Achieving Bokeh With Studio Strobes

[melandkeifspics]

<p>OK, so here's my scenario... I'm trying to do a session with a newborn baby, y'know, the kind where the baby is placed on a bean bag that's covered with a boppy and a blanket that is pulled back and hung on a background stand giving it that seemless effect.<br>

<br /> I am using a set of Elinchrom strobes (dLite4, 400W) setup a few feet from the subject. I am shooting with a 70-200mm lens and standing about 5-6 feet away.The lights are set at the lowest power setting and allowing me to shoot at ISO 100, f/5.6, 1/160sec, however, I'm not achieving the amount of bokeh to blur the background to my liking as I would if I could shoot at f/2.8 or even lower if I used my 50mm f/1.4.<br>

<br /> What can I do to achieve the amount of bokeh I desire?</p>

<p> </p>

[Matt Laur]

<p>If the strobes are set as low as they can go, you need to block some of that light. You can use ND (neutral density) gels on the lights, or you can use an ND filter on your camera. The latter solution will make your viewfinder darker, which could be a handicap. Better to dim the lights with gel. And of course remember that when you move the lights farther away, the power of the light hitting your subject drops at the square of the distance. You can also feather the modifiers (softboxes? umbrellas?) so that only part of the light is falling on your subject.</p>

[mike dixon]

"amount of bokeh"

 

Just to clarify: bokeh is a quality, not a quantity; it describes the character of out-of-focus areas, not the degree of blur. It sounds like you're trying to blur the background more. Matt has offered good advice on how to reduce light levels so you can use a wider aperture. If your goal is to blur the background more, another means (if you have enough room) is to move the subject farther from the background.

[frank_skomial]

<p>You hang a background farther behind, and you will not have any out of focus objects that would be distracting viewer attention, and therefore bokeh would not be of greater concern.<br>

Any backlighting projected on your hanging background should be evenly difused, with no hot spots.</p>

[tom_mann1]

<p>Mike, thank you! The error you pointed out is much too common and makes the person who made it sound silly.</p>

<p>Keif - Shoot with the longest focal length possible in your studio. There is a distinct difference between DoF (ie, a range of distances) and the size of the OOF blur for objects outside of the in-focus region. The latter increases rapidly with increasing FL, whereas the DoF does not (...many previous discussions of this). Most photographers don't realize the difference, but the latter contributes beautifully to the strongly OOF look that you probably are seeking.</p>

<p>Tom M</p>

[melandkeifspics]

<p>Thanks, guys. Classic case of learning from my mistakes. Thanks for pointing them out. It did make me feel silly, but I know better! LOL.</p>

<p>I guess at this point, it's all about taking everything into consideration... I'll shoot at the longest focal length that I can (200mm), I'll stand as close to my subject as possible (the longer focal length requires that I step back, but that distance is offset by my FL, if I understand Tom correctly), and I'll try to move the background as far away as possible.</p>

<p>In regards to moving the lights further back, would that not significantly affect the quality of light (the "pin source" effect making the light harder)? To what degree does it affect the quality? Is there a safe range in which I can move the lights without these issues arising?</p>

 

[brooks short]

<p>In addition to moving the background farther behind the subject and using a longer focal length lens you could also double duffuse your light which will reduce its intensity while making it a much larger and softer light source. One way to do that would be to setup a 6'x6' diffusion panel right next to the subject and light it with a large 3'x4' soft box from a distance so that the entire diffusion panel is lit. That's how you increase the distance between light and subject to reduce the power while maintaining or even improving the softness of the light. </p>

[john_deerfield]

<p>Besides the excellent advice already given, I have seen baby photographer's that use an extension tube on a long lens allowing you to get in closer. As well as using something like a lens baby (on a sleeping baby!).</p>

[marlon]

<p>If your strobes have strong modelling lights you can put the lights close and just shoot wide open at a higher ISO. </p>

[bob_bill]

<p>Borrow an Einstein. You got me to test at lowest power (1/256 power) and an 85mm G at 1.4 with light at 3 feet and camera a shade further. 3x4 softbox feathered with interior diffuser panel in place. This nailed the histogram just short of the right edge. I expect in a larger modifier or further away, would need to push power a bit off lowest power to achieve f/1.4. Here's the test shot. Also, have tested it firing at 6 frames per second and it just does it. (advertised up to 12 fps). Handy as infants move quickly into and out of poses and expressions so you may not want to wait for a long recycle. </p><div></div>

[rodeo_joe1]

<p>Since you don't need much power a little hotshoe strobe or two might do the job, no? I have a couple of old Canon 540EZs that'll go all the way down to 1/256th power. Other than that an ND8 filter will get you were you want to be in terms of aperture.</p>

[garypeck]

<p>If you pile on ND filters - you'll have trouble seeing and your camera will have trouble focusing - Why not do it the easy way. Change your LB to incandescent and shoot with your Elinchrom modeling lights.</p>

[melandkeifspics]

<p>Keep the options coming in, guys. I'm absorbing all the information...</p>

<p>I liked the idea of just using the modelling lamps. I'll definitely give that a try. Have you guys done that with any success?</p>

[garypeck]

<p>I wouldn't suggest it if it weren't a proven technique. Light is - light.<br>

The principles remain the same regardless of the source. Again, destroying your vision with filters only makes the job more difficult. </p>

[model mayhem gallery]

<p>I only use bokeh when shooting outdoors. In studio I use light fall off to hide the background. Light fall off is greater at higher power. In other words increase the power of your strobes substantially, use a very small aperture i.e F8 or above and a fast shutter speed the fastest you camera can sync to.<br>

What this will do is require a lot of light to light the subject and cause light to fall off very fast. Meaning everything behind the subject will be darker faster. By opening your aperture you are causing everything behind the subject to be well lit because the camera is more sensative to light. <br>

Also, place the strobe as close as possible to the subject and have both as far as possible away from the background. This will not create a bokeh effect, but more of a light zone dark zone effect which in my opinion works better in studio.</p>

[tom_mann1]

<p>Yeah, man, personally, I never use bokeh, either indoors or out, so one day I just threw out all the bokeh that came with my camera. If I ever need some again, I'll just buy some brand new bokeh from B&H. ;-)</p>

<p>If you are wondering why I teasing you, see the 1st line of 3rd post in this thread, ie, by Mike Dixon. It's just as easy to say, "I only use strongly blurred backgrounds when shooting outdoors, ...". It's a lot more accurate, and it doesn't make you sound like a wannabe that's trying to impress people by incorrectly using words they think are obscure and hi-tech sounding. </p>

<p>Tom M</p>

[nathan_bonsal]

<p>Shooting wide open or shooting at low apertures requires either very low power settings on your strobes, highly modified light from your strobes, or a ND filter on your lens.<br>

The easiest thing is to modify the strobes. Adding filters to the lens while shooting indoors can lead to difficulty with autofocus, difficulty with the dimness of the viewfinder, and all manner of other annoyances related to the lack of light while focusing and composing.<br>

A cheater method-<br>

If you use a reflector on your monolight, you can make some aperture cards to put over the opening of the 7 or 8 inch reflector. Then, aim at a silver or white umbrella, and BOOM, lower power. <br>

Or shoot into a larger umbrella that's farther away. If using a softbox, get a bigger one and move it farther back.</p>

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