Welcome to Lighting 101. You may not realize it yet, but you have just stepped through a door that may change your photography forever. Over the past few years, over four million people from nearly every country in the world have begun their lighting education right here. And if they can do it, you can do it. Photography is literally writing with light. As you read through Lighting 101 you'll learn how to control every aspect of your electronic flash. If you can imagine it, you'll be able to create it. You'll learn how to take the removable flash that you probably already have on the top of your camera and use it off-camera to make beautiful, more three-dimensional photos. Once you learn the basics of controlling light, you'll quickly see that most lighting is intuitive, easy and fun.
Strobist ::: Apparatus minor • Cogitatio magis • Lux melior ::: Lighting 101 http://strobist.com ver. 12-2013 Introduction Welcome to Lighting 101. You may not realize it yet, but you have just stepped through a door that may change your photography forever. Over the past few years, over four million people from nearly every country in the world have begun their lighting education right here. And if they can do it, you can do it. Photography is literally writing with light. As you read through Lighting 101 you'll learn how to control every aspect of your electronic flash. If you can imagine it, you'll be able to create it. You'll learn how to take the removable flash that you probably already have on the top of your camera and use it off-camera to make beautiful, more three-dimensional photos. Once you learn the basics of controlling light, you'll quickly see that most lighting is intuitive, easy and fun. The Good News: The Gear Doesn't Cost Much Basic lighting gear is also refreshingly inexpensive. If you have a camera, lens and flash you have already done the spendy part. The gear needed to take your light off-camera is very inexpensive compared to your camera, your flash or even a single lens. By getting your flash off-camera, your images become more three-dimensional, more textural and more professional looking. All of the photos on this page were made by Strobist readers (who very recently may well have been exactly where you are right now) just lighting with small flashes. Click on a reader's picture to learn a little more about how it was made. (The uncredited ones are mine, mostly culled from my career as a staff photojournalist at a series of newspapers.) And don't worry if you don't understand the terminology yet. You will soon. The difference between their photos and yours (Photo by Strobist reader Sam Simon) (Photo by Strobist reader Ken Brown) is that they already know how to use their flash off camera. They know how to synchronize it with their shutter, position it, modify the quality of the light, change the color with gels and tweak the balance of exposure between their flashes and available light. Which is exactly what you'll soon learn in Lighting 101. That may sound difficult, but I promise you it isn't. Learning how to light is incremental, creative and fun. There is almost no math involved, nor any difficult technical know-how. In fact, good lighting is less like math and more like cooking. It's like, you taste the soup and if it needs more salt you add some salt. You'll see that when we learn to balance a flash with the existing, ambient light. Understanding Your Flash So let's talk about the basic gear you'll need to learn how to light, beginning with your flash. Generally, most people at this point will have a DSLR, a lens or two and a typical flash. (I.e., the removable kind that mounts to the top of your camera, not the built-in pop-up kind.) If so, you have already bought the expensive stuff. The gear to use that flash off-camera is surprisingly, refreshingly cheap. But before we get to that, let's take a moment and talk about your flash. __________ The Bare Essentials So, here's what your flash absolutely has to have: The ability to work in manual mode, and to do so at different power settings. (i.e., full power, ½ power, ¼ power, etc.) And that's it. (Photo by Strobist reader Benny Smith) (Photo by Strobist reader GreggBK) Most flashes, including the one you probably already have, include that capability. And that's the only thing that is mandatory. If your flash has that, skip buying another flash for right now until you have a chance to play with the gear you already have. You may really be surprised at what you can learn to do with it. So take a quick look at your flash and see if it can go into manual mode, or "M". If your flash has manual setting that you can vary, you are golden. Most of your major wallet pain has already happened. (Woo hoo!) __________ IMPORTANT NOTE: If your flash is more than, say, 10-15 years old, do a little research to make sure it is safe to directly hook up to a modern digital camera. Some old flashes can fry the electronics of a digital camera. And once that little bit of magic smoke escapes your camera, it is almost impossible to get it back in… __________ Since we're going to learn to use that flash off-camera, we'll have to synchronize it with your shutter so your flash will go off when you take the photo. Normally, this happens with electrical connections on your flash's hot shoe, which is the built- in electrical connection that is completed when you mount your flash to your camera. When your flash is off-camera, that physical connection is no longer there. But you can electrically sync it with a simple wire, called a sync cord. Sadly, your flash almost certainly does not have the jack for this external sync capability. But no worries, you can add it for about $15 bucks. At the other end of the sync cord connection, your camera also probably does not have a ⅛" jack. But a second, same $15 device (pictured at left) will add the capability to your camera, too. Then you can use a cheap ⅛" audio cord to sync your flash. This little doohickey also adds an old-style "PC" jack, (it's on the other side and not visible in the photo above) which means it will marry just about any camera to just about any off-camera flash. For that reason, I like to call it a Universal Translator. But no need to worry about that now—we'll get to it later. Very important: We are not about spending unnecessary money around here. Relax in knowing that most everything in the basic kit from here is going to be inexpensive. So you got that going for you, which is nice. __________ And that's the basics on your flash. Let's look at the gear you'll need to turn it into your own little portable lighting studio… A Beginner's Lighting Kit In this post we'll talk about the small, inexpensive gear kit that you will need for going off- camera with your flash. And this is all you really need to make the jump into being a lighting photographer. You can see it in use left. It will allow you to do some very cool things as a photographer. But as you can see, it is extremely portable and lightweight, too. (Which makes sense to this 40+ guy who does not want to carry around a lot of gear.) So here are the basics, i.e., what you'll absolutely need: 1. A Light Stand Budget about $40. This folds or extends, and holds your flash in the position where you want it. The main choice is compact or full-size. I recommend compact, as they will go from seven feet (extended) to about 19 inches (folded). These models will also hold your flash at about 21 inches off the ground, which is cool for low shots. Full size stands typically go to eight feet, but only fold to about three feet so they don't travel as well. Plus, they cannot get your flash very low to the ground if needed. The vast majority of people go with compact. 2. An Umbrella Swivel Budget about $15. This is a small bracket that attaches to the top of the light stand and holds your flash (and an umbrella, usually) and will tilt to any angle. They are small, cheap and rugged. With one of these you can also mount a flash to any type of a standard, 5/8" post (like a photo clamp) if you are not using a stand. For this and the light stand above, I also recommend LumoPro models as they are inexpensive, well-made and guaranteed for five years. LP has built a great reputation as an off-camera lighting supplier, and for good reason. 3. An Optical White, Shoot-Through Umbrella Just like in the photo up top. Budget about $20. It will be your very first light modifier. And even after 25+ years of shooting professionally, it's still a go-to choice for me. The most versatile umbrellas are those that open up in the 40" range. I can recommend the Westcott White Double-Fold with removable black backing or a normal- fold white shoot-through version. This double-fold umbrella goes from 43" to just 15 inches when folded. Which, of course, makes it travel very well alongside the compact version of the stand listed above. Or you may well prefer the single-fold (standard) umbrella which is, I think, a little stronger and more durable but does not pack quite as small. If you haven't guessed yet, we are building a small, light kit that will sling over your shoulder (on in a small bag or pack) and let you take your new "studio" with you anywhere. It's really kind of a pick 'em. Both work fine. The only thing with lighting umbrellas is that they are just as fragile as normal umbrellas. If you use care they will last you quite awhile. But you can't be rough with it and expect to hand it down to your kids. 4. A Sync Kit Budget $30-$40. This three-piece kit will marry your off-camera flash to your camera and sync it to your shutter. It consists of two Universal Translators (seen on previous page, one for the flash and one for the camera) with a 16-foot sync cord (fitted with a ⅛-inch plug at each end.) You can go with wireless, and eventually you probably will. But shooting wired is the simplest, most reliable and cheapest way to start. It also becomes your backup (important) should you move to wireless later. Trust me, this is the way you want to start. __________ If you have been running the math in your head, we have totaled out at about $100, give or take. That's amazing to me. As much as DSLRs, lenses and high-end flashes cost, just the addition of about $100 (and some basic knowledge) can get you from "meh" to gorgeous, studio-style lighting. And you can easily take that light anywhere you want it to go. By the way, here's the actual shot from the setup photo shown at top: Two Very Good Starter Kits Below are two pre-packaged options for beginner kits as described above. I recommend Midwest Photo as a source because they are reputable, reasonable and carry the full line of LumoPro gear. (The 2- and 5-year warranties are a big deal, and to my knowledge no other brands have it.) Plus, when things do go wrong I have found MPEX to be responsive (to the point of bending over backwards) via phone, email or on Twitter. Life's too short to deal with needless stress. Compact-Size Kit (~$107) Standard-Size Kit ($108) Note: If you do not yet have a flash, for a long list of reasons explained here, I recommend the current model LumoPro LP180 Quad-sync speedlight. It is less than half the cost of the Nikon and Canon flagship flashes, twice the guarantee and, frankly, a better flash. __________ So that was a lot of gear talk to throw at you. Sorry. But we just wanted to get you started off on the right foot, with the basic equipment and not spending more than you needed to. While we wait for the new toys to arrive, let's start learning about them—and how to use them Light Stands So the idea is, you want the capability to light without breaking the bank—or your back. And as you'll soon see, your new portable studio is easier to cart around than even a pricey ultralight tripod. Above is a (7.5-foot) LP605, which I consider to be the best compact light stand made today and which you probably by now already have on the way as a part of your starter lighting kit. Compact light stands like the LP605 generally have five sections (so they fold up very small— 21 inches or so) and are ideally suited for photographers using lightweight, speedlight-based lighting gear. The LP605 uniquely comes with folding spikes for extra stability when you are outside in the wind. Folded up, they will ride in a small roller case. Or you can add some O-rings and a strap, as detailed below, and throw a whole "portable studio kit" over your shoulder. I love hacking or modding my gear to make it better, and this little trick is one of my favorites. Throw this strapped stand over your shoulder (with a compact umbrella attached, as you'll soon see) and it it'll ride just as comfortably as a camera. Seriously, you can hike five miles with this setup and bang out a kick-ass lit portrait when you reach your remote destination. If and when you get further into lighting, you'll likely end up adding to your stand collection. Maybe some bigger stands, or a boom arm to float a light out over someone. But you cannot go wrong with a compact, 5-section stand for openers. This is the one you want to start with. I have a boatload of photo support gear and these things still get used more than any other. To drill them, pivot one of the spikes (if your stand has them) out and drill a ¼ hole at each end of one of the legs. Then stick in some decent sized O- rings (this will take a little prying) and strap it up. If you carry it upside down, the natural forces will keep it closed nicely. This piece of gear is not complicated. Essentially, a light stand exists only to do one thing: oppose gravity. It holds your light at a place in three-dimensional space. Pretty simple stuff. For portability, solidity, price (and 5-year warranty) the $40 LP605 is tough to beat. Umbrella Swivel Adapters To attach your flash to a light stand, you'll need an umbrella swivel adapter. They are also called umbrella adapters, or just "swivels." This pretty straightforward. These are rugged and cheap at about ($15). Top to bottom, here's how they work. A. The Cold Shoe Unlike a hot shoe, this has no electrical connections. It just holds a flash. (Or, in many cases the Universal Translator that would give your flash a sync jack.) Then you put the flash on top of that. This cold shoe (on the LP633) has an expanding/locking clamp, which makes it sturdy and also lets it fit the foot of some weird flashes whose feet are slightly oversized. B. The Umbrella Mount This is a hole and clamp which holds the optical umbrella (more on that in a bit) which you will use to soften your flash's light. Even if you are not using an umbrella (which you will not do all of the time) you need this to attach a flash to a light stand, or anything els that is tipped with a 5/8" male stud. You put the umbrella shaft into the hole and clamp down the screw. Pretty simple. If you are doing it right (i.e., not backwards) the umbrella shaft should point about ten degrees up (instead of down) to offset the fact that the flash is a little off-center due to the mount. C. The Tilting Mechanism I'll bet you can figure this out by yourself. You loosen it, tilt the flash and/or flash/umbrella combo, and tighten it back to lock in place. This model has a toothed grip for an added margin of no-slip safety. D. The Light Stand Mount This is the female receptacle and locking knob that holds the whole assembly to the top of your light stand. Or anything else with a male, 5/8" stud. E. The Extra Stud Some swivels ship with an extra stud. (The LP633 does.) This has a female, threaded ¼" x 20 hole at one end and a 3/8" hole at the other. With a little ingenuity and a bolt of the right size, you can figure out all kinds of positioning devices and/or brackets that might support a flash in a tight or unusual spot. This stud will marry your frankenstein lighting creation to the swivel and allow you to connect it all together. Go nuts. [...]... or ceiling But we can also turn it into a 360-degree glowing light source The old-school term for this is "bare bulb" lighting That's because older flashes (and most current large studio flashes) have the ability to totally expose the flash tube, allowing the light to radiate in all directions Your speedlight can't do that as is, because the grain-of-rice-sized flash tube is permanently housed in its... tungsten gel through an office-plant cookie (explained here) to make a slick, layered quickie portrait in an otherwise drab, flourescent office This technique is easy, heavy-use, bread-and-butter stuff And, you will notice, we are talking pure technique at this point and not hitting you up for yet another piece of hardware 'Bout time, huh? OK, then So this gives broad, room-filling light and is good for... takeout—and they come full of hot-and-sour soup as well: Just wash it out (or not, whatever, I'm a guy after all) and cut a little "X" in the lid with an X-acto knife Then it'll slide right onto your flash for a friction fit These are great to experiment with Need light to fill a room in all directions? Bare bulb is your mod Gonna light the inside of a fridge to simulate that "late-night-snack" glow? Made sure... they do so differently Shutter is a time-based control F/stop is a diameter-of-the-lenshole based control Since the light from your flash is pretty much instantaneous, it really does not care about the shutter—as long as you are at or below your camera's top "sync" speed Which for most cameras is either 1/250th or 1/200th of a second Note that there are fancy, flash-pulsing methods which will allow you... omnidirectional, bare-bulb style lighting That's just what Strobist reader Janaka Rodrigue did above, using an inexpensive lamp globe from a hardware store By sticking the speedlight inside, the harsh light turned into a soft, glowing orb Which made for a beautiful, ethereal portrait Many flashes come with a small, white dome (sometimes called a Sto-Fen) that will convert the flashlight-stlye light into... on that here (Opens in a new window to preserve your L101 post thread.) Suffice to say, having flashes with built-in slaves makes all kinds of cool things possible I would never buy another flash that did not have a built-in slave Wireless Sync Via Radio Another popular method of syncing is via radio remotes This is not cheap, but if you get into lighting to any real degree this is where you'll end... can make any headshot look more like a cover shot Back it up a little bit, and your new "portable window" can also light some of the environment: It is safe, classic-looking light that is easy to tote around Total no-brainer in the bang-for-thebuck department In the photos above, the umbrella is being used from what can be considered to be a "classic" position 45 degrees up and over to one side There's... useful second light source Experiment I used to practice my outdoor lighting skills any time I was assigned to shoot a simple headshot, AKA a mugshot, for the paper What you have to remember is that they don't know you could do a perfectly good job by just sticking them in the shade for 30 seconds and bolting Muah-ha-ha, you are now my lighting model for 15 minutes Outside? Play with fill light and angles... sheriff had the flash set on 85mm, bounced off of the ceiling near the subject Note the fall-off through the back of the frame Conversely, this shot of a midnight Harry Potter fanatic was lit up into the ceiling behind me with the strobe set to 24mm So this just casts a wide, soft swath of light Bare-Bulb Lighting (Photo by Strobist reader Janaka Rodrigue) As you have already seen, we can the hard... feet But filling a box that big is a lot to ask in terms of power when using speedlights So another of my most-used light modifiers is a tiny (as in 8x9inches) version of a soft box, which happens to be very useful for lighting portraits from up close That's it above, providing the light for a self-portrait (As you can see, I like to experiment with my light mods…) But these things are super useful Take