Tuesday, January 13, 2009

Technique Tuesday: Recession Lighting: A Poor Man's Guide to Lighting Gear

Good Morning Everybody,
Sunday was such a "rush-rush" day at the show, we didn't get a chance to see much of it, as the time passed quickly. Yesterday while at the show we saw some pretty cool stuff. LumaVue Arts had some really cool back light frames - the images were back lit in the frame and seemed to pop off the wall. Photodex was showing their new ProShow Gold 4. This looks like a very viable solution to quickly building products that combine the new video capabilities of our new DSLRs with still images. I'm heading back there today to take another peek.

And in the completely unrelated to photography department, we stopped by the Stop-Pain booth. This is of those vendors that show up at so many shows like this demonstrating special electronic massage devices that will cure all that ails you. We were all wiped out on Sunday so it seemed like the perfect place to relax for a few minutes. LaDawn, my buddy Kent Smith, and I sat there for about 45 minutes getting the full treatment - we ended up buying two units. It was kind of a fun experience - ahh! No more neck pain - yep, they seemed to work just fine. I'll keep you posted on more interesting items tomorrow. But for today, how about on with the show...

Recession Lighting: A Poor Man's Guide to Lighting Gear Well folks, I think I've got one of the best Technique Tuesdays I've ever posted. I shot the footage while in Florida last week with my new Canon 5D Mark II. I've always been challenged with trying to create the most beautiful images with the least amount or at best, the least expensive equipment.

As you know, for me, it's always about the light and the direction of light that we put on the scene and our subjects. It's never about the flashiest, most expensive gear. That's how today's technique Tuesday came about. I'll show you how to use a $25 mini flash unit, the same one I featured in gear bag Friday a few weeks ago, to create some beautiful portraits. Hit the play button below -- I think you'll enjoy the show.










Footnote: I know a few readers have commented about the sound quality of last week's Technique Tuesday. The problem was a result of me using a monaural microphone which, when plugged into the Canon 5D Mark II, only picked up one channel of sound.

I checked with my friends at TechSmith and asked why Camtasia Studio, my edit software, didn’t just combine the channels into one monaural signal when rendering the finished file. They unfortunately had no answer for me. I picked up a mono to stereo adapter plug from Radio Shack and I hope this has solved the problem.

Now in addition to that problem we encountered another during our shoot in Florida. I'm not using the most expensive wireless microphone, (are you understanding the man is cheap-Ladawn) in the world for these videos so there is, one point unfortunately about halfway through the video, in which we picked up a little static.

I watched the video a couple of times and, although it was slightly distracting for a few seconds, I don't think it detracts from the information contained in the tutorial, so I decided to run the post with the small annoyance. Anyway, those are my disclaimers and I’m sticking to them. I still hope you enjoy the tutorials. See everybody tomorrow, -David

37 comments:

  1. You won't go far wrong with ProShow Gold. I've been using it for 4 years or so and reckon it is one of the best $80 I have ever spent on software. Very versatile, great output options and pretty easy to use.

    Needless to say, I have no links with Photodex - I'm just a delighted user of their products.

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  2. Hey, David, great tutorial. In fact, it was so great, I went out and ordered the equipment for your "Poor Man's" lighting setup this morning. I've been looking for a way to be more versatile with location lighting without breaking the bank, or taking a huge studio setup with me every time. For less than $100, this looks like a good way to go. Thanks again for all you do!

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  3. Awesome! What a great creative and inexpensive way to make lighting gear.

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  4. Awesome, Great, Creative, Inventive, I really like all of your posts you are a great teacher. I have attended one of your previous tours in Northern Virginia. Keep up the good work and your blog.

    Thank you for sharing the wealth of your know how.

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  5. While the backlit displays are wonderful for a trade show or buisness, home use is not yet valid as the conventional inks will burn out in about 2 to 3 weeks. I've been thru this.
    Thx

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  6. David, thank you for this great tutorial, just goes to show you don't need the best to produce beautiful images. I believe you have created a run on those little flashes at B&H, they are out of stock :(

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  7. great job, and I love that you are trying out that video for us--and working out the kinks!
    thanks for all the info you pass on, and La Dawn--you are great to pose for him all the time! what a good sport (and beautiful wife)

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  8. I appreciate how you take time to explain everything - especially for us who are just getting started.

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  9. I really enjoyed watching the Recession Lighting tutorial. Thanks for all of your good work!

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  10. Yes, you must have emptied B&H's supply!
    QUESTION: The flash you show on the blog, as well as the one you use in the video is black, but the black flash on the B&H website is the 160. The 250 is gray. Am I confused?

    -Tracy

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  11. Thank you so much for your time and excellent instruction! And thank you to your wife for her time and effort.

    This was a great tutorial and I am going to be trying it.

    Thanks again.

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  12. Hey Dave,

    Great work on the videos. Where on your site may I find equipment details for the Poor Mans Lighting kit?
    Thanks!

    Tom

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  13. David,

    Let me first say that I can appreciate this tutorial for it's ability to show the use of off-camera flash and modifiers "cheaply" (Strobist mentality), however, I have to comment on the hypocrisy of using a Canon 580-EX flash to trigger the low-powered 25 dollar toy flash! Perhaps using tin foil to direct the built in camera flash would better exemplify the "poor man's flash." Now, sure, your 5D MKII doesn't have a built in flash, but if you're able to afford that camera, why spend 400 dollars on a 580EX just to use it to trigger a toy flash?

    So, my suggestion for those who have already invested in a proprietary on camera flash (Canon 580EX or Nikon SB-800/900)? For nearly the same 25 dollars you'd pay for the toy flash, buy yourself the Gadget Infinity radio trigger system (~$30) and use your nice, versatile, high power Canon 580EX flash in the same setup with a shoot through umbrella. You'll have a MUCH more versatile system that you can control and you'll have the same if not BETTER reliability through the radio trigger rather than an optical trigger (which may not work well in direct sunlight for instance).

    Anyway, suggesting you must use a 400 dollar GREAT flash to trigger a 25 dollar toy flash just seems counter intuitive when you can use your 400 dollar flash off camera and trigger it with a 29 dollar radio system. :)

    Just my two cents. Thanks for the video!

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  14. I found the tutorial very, very useful, especially for a novice photographer like me. A lot of effort must have been put into each tutorial, so I really appreciate it!

    Ted

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  15. At one point you said to "grind down the big threads" [on the paint extension pole]. Could you comment on how you did that?

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  16. David, I really look forward to your informative and entertaining training videos and articles. I really like how you are going low budget on this one. I have one more item that I would suggest that you look in to adding for this tutorial.

    It is a wired or wireless remote so you can move the off camera light to the correct position. I have one from Honk Kong that uses RF instead of IR for communicating between the trigger and the the remote on the camera. It would bring your whole budget for the shoot to $100 since I paid $30 for it and shipping to me. $30 is cheaper than an assistant. You have the camera on a tripod already you frame the image the move the lighting to the correct place using the same technique that you have described that you trained you assistants to use and then trigger the camera to take the shots.

    David, again I have really learned alot about lighting from you in the last month since I first learned of you over at KelbyTraining.Com. Also if you are ever in the souther New Mexico area and need an assistant let me know.

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  17. David,Thank you. Thank you. I've been truly "Blessed" by this video and all your videos about off camera flash. My photography has improved since viewing your videos.

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  18. What a wonderful episode this tutorial was, thank you for putting it together.

    Have only been visiting your blog for about a month now when it was referenced on Kelby's, but it almost immediately became my favorite amongst my daily blog hopping! Tips just like in this video and many of your others are a tremendous help for beginners like myself. Thank you!

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  19. I think I agree with Ken when he asks why one wold use a toy flash as your main light source when you have a very nice flash on your camera that can be taken off and used with a radio control, or if you have a camera with a built in flash that could be used to trigger the nice, expensive flash.

    What I really appreciate is the "thinking outside the box" mentality. If I didn't have a SB-800 I would jump all over this. Heck, I'm still thinking about buying some toy flashes for extra light.
    Great tutorial!

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  20. Some nice tips in this video. I will have to look for one of those paint poles. Thanks again for the information and experience you share.

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  21. David, I noticed the reference to your buddy Kent Smith.Any chance he is from the Orlando area? Late 50's? I'm looking for my brother, Kent Smith, who lives in the are but whom I haven't heard from for many years. I'd really like to reconnect.
    Paula Minor

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  22. To Paula - not to horn in but in case Mr. Ziser does not see your post Kent Smith owns a studio near Columbus, OH. He is picutred on Digital Pro Talk's December 12, 2008 post under "Hot Salsa." Regards.

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  23. I love you David!
    And I know I am not the only one!

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  24. One reason for the toy flash is weight. My 580exII with batteries is much heaver than what David is showing here. If I'm going to go with the paint stick program and holding my camera in one hand while holding the flash in the other, the difference would be signifiant I think.

    For the people who suggested using the pop-up flash to trigger it, you missed the point, he doesn't want any front flash on the subject.

    Nice post David, thanks.

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  25. I don't mean to sound offended but I'm quite sure I haven't missed the point as you've suggested. Please note that I have suggested the use of tinfoil to direct the pop-up flash toward the toy flash. With tinfoil on the pop-up, the light is NOT directed forward. Please carefully re-read my previous posting.

    Now, as for the weight issue, it's moot. In this example, David setup his camera on a tripod so he was able to hold the flash-pole in one hand and shoot with the other but this isn't a super realistic situation in my opinion because if you have time to setup a tripod, you've got time to setup a lightstand for your umbrella'd light. Lightstands can be had for nearly 20-30 dollars these days. The light stand can also be used as a pole so it's more versatile. I'd rather hand hold the camera with both hands and use the flash on a stand any day (as opposed to tripod the camera just to hold a flash stick with my other hand). Also, even if you didn't use a tripod and you wanted hold the flash-pole in one hand and the camera in the other, that 580EX is still weight on your other hand (camera hand) if you are using it to trigger. So, you've got the weight of the flash, the camera AND the lens to deal with. In my case, with professional lenses, that's over 5 pounds to hold. So again, the weight is in one hand or the other...moot point.

    Furthermore, if you really intend to use the flash on a stick, chances are you're better off having an assistant hold the flash-pole anyway. In this case, weight matters little (as long as you pay them enough :P).

    This is still a great tutorial as it has opened up this dialogue and has got many of you thinking more about using your flash off camera (toy flash or not). That's CRUCIAL to good light. I just personally think this can be executed more gracefully, even on a tight budget. That's my .02 but it doesn't take away from what has been shown here.

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  26. Hey, have you considered that maybe YOU, "anonymous," are missing the point? If the tutorial is about budget, soft, off camera light, a Canon 580EX doesn't fit the bill at all, hence my suggestion to use tin foil, its nearly free. Like I said, if you've already got a 580EX, then you should probably concentrate on getting it off camera (budget or not). If you really think your "weight argument" holds water, by all means defend it.

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  27. Very inspiring and creative tutorial... absolutely one of your best Technique Tuesdays! Thank you for your mentorship, and for continually inspiring others that beautiful, creative work is not about the most expensive gear. Brian

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  28. What was your shutter speed, ISO and f/stop for the Cheap Lighting session of Ladawn?

    You give the greatest advice. Keep it up.

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  29. David, I have thought about it for a couple of days now and I really liked the paint stick you demoed. I assume from the video you got it at Lowes. And it looks to be there Husky brand is that correct as I liked the way it telescoped from the handle with the button and not from the end like so many do. Could you please comment on the brand and model number.

    Also, I know it would be a big hassle but when you refer to equipment, especially new equipment, could you please post links to B&H or wherever so that we can click on it and buy it if we desire.

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  30. Ken, I agree that the idea setup would have an assistant holding the light like David has commented on many times for his wedding shoots. I thing a tripod, Wired/wireless trigger for the camera and or flash would be best for a single shooter setup. Pose the model, Compose the shot, move to the proper lighting position with the light stick and position it perfectly and fire the camera/flash from that point of view. Or that is how I would prefer to do it without an assistant. And it still can be done for under a hundred based of David's prices for the pole, and umbrella and or the toy flash which I plan on getting for use as a backlight flash as he as demoed before. If it wasn't here then it was in one of the three video courses over at KelbyTraining.com. I plan on rewatching all of them in the upcoming weeks.

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  31. Putting the Umbrella deep into the shaft ... well the main thing is neither time nor space. Light naturally travels at the speed of light (hey! that's where this name comes from) so there is no point on putting the umbrella further away to allow for more time to spread out. On the other hand, since light is an electromagnetic wave (see the duality of light) it is also not the space left empty between the flash and the umbrella that will make a bigger light source. What really makes the difference is the maximum angle created between the bulb of the flash and the edge of the flash. Ideally you will position the umbrella in such a way that the edge of the generated light cone will align with the edges of the umbrella.

    Seems after all a physics degree is not completely worthless ^_^

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  32. Hi Nick,
    Pushing the umbrella shaft out as far as possible has nothing to do with the laws of paricle physics or quantum mechanics. BTW, I got my B.A in Physics in 1971, B.S in Engineering in 1971 also. Missed the B.S. in Computer Science by 6 credit hours - dropped the 3rd major my senior year.

    You hit the nail on the head about the cone of light - that's why I push the umbrella shaft out as far as possible. The cone of light is quite narrow coming out of most of these flash units and still does not quite reach the edge of the umbrella.

    Having the strobe too close to the fabric is a realy problem because of the increased specularity created by the much smaller light source eminating from the shoot thru with respect to the working distance to the subject. More on that at some later time.

    Anyway, hope you enjoy the posts. -David

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  33. Links to the where we can buy the products you purchased??? please???

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  34. or at least the names of the product...

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  35. David, You DA MAN! If you were DA WO-MAN I'd kiss you! This vid was AWESOME! So cool! I'd like to say more but I got run down to the hardware store right now and make that setup! YEAH!!

    Thx SOOO Much for helping us mere mortals!

    Kisses,
    Dan

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  36. Hi All!

    Just like to respond to a couple of criticisms I read of this tutorial. David suggested using an on-camera as the trigger because you can disable the pre-flashes... but then the on-camera flash costs $400 (I already own one). BUT if you use one of the new DIGITAL slaves they now make you can even use Dave's setup with you pocket camera (I don't always have my dslr--too heavy--but always have my ultra-compact. A DIGITAL slave with pre-flash cancellation can be had for about $40 (total set-up is STILL under $100); but you can use this setup with ANY camera! The "SUNPAK Digital Slave Unit with Preflash Cancellation, Multi Flash & Sync Socket" (Google it) OR use Dave's "Preferred Vendors" list and click thru to BH Photo where you can get a "Sunpak PF20XD Auto/Manual Digital Slave Flash" For $55 this little baby comes with a bracket and you can control the power Full, 1/2, 1/4, 1/8, 1/16 or 1/32 Power. I own a Morris version the pre-flash cancellation works great--but I'm told the Sunpaks are great too but a little cheaper (mine cost $60 but I can't control the power).

    THANKS FOR AN AWESOME TUT, DAVE!!

    Dan

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