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| How to take
photos: Mini Studios |
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Also see the
'How to use your SLR'
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Basic gear you need:
 | Studio flash(es), reflector(s),
backgrounds, and perhaps a warmer filter (usually for the flash, not for
mounting on the lens) |
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The Aim:
| To get good lighting on
the subject |
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How:
| Camera Settings: Use
iso100, something between f11
to f16, and 1/125 shutter speed with the flash. Also, with f11, have the subject sitting further away
from the background (usually a wall), so it's more blurred out. |
| White Balance: Be sure
your white balance is set
for the flash you're using. In the examples below, the studio flash was
rated to 5,500K, so the cameras WB was set to this. |
| Lenses: I prefer to use a zoom
lens. I prefer either my Konica-Minolta 18-70mm or 75-300mm lenses. Other
people might prefer a 50mm lens, or 100mm 2.8 lens (non-zoom). |
| Positioning: Set up your flash to point
from one side, or from above the camera |
| Modifiers: Have the reflector bounce
any excess light to gently fill in shadow areas, especially under the chin
and on the 'dark side' |
| Quality Issues: Be sure there's no
distractions, or unnecessary junk in the background. Plan it, so
everything that you see through the lens is there, because it needs to be. |
Lights:
| Some
amateurs consider making do with hundreds of watts of fluorescent
or halogen lighting, but in my experience, you'll still have blurred subjects
(see the Rejections article).
This is because the shutter is open to bright light longer, whereas with
a flash, the light is so momentary that blur can't happen. You really do
need to use studio flashes as these 'freeze' the subject. I make do with
a single 800watt flash and a reflector. It's the cheapest and most
effective set up money can buy. Fluorescent and halogen lights aren't for
photography, but for videography; don't get sucked into any sales'
pitches. |
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Still
not convinced? All of the photos below were taken at f11, 1/125, iso100 in a
regular room in a house using a regular studio flash: I bet you can't get
good results like these using a desk lamp. Also, try taking a
photo without the flash, and you'll see how dark it appears. Now imagine if
a high powered flash lit up the place for a fraction of a moment; that's how
there is that 'freeze' with studio strobes, which is not possible with
continuous lighting.
What flash to
buy:
Most
brands are good (I can't think of any with a bad reputation), though Alien
Bees are said to be the cheapest, most reliable, most popular among
professionals, and offer the most flexibility. However, I personally don't
like their attitude to international customers.
What size:
I got a
single 800 watt flash (seen below), and it is perfect for me. Since it's an
Alien Bee, I can easily weaken the light for mini studio projects and boost
it for portraits. I suggest these options, though: two 400 watt flashes, one
or two 800 watt flashes, and appropriate accessories. (I've heard of some
people buying eight 100 and 200 watt flashes; this many is quite
un-manageable)
Accessories:
I got
an umbrella, but wished I had got the softbox instead. Umbrellas are quite
general purpose, but create slightly stronger shadows, whereas the softboxes
create softer light and softer shadows. For mini studios, medium sized
softboxes are great for creating smooth consistent lighting, especially for
wine bottles and glasses. If you have one light, use a white board
(cardboard or Styrofoam sheets) to reflect light onto the opposite side. A
reflector, if used well, is equal to a second but softer light, which is
often desirable.
Light Tents?
No, no,
no. I got one and regretted it. They are just a gimmick. They really get in
the way of effectively controlling the light and keeping it bright enough
inside. Keeping things open (as seen
below), and using softboxes are so, so, SO much better and produces better
results.
Set
up:
Click on these to view them at a
larger size
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 |
< The
test-shot: A Japanese New Year's kagami-mochi (rice cake). F11,
1/125, iso100; 18-70mm lens. 800watt flash |
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 |
< Note the
backdrop is a black-white reversible cloth, and in this case, the
subject has been placed on a simple brown paper picked up from a
stationary store. The 800watt flash is a little bit of an over kill,
especially since it's usually used at half power in a mini studio. An umbrella is used to create some light - shadow contrast on the product. However, no umbrella
could be used, and the flash can be bounced off of the wall behind the
photographer, creating a global light kind of effect. However, in the
picture above, the shadow on the
right side is a little dark for my liking. |
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 |
< F11,
1/125, iso100; 18-70mm lens. 800watt flash. Packaging Styrofoam blocks from
a box were used to help bounce light, from the flash,
back onto the dark side of the subject. That way, I don't need to
purchase an expensive second light. However, if I did, it'd be used on
the white backdrop, to sort of isolate the subject from the background.
If I did use a second light on the subject, it'd be
too bright. |
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< The
result. As seen
here, the shadow is much lessened than in the original sample viewed
above. |
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< F11,
1/125, iso100; 18-70mm lens. 800watt flash, with reflectors. |
|
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< The 'mini
studio' set up, using white materials to help reflect light to fill in
many shadows. The camera shows where the photographer would be
photographing from (notice the low angle). |
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< Notice the
'shutter release' cable from the man's left hand being connected to the
camera. 800watt (studio) flash (right). I chose an 800watt flash, as it
offers the most flexibility. |
 |
< Also see
the "Painting
with Light"
tutorial. |
Also see
this gallery
for more examples |
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