Shopping list for prom shoot equipment

[jaycobar-chay]

<p>I've seen tons of posts from people in my exact situation: I know what I'm doing with a camera but I've never used studio lighting or flashes before and I've been asked to do the prom photos for a small town school. All of the responses to posters in the same situation have developed into advice about what sort of setups to use and there hasn't been much in the way of exactly what items to buy (or rent) and what you need to make them work.<br>

From what I've seen everyone suggest to a first timer doing this, simple is better. I keep running into "butterfly" lighting as an easy method that allows for groups and couples. I'm wanting one light on a stand up high above my camera. I'll need to shoot couples and groups.<br>

I need to know what I need in terms of lighting equipment. I don't want to learn flashes; I want a light source that is on constantly.<br>

What do I need in terms of a light, umbrella, boxes, reflectors, stands, cords, cables and so on? I'll try to rent, but the closest town that would have a place that rents (Memphis, TN) is an hour away; I might have to buy, and would prefer cheaper over more expensive. I try to buy used when I do buy...<br>

I will have the manpower to orchestrate this thing; I'll get a couple of friends to help with taking money and order forms, checking dresses for bra straps and such. What I need here is advice on what to buy to light and exactly how to use it. The prom committee is making the background and I'll be able to help with the creation of that to suit the photos for groups as well as couples.</p>

 

[garypeck]

<p>Jay - really? If you have no idea what equipment you need - then what makes you think you will know how to use it? This is not going to be pretty - think about it for a moment. You're planning on lighting that's easy for you with little concern for the clients involved. It takes time and experience to deal effectively with studio strobes and it usually takes longer than a weekend.</p>

<p>I don't mean to be a downer here - but you've obviously bitten off a bit more than you can chew - how are you going to position and pose these people while you're under considerable pressure and time constraints.</p>

<p>Please find someone with the experience and background to take this job - take a percentage if you must, but for the sake of all our reputations let this one go.</p>

 

[jaycobar-chay]

<p>I didn't know how to use a camera until I got one in my hands and started using it... I've got enough time to get equipment and learn how to use it. I need advice on what to get though, not advice on not doing the gig. (And I do understand your point, but I'm sure everyone in the business had their first job using studio lights at one point or another... you just can't leave everything up to someone that already knows how to do it, you've got to get your feet wet at some point or nobody would ever learn how to do anything for themselves.)</p>

<p>I've seen several examples of prom photos using the butterfly technique I mentioned already and they looked great. Everyone that offered the suggestion of that method to others in my situation said it was simple and easy for a beginner because it's just one light. What I haven't been able to figure out from their suggestions is if they used flashes or continuous lighting. From what I've been reading since I put the post up, continuous lighting probably won't be bright enough and they probably used flashes. </p>

<p>I was wanting to avoid flashes because of the learning curve but I have more than one pro friend that can help me with hands on tutoring to speed that up if I have to go that route. I've read that beginners start with continuous lights for the ease and then move to strobes for the extra control and versitility... I might have to just go with what they use and can teach me.</p>

<p>I'm still interested in any input people would have about how to do a one light setup with a continuous light. Assuming what I've seen was done with a continuous light, the examples I've seen look like something I'd gladly pay for if I was going to prom, so it can be done.</p>

[bebu_lamar]

<p>I guess if I were you I would first try to figure out what kind of pictures I want to take. I know it's prom pictures but I will have to imagine what those pictures would look like. Then I take it from there. </p>

[devon_mccarroll]

If you put one light high up above your camera, it will be pointing down at their faces, which will result in really unattractive

dark shadows under their noses, chins, etc. That's not butterfly lighting, which is more for individual head and shoulders

portraits anyway. Your main light should ideally be to one side and slightly in front of the subjects, you'll need a very large

softbox assuming full body shots (softboxes for hot lights are different than for strobes), and you'll need a very large

reflector to the other side for bounce if you won't have a fill light. You should have a third light for a hair light, but these are

all going to get very hot if you use hot lights, which are called that for a reason. You also need to light the backdrop.

If there are going to be more than two people in some of the shots, then you'll definitely need more than one light, and

since prom shots are usually full body, you'll need some power. Cheap lights won't give you enough.

As for needing to start somewhere, you're right, everyone has their first gig, but that's after much learning, studying, and

practice with friends and family before doing a job of any kind. You've got to be ready to adjust on the fly without having to

think about it. You'll need to be able to quickly adjust your setup and lighting angles for different heights, know where and

how to light and place your reflector or fill if someone is very tall and their partner is very short, adjust for highly

contrasting outfits, glitter or shine, dark skinned and light skinned, etc. It is much, much more difficult than you think. You

will also need two of everything in case of equipment failure. That means two cameras, two lenses, spare lights, etc. Start

by assisting someone on some jobs so you can learn. It's extremely unprofessional to take on any paying or pro job

yourself until you have the knowledge and experience to do it. I know it's not what you want to hear, but it's the truth.

[jaycobar-chay]

<p>I thought there would be plenty of responses of this nature, and yes, I'm toying with saying no, but I'm still curious, despite what has been said about ugly shadows using what some people have referred to as "butterfly" lighting, how did their pictures turn out looking so nice with one 5 foot umbrella 10 feet above the camera? When you see pictures like that you think to yourself "I can just set up a light on a tripod, meter with a gray card and snap away".</p>

<p>If I hadn't seen info about that out there I probably would have said no already because I really don't want to learn strobes and get all that equipment.</p>

<p>And for the record, when it was offered to me, I initially said I didn't want to do it for all the reasons listed already but I was told I had time to learn and I'm not the dullest tool in the shed. (It's a small school and despite the nature of photographers to be extreme perfectionists with their art, most people think a photo is nice if they can see the people in the picture and it's in focus. These things aren't going up in a gallery somewhere and some people could very well be wearing camoflauge to the event. It won't take much to dazzle them...)</p>

<p>Still, I might offer the job to the pros I know to go as support; sort of like paying a mechanic who knows what they're doing to use their shop and tools as they stand next to you while you do the actual work on your own car... You get the same expertise and work at a cheaper rate while you learn something yourself.</p>

[bebu_lamar]

<p>exposure is not a big deal. It's how you light your subject. </p>

[studio460]

<p>Forget about "butterfly" lighting. Simply use two large sources (e.g., umbrellas or softboxes) on either side of camera, slightly above your subjects' eyelines. Try to shoot at or near base ISO, at 1/250th, at f/5.6-f/8 depending on lens, format, and depth of the group. You can use a hardline PC sync cable if you don't have any wireless triggers. If your camera doesn't have a sync terminal, you can buy a hotshoe to PC-sync adapter (about $10).</p>

[studio460]

<p>Jay said:</p>

 

<blockquote>

<p><em>I don't want to learn flashes . . .</em></p>

</blockquote>

<p>Oh. Didn't see that. Continuous lighting will both reduce your shutter speed, and raise your ISO since their output is typically very low compared with strobes. Subject motion blur and noise may become an issue if your continuous lights aren't bright enough.</p>

[jaycobar-chay]

<p>That's why I'm leaning toward bringing the pros in on the job. I keep studying up on this and continuous lighting doesn't seem to be what I need in a dark gym for reasons just mentioned. Having said that... what equipment would be bright enough using continuous lighting? It seems easy to set up two light sources that are bright enough and meter off of a gray card. With flashes there are so many other things to consider...</p>

<p>I know what I'm doing with a camera. People photography is my strong suit. I'm no pro, but people have paid me in the past for lots of jobs and they've all been happy with the results. If I can just light the subjects well enough I'll do fine.</p>

[studio460]

<p>Jay said:</p>

<blockquote>

<p><em>. . . what equipment would be bright enough using continuous lighting?</em></p>

</blockquote>

<p>I just answered a similar question another thread: http://www.photo.net/photography-lighting-equipment-techniques-forum/00cSJB</p>

[christian_irgens]

<p>Prom photography isn't rocket science. For about ten years I did a lot of it in the NYC metro area. When I started we shot medium format film, but eventually the company decided that 35mm might just work.</p>

<p>The set-up was two studio strobes with umbrellas, one on each side of the camera; seven feet up and about 15 feet from the students. The students would be 3-4 feet in front of the backdrop. For what it's worth we used a medium grey cloth background unless the school insisted on some student creation. The advantage of medium grey is that automatic photo printers will be less influenced by subject failure (a red dress gives a green face, a yellow dress a blue face.)</p>

<p>As has been said, constant light sources are not the best solution. To do it right gets expensive for you as well as uncomfortable for the subjects. However, if you insist, CowboyStudio has a two softbox CFL kit with (short) stands (N-2000wkit) for $ 155.00.<br>

<br>

Shooting hopped-up high school seniors goes a lot easier with strobes. Also, despite your flash phobia, if you want to expand your photographic reach, you will eventually have to go the strobe route. The next decision you must make is whether you want to do it right or do it cheap.<br>

<br>

The right way is two Paul C. Buff Einstein 640s with 7" reflectors, 10' stands, 48" umbrellas, and ideally a Cyber Commander radio trigger setup. A two light kit will run you $ 1,410, and you will be set for a long time with state of the art equipment from a company famous for its customer service. Down the road you can acquire other light modifiers and battery packs to increase the utility of the kit.<br>

<br>

The cheap way is Adorama's Flashpoint Budget Studio Monolight Flash. They come in three flavors; 120 Ws (Wattseconds, a measure of electrical energy discharged with each pop, also a rough guide to light output), 160Ws, and 300Ws, priced respectively at $ 50, $ 70, and $ 100. The winner in the bang per buck category is the 300 model. Each model has been available with a stand and umbrella kit for an additional $ 40, but the kits seem to be out of stock. Stands and umbrellas are commodities, however, and Adorama can certainly get you what you need.<br>

<br>

You will also need a way to trigger the strobes; I would recommend four Yongnuo RF-603 II radio triggers, approximately $ 65 to $ 80 total on Amazon. If you want to be really cheap, get a hotshoe to PC sync adapter, a Y splitter, and you are in business (although entangled in cords.) It is also feasible, but not recommended, to use just one 300 Ws directly above the camera.<br>

<br>

For what it's worth, I own ten 160 Ws units of an earlier generation and have generally been happy with them. Just use the modeling light sparingly, it tends to overheat the unit. A couple of spare fuses are always helpful.<br>

<br>

Since it seems extremely unlikely that you have a flash meter, you should get a grey card. Set up your equipment, get someone to stand in for the student and hold the grey card. Set camera at ISO 400, 1/160, and f/8.0. Zoom in until card fills the frame and shoot. Check histogram, you want a sharp spike right in the very middle of the histogram. If not, adjust ISO, aperture, or flash output until you have tamed the flash. Now you are good to go! As I said, it really isn't rocket science!</p>

<p>Good shooting</p>

<p>Chris</p>

[twmeyer]

<p>wow.<br /><br />Here's the problem. If your desired outcome is beautiful light on anything from one to six or ten people, a continuous lighting rig could be A) so hot your subjects will be significantly warmed by them, B) insanely expensive (LED), C) so hot they are quite dangerous (use big sand bags and tape over all the cords on the floor) and draw a lot of current (where are those circuit breakers, and what else is on those circuits?), D) producing really harsh and unflattering light without using big umbrellas, which are famously unstable (see A and C), especially in the presence of rowdy kids (a Prom, you say?).<br /><br />Tota-lights with 750 watt bulbs come to mind, but they'd have to be in a big umbrella because you can't mount them too close to a small one (they are smokin hot and just touching the housing will raise a fat blister in a fraction of a second. Get some gloves. Leather ones). This would be one top heavy and very hot rig... You'll need a stiff stands to hold it... and you'll still be working at high iso and slow shutters (you're taking pictures of teenagers? They don't have any problems holding still at at dance, do they?)<br /><br />One of the advantages of strobe is it's very quick, action stopping burst of light (for fun, spontaneous moments), it's low operating temperature, the available option of using battery power (no cords on the floor!) and it's relatively affordable dollar to watt second ratio (really). You get none of that with continuous lighting. That stop action stuff really comes in handy with kids.<br /><br />I'm not sure how much time you have, but this really isn't something that can be perfected in a couple of hours, or even a couple of weeks. It's a complex task that involves an odd confluence of skills found usually in a dance instructor, an artist, a lighting technician, a circus clown, a psychologist and a cat herder. Then you have to manage the image files... which you may already be prepared for. <br /><br />If you insist on trying this (and why not? really, I'm serious, you should do it), you will find it easier (no kidding) to buy one B800 Alien Bee and a Vagabond Mini-Lithium (with an extra battery), a 64" White PLM from Paul C. Buff (with the black backing cover), and get a C-stand and umbrella adapter from B&H shipped in. This is because once you put a piece of tape on the floor (where the kids will stand), set your light/umbrella so you can stand under it, and get a proper exposure, you won't have to change a thing, all night long. <br /><br />The good thing about buying this equipment is, someone will buy it all from you almost immediately, for 75% of what you paid for it, after the job is done. Seriously. Someone within driving distance of you. And that's almost a guarantee. The difference in cost between this and the Tota Light rig is minimal, and you'll never resell that.<br /><br />Can I get a witness? Photo.net? Anyone?... t<br /><br />ps. You don't need a grey card. Check the histogram and use the Flashing Highlight feature... and for god's sake, shoot raw files... with jpgs if you must.</p><div></div>

[christian_irgens]

<p>Tom is right, the grey card may be too high tech. Instead use a few sheets of printer paper, shoot it, and check the histogram. Again, vary flash power, aperture, and ISO setting until you get highlight flashing, then back off a third of a stop. Or you can put the spike right in the middle and then open up 2 1/3 stop. Remember that your shutter speed does not influence your flash exposure, but you must be at sync speed, or preferably a third of a stop slower to account for potential long flash duration.<br>

<br>

Again, good luck, and possibly enjoy Introduction to Flash 101!<br>

<br>

Chris</p>

[Marc453]

<p>The best studio lighting per dollar value IMHO is Novatron. A pack and two heads can be picked up on Ebay for about $200-$300. These are industrial heavy duty, work all day lights with modeling lights. You can also buy them new at Adorama or BH Photo, in parts or in a full kit with a carrying case. A new kit will cost about $600 and can go up to $2400. They include everything except the sync cords (some do include the cord depending on where you buy). They work great with all radio transceivers IR slaves and PC cords. Once you set them up and get the right exposure, you're set. The previous recommendations for a neutral gray background is a good one. With two lights you can pretty much handle anything. Three gives you a nice hair light and four will give you a background light to play with. Have fun.</p>