind of scenario?</li>

<li>Are my stands too short for 4 rows of people? I guess the heads of the people of the last rows would be above 10 feet above the ground level. If necessary, I can set the stands on the tables to increase the height.</li>

<li>How should I setup the monolights? Should I just one one monolight because of the time constraints? (Setting it up high in the middle)</li>

<li>Should I just use the 580 flash(es) and forget about the monolights because of the time constraints?</li>

</ol>

<p><br />Thanks!!<br /><br /></p>

 

[aperryproductions]

<p>I think your mono's will be fine, just get them far away, so the fall-off between different sides of your group is minimal. I would set up one far away to the left for an even spread, one for fill, and a small fash in the back for separation. This is one particular style, and isn't necessary soft and "safe" light, but I find it interesting <br>

 

<p>Check out the bottom part of my post here:<br>

<a href="http://blog.aperryproductions.com/2010/04/lighting-gym-home-court-follow-up.html">http://blog.aperryproductions.com/2010/04/lighting-gym-home-court-follow-up.html</a><br>

and links to the strobist post</p>

</p>

 

[devon_mccarroll]

<p>If you do use your flashes along with the monolights, you'll need to have some kind of optical or radio triggers.<br>

Also, if possible, form the group into a curve instead of straight lines. Some risers are already formed this way, so hopefully the ones they'll be standing on are.</p>

[aperryproductions]

<p>alternative1: both mono's equidistant crossing each other with the right one point towards far left, and the left one point far right, so that with feathering / inverse square you'll get even coverage. I'd still throw in something on axis for fill.</p>

<p>Alternative2: bounce both lights high into the ceiling to try and light the whole room, but I fear you may not have enough light. IF you're working close to ambient you might be able to do it. Depends on how much light is in there, plus adding some additional fill.</p>

[richard_cochran]

<p>I did a similar shoot, with a slightly larger group, awhile ago. You can see my results <a href="http://webs.lanset.com/rcochran/duwbc_spring2007Small.jpg">here</a>.</p>

<p>I used two 500w-s monolights at full power, with just standard reflectors and no softening modifiers. I did the shoot outdoors and figured the minimal softening that umbrellas do at that distance wasn't worth the light loss and the risk of wind catching the lights and blowing them over. The light isn't very soft, but stage lighting isn't normally soft, so it doesn't look that much worse than a stage. If I were doing it indoors, I'd probably use the biggest umbrellas I could muster, figuring even a little softening might be worth the light loss.</p>

<p>Two 500 w-s lights were more than enough. I think I shot around f/8 at ISO 100.</p>

<p>Tell everyone to position themselves so that can see three things clearly: The camera lens, and both lights. If they can't see the lens, their face will be obscured, and if they can't see both lights, they'll be in shadow. I didn't sufficiently stress to my group that they needed to see both lights.</p>

<p>Take three or four shots from the exact same vantage point, with the same exposure. With a large group, someone will have their eyes closed in each shot, but if you have multiple shots to work with, you can probably take the shot that has the fewest closed eyes, and then use your favorite image editor to clone in "good" faces from a different shot to replace the "bad" faces. You'll end up with a shot where everyone has a reasonably pleasant expression.</p>

<p>You're right to keep the lighting setup as simple as possible.</p>

[picturesque]

<p>I've done a choir of about 100 people with two heads (equidistant on each side of the camera) out of a 2400 ws pack with umbrellas on--even if you don't get the softening effect, it makes a slight difference. You toe the heads in slightly toward the middle, but not a lot. Use a light meter to check how even the light is across the width. You get cross shadows but you get even light and faces lit.</p>

<p>Or, see the thread below. Danny Wong, in the thread, is talking about one monolight and softbox above the camera but he is also talking about 200 people. Instead of the softbox he talks about, you can use a shoot through umbrella, or two of your 48" umbrellas toed out (very slightly) from right next to the camera, on each side. Might be easier and faster to set up. Also easier to achieve even light, as well as easier to avoid people knocking stuff over. The shoot throughs are so that the convex shape spreads light outward and two near the camera to create a 'bank'.</p>

<p>You can set everything up in the lobby and as soon as you can after the performance, take everything in and shoot. The lights should be as high as you can get them. I'd bring a helper.</p>

<p>Can you go to the rehearsal to test?</p>

<p>1. Monolights aren't too weak--up the ISO. Unless the final image is going to be a huge print, just don't underexpose and it should be fine.</p>

<p>2. The stands may be too short, but would you have time to set them up on tables? Is the floor sloped? Best to get them as high as you can.</p>

<p>3. See above.</p>

<p>4. No. The 580EXs will produce the type of 'pinched' light typical of shoemount flashes.</p>

<p><a href="http://www.photo.net/wedding-photography-forum/00B5iJ">http://www.photo.net/wedding-photography-forum/00B5iJ</a></p>

[eddie_chan4]

<p>Thanks for all the reponses and useful info/tips/technique!!</p>