Help...so I don't look like an idiot. Softboxes

[wmervine]

<p>As I use both systems on a regular basis, I can say that both have their advantages and disadvantages. Personally I think to start with an on camera strobe would probably be of more use to the OP as on camera usage is a plus. Fill flash while running around chasing little uns gives you alot more flexability. And depending on what camera they have being able to to control the flash via CLS or the Canon equivalent is really useful. <br>

But beyond that if they choose to add a 2nd flash I would then say a mono would be the way to go, giving you a bigger range of options.</p>

[john_deerfield]

<blockquote>

<p>John, I use my small flashes with shoot-through white umbrellas, opaque quite umbrellas, silvered umbrellas, softboxes of various sizes (from a few inches to 3x5 ft), snoots, grids, barn doors, and so forth.</p>

 

</blockquote>

<p>Uh, OK.</p>

 

<blockquote>

<p>What sorts of modifiers do you feel I'm not benefitting from here?</p>

 

</blockquote>

<p>? I have no idea what modifiers you may or may not be able to benefit from. I'm not sure what that even has to do with the discussion? If you are implying that because you use a shoe mount flash with all the modifiers you have listed then there must not be any difference with any other type of strobe, then you are mistaken. I am not arguing that they work for you. I am arguing that there is a DIFFERENCE.</p>

 

<blockquote>

<p>If you think I'm simply pointing a flash at the subject, you're mistaken.</p>

 

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<p>I have no idea where you are getting this? I haven't said anything about the way you light anything. And truth be told, I don't care where or how you point your flash. My entire point is that there are differences. That the OP needs to educate themselves so that the OP can make intelligent decisions based on how they want to light something. And for some reason this has offended you. Since I can't even see where you are actually reading my posts, I think at this point we will agree to disagree. </p>

 

[peter_simpson1]

<p>Nobody's mentioned _Light, Science and Magic_ yet?<br>

Clueless as well, I thought it was a very good introduction to lighting and how and why it's used.</p>

[doc444]

<p>I have used this type of system for years its all setup for you as to lights and controller a quick setup and then set the lights at a distance you will be working in. The only thing I am not sure of is the trigger voltage (the voltage that goes through the camer to fire trigger the flash) I use a wein adapter that goes on the camera and keeps the camera safe.</p>

[doc444]

<p>Sorry for the three posts I just could not get the info into the post (good with a camera dumb with computers) I was trying to point you to a speedotron unit on ebay it has a two light system with stands flash heads and reflectors. So if you type in speedotron in ebay it will bring up a number of good units that are reasonably priced.</p>

[jamespjones]

<p>Hi Lauren, It seems that the discussion has devolved a bit into the virtues of different systems. I want to point out the obvious first: Window light is classic and beautiful. You can do an awful lot with windows and a large reflector.</p>

<p>Don't feel like you have to have a studio setup - you may not be quite ready for it and it is a very different process than shooting by natural light. But, if you're looking at studio equipment the low hanging fruit is the flash system associated with your camera manufacturer. They often can be controlled off-camera directly from the camera itself. It isn't the cheapest DIY solution but if you're shooting 5 times a week (a remarkable number) then it may be the easiest to grasp.</p>

<p>Hot lights (continuous lighting) are easy to use and you can pick up a set for cheap - look up Smith Victor. But, they aren't the best for stills (great for video). Probably safer than halogen work lights though. The things John talks about up above are accurate - but maybe over your head. Certainly a discussion of the three components of lighting may be lost on you for now. BUT, as people point out, there is a lot to learn and it is a lifelong adventure to master lighting.<br>

A word of caution - lights on stands can become liabilities. It sounds like this is your business now. If you're doing this for work then you should get insured. Homeowners insurance won't cover a business related liability. Consider joining your local camera club.</p>

[jay_drew]

<p >>The recommendation I saw in an article was 3 sets of 2 1000 watt work lights, but that was for video, so I didn't think I would need 3...<br>

There's another thing you may need to consider. Amperage draw. 3-1000 watt lights would draw ~25 Amps. Most household circuit barkers are set to trip @ 15Amps. I'm not saying that you would necessarily use that much current, but keep it in mind. I have no idea how much current most monolights use, but do take it into consideration. Also there may be other appliances running on the same circuit.</p>

<p >From experience in the distant past, I know it was relatively easy to blow fuses w/ 110V powered flashes. I imagine that those issues would be pretty much resolved these days. But do check or take into consideration how many amps your equipment is drawing.</p>

<p >Also umbrellas are easier & cheaper to work with, but I tend to like the look of softboxes a little better.</p>

<p >Try them (umbrella) & if they can't give your the look you want, you haven't spent a lot for the umbrella, & almost everything else would be usable w/ a softbox.<br>

Best wishes, JD</p>