Portable Studio for corporate headshots equipment help!

[natalie_uribe]

<p>Hi! <br>

I am primarily a natural light photographer and have not really dabbled in studio lighting. I have recently been asked to go into 13 offices within a particular company and take employee headshots, I want to know what portable studio equipment is best for this job? I need to take headshots as well as body shots with white background. I shoot with a D700 and a 50mm 1.4. I also have a StudioPRO Single 1000 Watt 32" Octagon Softbox Continuous Output Lighting. <br>

Do I need a backlight? if so what kind? Also how many speedlights do I need? Will I need another softbox? <br>

As you can see I am a little lost. Please help :)<br>

<br>

Natalie Uribe</p>

[derick_miller]

If I understand correctly, you want a white background? If so, you will want to light the background separately from your

subject.

 

The standard method is to use two lights from the sides on the background and aim them to get the light even by

aiming them across each other. You want enough light to get it white but not so much that you get too much blowback of

light, which can give you crispy hair. It is possible to do this with one light, but easier with two.

 

I was once pressed into service and had to use a single camera flash on the background (which was a white reflector)

and used the other flash in a soft box to light the subject. This was just for headshots. It worked out, but I wouldn't

recommend it.

 

Since you need full length, the two light setup is the best method I know. I have done it with studio strobes with normal

reflectors and with strip soft boxes. There are also specialized background reflectors, but I have never used them. My

guess is they make it easier. A flash meter is helpful but it can be done without.

 

You can cheat in Photoshop if you must, but this costs time. Crispy hair is a real pain in post, so don't over light. Uneven

edges (away from the subject) are easier to fix. I strongly recommend testing while you are not under pressure. Look at

the edges of your test subject at 100% and preferably print, too. This will reveal any flaws.

 

As for lighting your subject, you will want to practice this, too, especially if using strobes. If you use your continuous light

to light your subject, you still need to see how it combines with the background strobes.

 

A properly lit white background will provide good separation, so you won't need a light aimed at your subject from behind

(also called a hair light or rim light). Your main light (also called a key light) provides the shape. You may want a white

reflector to fill in the shadows. Some use a second light on the subject as fill, but a reflector is easier and is unlikely to go

wrong :).

[michaelmowery]

<p>Out of curiosity, If you are a natural light photographer who does not do studio lighting, Why would you change your style? I assume the person who asked you saw your existing portfolio and liked what he saw. Explain that to me. One does not learn strobe lighting on a Job. </p>

[natalie_uribe]

<p><a href="/photodb/user?user_id=17458">Derick Miller</a> thank you so much that helps me more than you know! Could the two side lights also be continuous or do they need to be strobe? Also, my budget for the necessary equipment is around $1000, and unfortunately when I am looking online a lot of the backlighting options are a pretty expensive, so any suggestions for those side lights that may be more reasonably priced would be amazing :)</p>

<p>Thank you again, that is genuinely the best description I have received!!!</p>

<p><a href="/photodb/user?user_id=1471453">Michael Mowery</a>- my full time job is in marketing for a large company, they approached me-knowing I am a photographer part time, with the opportunity to take these photos etc. I have time to practice and I always love learning new things :) I just sometimes need a little help haha </p>

[derick_miller]

"Explain that to me. One does not learn strobe lighting on a Job."

 

Ouch. A little harsher than you intended, perhaps?

 

I don't think the OP was planning to learn this on the Job. She is doing research and will, one presumes, practice the

skills before showing up at the job. If we don't push our limits, we won't get better.

 

Peter Hurley has made a name for himself as a headshot photographer who shoots on a white background. He was a

natural light photographer who couldn't get comfortable with strobes, so he used continuous lights (Kino Flos, commonly

used for video productions, easy enough to rent). He is now pushing a line of video lights from Westcott (also expensive

but not so easy to rent).

 

He has a book which describes his current methods, which make a good studio setup but might be a little cumbersome

for location use (depending on how much time for setup and how many subjects at each location). He sets up two

strobes on the background and uses a pair of VFlats to block them. He then builds a frame of continuous lights around

the camera facing the subject. There are free videos available where you can see his setup.

 

The advantage of the continuous light setup is that what you see is what you get. The disadvantage is that it can be a

little bright for your subject and you will still have less light than a strobe can generate.

 

If you want more detail, give us an idea of what direction you are considering...

[derick_miller]

Looks like you posted while I was writing :)

 

Rental is often a good option.

 

Yes. Continuous lights for the background will work. The point is to get even light on the background and enough light so

it is white, but not so much light that there is too much light coming at the subject.

 

There are a number of inexpensive strobe options if you only need manual control. I recommend manual when the strobe

is not attached to the camera (not everyone will agree). I like the Godox brand, which is sold under many names,

because of their useful innovations.

 

The 860 model uses rechargeable batteries instead of AA batteries which hold more power for a longer time and are less

of a pain to deal with and the cost is moderate. You can buy sets with wireless controllers and spare batteries. These are

like your typical camera flash.

 

I like the Godox 360 (I bought the Adorama house brand version) which gives you a bare bulb studio strobe ability in a

very portable unit. I tested it side by side with a 425WS strobe and the same modifiers (reflectors and an octabox) and got

comparable results, so it does a good job filling a modifier. On sale it was $350 (strobe, power pack, and radio controller).

It is the same radio system as the 860s.

 

You could probably put together a good, portable kit with this for $1000.

 

Another option is the Dynalight Baja. More power. Quicker to set up. Industry standard connection (Bowens).

 

Or you could go the continuous light direction....

[michaelmowery]

<p>Thank you Derick for your comment towards me. You will be surprised today just how many photographers shoot a paid job and have no experience. Anyways, the OP did not disclose that info about learning until after I made my comment. Also she did not disclose that she already works for the company. Had she first indicated these important details, I would not have made that portion of my comment. That said, my main point, not knowing the just now disclosed details, is how does company ask a photographer to do 13 offices when there portfolio is just available light pictures? Then the OP wants to do studio lighting for this job and has no experience. Of course now, I have my answer.</p>

[derick_miller]

Here is a plausible solution. Use it as a guide to how to think about the purchase rather than as a buying guide. I would

recommend buying from a local dealer if they carry it. Otherwise, I would go with a reputable dealer who specializes in

photo gear (B & H, Adorama or Cheetah Stand for this product). Sales on this product are regular.

 

The 360 mentioned above was $450 not $350. Sorry.

 

The 860s are about $200 with radio controls and a spare battery.

 

The basic setup could be two 860s for the background and one for the key (main) light. I would prefer a 360 for the main

light (more power, more even distribution).

 

When working professionally, you want a certain amount of redundancy in case something fails. An extra 860 would do

the trick (it could serve as your main light if the 360 fails, or it could replace a background light). Alternatively, you could

use one light on the background if one failed to get "close enough" and fix it in post. Not ideal but only needed if gear

failed. Or you could skip the 360and get 4 860s.

 

You still need stands. You need a bracket to connect the 360 to your main light source (s type for soft boxes or umbrella

holder). You might be able to use your current soft box. You need a reflector (a large white surface to bounce light into the

subject to fill the shadows). You need a way to hold up the reflector. You need a white background (white wall, seamless

paper, etc).

 

I like a tripod. You don't need it if you use flash, but it allows you to know your camera is where it needs to be so you can

focus your attention on your subject.

[derick_miller]

"That said, my main point, not knowing the just now disclosed details, is how does company ask a photographer to do 13

offices when there portfolio is just available light pictures?"

 

My experience is that most clients who are not photo editors or art directors don't know that much about photography.

And why should we expect them to? If my car has a problem, I go to a mechanic. If I need to go to a transmission

specialist, my mechanic will explain this to me.

 

MY point was that making negative assumptions about a person who is posting based your frame of reference creates a

hostile environment which doesn't encourage new people. My first impression was that you were being a jerk. But I held

back and considered that maybe you didn't realize you were asking in a rude way. Our initial negative assumptions can

be wrong.

 

We are all beginners at some point in so many ways and many people were generous to get us where we are.

 

Have you ever noticed how many posts there are where a new person asks one question and never comes back? It

seems like photo.net has become more that way over the years.

[natalie_uribe]

<p><a href="/photodb/user?user_id=17458">Derick Miller</a> ok so, once again please pardon my inexperience here, but i looked up a couple different items, what do you think about purchasing the Flashpoint 320m 150watt? I spoke with Andorama customer service and they said it comes with a sync cable so I would only have to buy a stand to go with it. If I purchased two of these, and used my Continuous light soft box for my key light, would that be sufficient you think? I don't think with this I would need a receiver would I?<br>

I am looking at purchasing the savage background port a stand kit with white paper background and could also purchase a standing reflector too.. </p>

 

[michaelmowery]

<p>Thank you Derick, my comments were not negative and far from hostile. We have the right to ask questions to the OP in order to get more information in order to help. I did not want her to make the rookie mistake and do something that she is not comfortable with. Most OP's do not give all the details in order for us to help them properly. <br>

In this case, Natalie has every right to ask how to do flash lighting for headshots. It was just how she explained the back story of the intended purpose is what alerted more questioning. Successful photographers are that because they are good at what they do. When someone hires them they do so based on their portfolio of current capabilities. <br>

There are plenty of self help lighting tutorials on youtube. I only hope that Natalie will be compensated justly and not taken advantage of because she is not a PRO.</p>

[derick_miller]

Flashpoint is the Adorama house brand. I am not familiar with the unit you mentioned. You will need to search for

information and read reviews to determine its quality. Be sure the review you are reading is about the specific model--as I

said, it's their house brand, so it really represents many manufacturers.

 

I can't tell what the connector is. If it is the bowens mount, that is fairly universal and easy to find things which will attach

to it.

 

A few thoughts:

 

It's better to buy reliable equipment which is less likely to break and is more likely to deliver consistent results (if the

amount of power varies from shot to shot, there goes your even lighting).

 

It is better to buy more power than you need. One reason is you might need more power than you think, but the main

reason is that using a unit at a fraction of its power will let it recycle faster and heat up less. 150ws is on the low side. If

you double the distance of the light from the subject, the power is cut by 75%! Inverse square law.

 

It is better to buy equipment which will grow with you. Otherwise you have to get rid of one to get the next. There isn't

much resale value in a unit like this. Major brands and well known units do better on resale.

 

You can use a wire, but you want to have more than one. They fail at the worst times. You want a backup for critical gear.

For these cords, you want backups for your backups :). The cord will also need to go from your camera to the unit and

cross the space between. You need to think of this as a tripping hazard. Gaffer tape (like masking tape but designed for

easy removal without gum) is a good way to reduce risk, especially in bright colors.

 

I am avoiding buying any more lighting gear which is AC powered and, if starting from scratch, would probably buy none.

AC means cords (see tripping hazard, above) and the need for plugs. The draw is significant enough and you are

competing with old wiring, laser printers, microwaves, heaters, hair dryers...

 

I prefer lightweight gear. This unit is AC dependent and maybe half the power of a Godox 360 (you can't really compare

WS to WS across brands, but it is a starting point). The 360 is 300WS, give or take, but I tested it against a 424ws system

from a major brand and it was about the same in the same modifiers, which were designed for the 424ws system.

 

Monolights are heavy, so you need a stronger stand. Weight on the top counts for more. You can add weight at the

bottom of a stand to increase stability if needed.

 

On the plus side, the unit is cheap, a single unit and has a modeling light, which makes it easier to see what you will be

getting.

 

As I said, I don't know this unit and don't know anyone using it, so you will need to research it.

 

As for this with your other light in the Octabox...

 

With the other light on full power in a dark room, what are your settings to get a good exposure of a person with the full

body shot? I need ISO and Shutter Speed -- set the Aperture at f8. You can set this up in a dark room, turn on the light,

be the model and use the self timer if you don't have someone handy. Take the picture so you can be sure it's a good

exposure, the light isn't in the shot and you have positioned the light in a good place, etc. Don't worry if the shadows are

dark, etc so long as the lit part is exposed correctly.

 

Also, can the light be dimmed or is it one power level?

[michaelmowery]

<p>Natalie,<br /> Your jumping way ahead of yourself and making things too complicated at this stage of your learning. It is always best to learn with one strobe first before adding multiple light setups. <br /> The body shots you mentioned did not indicate full length, is that the case or not? Most headshots are not full length but rather 3/4 at most and that will make life easier for you. The less you have to light the easier the shot. <br /> White background is a very vague statement. There are all shades of white. White with detail is very nice and does not require a background light which is even better for you. The pure white 255 which looks like the subject is floating in white space is the more complicated way to go and will require separate lighting. I would pass on that and let the production team do it in post. I am guessing they wont be paying you top dollar for this so they should not baulk at this.<br /> So how do you light the subject and background at the same time you ask? Buy a 9 foot (6ft is better but no one makes that size) super white seamless paper and keep your subject about 1 to 2 feet from the paper. Next by a moonlight strobe around 500 watts and use a very large white umbrella (best is 7ft) Place your big umbrella directly behind you and up a bit to keep the shadows dropped behind your subject. Next, get a white 20x30 foamcore reflector and use it as a bounce light just out of camera view right at your subjects waist. It is similar to clam shell lighting. Thats it!<br /> This is very nice lighting and very clean not to mention an easy setup with the least amount of investment. Good luck!</p>

[bob_bill]

<p>Great advice from Michael. I would add, try this a couple of times before the shoot to work out the kinks and dial it in. Someone once told me you should try out a lighting approach 3 times before you have it as yours. As Michael said in his earlier post, the shoot is not the place to learn lighting. </p>

[GerrySiegel]

Just to kibbitz a little without knowing details. Going with the portable STUDIO concept... I have been asked to do similar jobs and my first thought was1) to not spend a fortune. And I did not. 2) A lot of party photographers get by with two lights in small white umbrellas or silver umbrellas. And either a cloth or white seamless or vinyl background. Which can be on a stand or hung somewhere or pinned up somewhere. If you do not plan to do this often, consider renting a kit from some school photographer, as one example. Also, and this may sound patronizing, but there are some awfully good books available with photo examples to look at and see what kind of stuff you want to achieve. My first mobile studio was with a power pack and two lights of small output. I suspect Adorama could fulfull your needs if you talk to someone there. Or B and H for that matter. And last point, I did not see Michael's comment as disparaging. I mean he certainly made a good point about doing homework before spending a bunch. And that is a great idea. You may decide a tripod is useful, do you have one? See, it can get pricey. And whoops I had a flash meter...at that time it was sine qua non. So you will find future uses. Main thing. Have fun as well as learning stuff.

[GerrySiegel]

Second thought, Natalie, just to confuse things even more, but not really... If you have on camera nice flashgun and want to light with small flashes, well this is easily possible as well and even small umbrellas for same to diffuse light... And it is certainly sure as heck multi location portable. Many professionals do the portable small flash thing. True. True. Nowadays with powerful strobes and radio triggers,it is a great way to shoot and pack with no sweat. Or little sweat. And maybe find a background in the office that serves as neuteral enough,who knows...Good luck, Natalie. Fun project and get to know all the co workers.

 

 

http://digital-photography-school.com/small-flash-portraits-on-location-with-adorama-tv/

[christian_irgens]

<p>For quite a few years I did (among other shoots) location family photos in NYC. One Saturday before Christmas I shot 22 sittings, all within walking distance of each other. My gear choice evolved over the years, but these were my concerns:<br>

-Portability. It may not be as important to you, but you are going to quite a few locations.<br>

-Speed. Ease of setup and teardown.<br>

-Repeatability. When I used battery powered units the batteries were not always as muscular at the end of the day as they were in the morning. Today's batteries are much better, though. Also, make quite sure that you set your lights and camera up the same way, using the same distances/heights in each location.<br>

-AC or DC (batteries)? My thinking evolved over the years and I might even have flip/flopped a few times as new equipment became available.</p>

<p>I own a few of the units mentioned already, and they are all good, but what is most suitable to your job and your budget? My temptation is to throw another contender into the ring, it is the Adorama Flashpoint Budgetflash 300. It is $ 10.00 less than the 320M, has twice the power, and weighs 2/3 lbs less. On the minus side it has one less stop of power adjustment and has a built in reflector, so it is not quite as good in a softbox, but you should use umbrellas anyway since they are faster to set up.<br /><br>

<br>

Here is what I would get to do your job:<br>

-4 BF 300, $ 320.00<br>

-5 light stands, personally I am fond of the Flashpoint Nano light stand, folds to 21 inches, $ 150.00. If you can live with 30+ inches when closed, you can save $ 50.00 by buying the regular 7' stand. The fifth stand is for the white backdrop.<br>

-1 snoot for hair light, $ 20.00.<br>

-2 umbrellas, I'd go for the Westcott 43" collapsible silver brollys, $ 41.00</p>

<p>There you are, a complete portable studio for under $ 550.00 and you are ready to rock and roll!<br>

Best of luck.</p>

<p>Chris</p>