Ginette Snow - Studio 4: Week 31 - SPEEDLIGHTS

Using Speedlights in the Studio & on Location

Missed class – Ginette Snow - 8 August 2010

Table of Contents

Introduction......1

Body of Essay.....1

Advantages and disadvantages of using Speedlights

as opposed to studio lighting.....1

Equipment associated with Speedlights.....2

A. Connections to camera to trigger Speedlights......2

B. Softening the light......3

C. Making the light directional......6

D. Miscellaneous accessories ......7

Conclusion......7

Appendix – How to make your softbox adaptor......8

References......15

Introduction:

The aim is to discuss the use of Canon’s speedlites/Nikon’s speedlights in the studio & on location instead of the normal large studio lighting (in the studio) or using monoblocs (on location). I was unable to find articles on Gavin Blue & his techniques. I am assuming that he will speak of how he uses them rather than the heavy technical information that we received in a handout in Semester 2 or what is on the Canon website. Therefore in this essay, I shall be looking at the advantages and disadvantages of speedlites compared to studio lighting as well as how we might go about setting up this type of lighting. I shall also discuss the extra equipment that may be needed when shooting with Speedlight lighting.

Body of essay:

Advantages and disadvantages of using speedlites as opposed to studio lighting

1. Comparing a 40x32” double diffused softbox on a studio flashlight, fabric at 18” (2 below) with a 45” shoot-through umbrella with a speedlight flash, fabric at 18’ (3 below), the softbox gives SLIGHTLY better soft vague shadows. Both are only lit on one side. Using two speedlight with umbrellas or softboxes would eliminate all shadows.

2. The TTL automation system in the speedlight is extremely easy to use with its three + or _ stops available. However the studio lights’ manual dexterity has a wider application ie more versatile. The speedlights can also be manual but this is more difficult to operate.

3. Speedlights are very portable and studio lights have a low portability. One of the main reasons for assistants is to help with the carrying of the lighting equipment. Perhaps using speedlights cuts down on the need for assistants.

4. When on location the large batteries for the studio lights is large & heavy. It needs to be recharged. The speedlights need AA batteries so a number must be kept on hand.

5. The set up time for studio lights is quite long compared with the speedlights – they are so much easier.

6. There is no model lights with the Speedlights.

7. It is easier to mount the softbox, umbrellas, snoots or strip lights to the studio lights.

8. Studio lights are more powerful.

9. If you have never bought any studio lights, then it may be wiser and cheaper to just equip yourself with speedlights as many photographers find they can fulfill almost all of what studio lights can do.

10. While studio lights are always wired, with Speedlights there is a choice of connections. Over time there will be a move to a wireless set up.

Equipment associated with Speedlights

A. Connections from camera to trigger speedlights

1.Hot shoe on the camera (below is a Nikon one)

2. Wired

3. Direct IR emitter

4. Pocket wizard (or similar)

Pocket wizards – These come in two types – Mini & Flex. The Mini goes on top of one’s camera (photo below left), while the Flex attaches to the Speedlight (below right. The Flex can also operate on top of the camera.

The Pocket Wizards have a AC3 Zone system which means that flashes can be set up in 3 different zones A, B or C, but you have to have a ‘Zone controller’ to work these independently. The zone controller can be set on automatic, manual or off. So for each dial you can control the power output of each flash unit by +/- 3 stops.

B. Softening of the light

With Speedlights, an umbrella is generally used rather than a softbox – either a reflector or non-reflector. To attach a Bogen Swivel Umbrella Adaptor may be needed. One article said that an u mbrella made a more contrasty image than the softbox. He said that a softbox sent its light in a wide flat surface & therefore it wraps around surfaces like arms. He looks at the ‘grey zone’ which is that area between the lit & unlit surface. The width of this ‘gray zone’ tells about the softness of the light used. He reckons that with the umbrella that grey zone is smaller and therefore more contrasty - ie higher highlights & darker shadowy bits. I must add that he was using a light shining into a white reflector umbrella & therefore because of the convex shape of that particular umbrella it was more directional towards a centre point. It becomes a focused light whereas the softbox was a diffused light. I imagine that if the light was shining through the umbrella that would be diffused.

In the appendix, there are directions on how to make a softbox that fits the Speedlights.

There is also a Interfit Strobies XS (also called Bowen’s S mount)which is designed to allow one or two Speedlights whilst allowing a hot shoe for a radio trigger to be mounted.

There is also an omnibounce that gives a little help with softening the light.

There is also the new Orbus ring – this gives shadowless light. I recently watched a documentary on David Lachapelle and he used an Orbus ring. I am not sure what other lighting he used but he moved around very freely with the Orbus attached to his camera. The Orbus attaches to the Speedlights. There is also an Orbus arm for attaching the Speedlight to the camera or lighting tripod.

C. Making the light directional

This is a more difficult task. The only reference that I could find was a make-your-own with black foam paper:

D. Miscellaneous accessories

Speedlights can also use connections such as:

Impact shoe (top) & Stroboframe shoe (above-red knob)

Conclusion

Speedlights seem to be the way of the future especially on location. Their ease of use and their lightness are hugely advantageous over the heavy and bulky studio lights.

Appendix – How to make your own Softbox adaptor

See photos 1-17 below explanation.

1.Get a Big clamp – basic. Like a Justin clamp with adaptor for small strobes. He created his own ‘Justin clamp’ Added some things – see picture 1. Can put camera or video camera on the screw top (comes our side of clamp).

2. Adds adaptor for speedlight on top (picture 2). He uses an SB800 (Nikon)

3.How to use on softbox? Unscrew top part & put it as in picture 4. He has changed the arrangement – see picture 5

4. NEXT – we need the Flash ring (P6). Note in P7 he is holding ring & indicating which way the light box goes.

5. P7-9: Clamp the ring onto clamp. (Can get assistant to hold clamp or use tripod.)

6. Tricky: How to get it on a tripod? He points to this entry (P11). Needed a 90° adaptor to put on tripod. Found an umbrella stand – he twists it to 90°. Insert it onto the ring-clamp set up. (P12)

7. Insert into the softbox (from behind) – P13. Inserting is complicated – see p14-16.

8. Puts it on the tripod & then adds speedlight & pocket wizard. (P17)