AlienBee's pro's and cons for transition from hot lights?

padeye99656 · Dec 7, 2005

Augusta wrote:
.

Augusta said:
In mere terms of Power, SB800 does really get the same Light-output
as AB400, as well as also any other Monolight running in the range
of 130-160 "True" Watt/second (Joule); e.g.: Bowens Esprit 125;
SP-Systems Excalibur 1600; Visatec Solo 400B - 150J.

Are you telling me that Nikon has figured out how to make a tiny capacitor hold 150 joules of energy? Quantum makes a 150 joule flash and it is significantly bigger than an SB800 due in part to a much larger capacitor.

Augusta said:
That simply means, if You are shooting in the night at a whole
building, both an SB800 and an AB400 at full power will require
the-same/very-similar ƒ Aperture and t-Speed setting Exposure.
Also, in respect of their max Light-Power on the field, still I can
compare:

You are comparing different types of reflectors which is not the same as comparing the total light output. Whatever reflector you are using on the Alien Bee isn't as efficient. If you used the same type of parabolic reflector and fresnel lens you'd find the B400 was much more powerful.

The opposite is true and is more significant. If you diffuse an SB800 enough to evenly illuminate a softbox you'll find it won't produce the same guide number as a B400.

Augusta said:
one AB800 ~ 2x-(barely)3x SB800; one AB1600 ~ 4-5x SB800.
Misconception instead is, comparing Flash-tubes' capability in
milli-metres merely.

I'm not even sure what this means, could you explain what "capability in millimeters" means?

--
'When it's time to shoot, shoot, don't talk'
Tuco - Il Buono, il paparazzo, il cattivo

Kim Walker · Dec 7, 2005

Padeye, I've just been searching trying to determine how to move from continuous lights to strobes. This has been a very valuable thread for me. One of the critical questions I have was if the B800 would be too powerful for my work. You answered it well! Thanks!

Kim

padeye99656 · Dec 7, 2005

I think that is one of the best uses of this board, leveragiung the experience of others before spending a boatload of money.

BTW, nice website. I am in awe at the beauty of your work, both as a luthier and photographer.

--
'When it's time to shoot, shoot, don't talk'
Tuco - Il Buono, il paparazzo, il cattivo

Kim Walker · Dec 7, 2005

Well, thank you very much for both complements! Although, your complement about my photography gives me hesitation. Maybe I should not switch to strobes for my work? What would your opinion be?

I've been using compact fluorescent lights for the last couple of years, after using several iterations of hot light. The fluorescent lights have started do bug me as far as their odd color spikes. I have to do a fair amount of tweaking in Photoshop to make the guitars look the way I want (color wise) and I've been thinking that going to strobes would give me color that I would like better. A friend of mine, who writes guitar books and has been using strobes to take guitar pictures, has been encouraging me not to switch. He thinks it would be no easier to get results. So, again, any thoughts?

Kim

plumcrazy20 · Dec 7, 2005

mgb123 said:
I'm making the transition from hot lights to strobes, and was
thinking of the AlienBee's Busy Bee complete set. I have a good
feel for available light photography, but not that much experience
with strobes.

http://www.alienbees.com/busy.html

Any obvious pro's and con's to this setup? Any other's that I
should consider instead? I'm doing a lot of product photography
and would like to mess around a bit more with portraits. Right now
I'm getting by with a homemade light tent, and some Tota hot lights.

Also, is it possible to balance strobes to daylight?

I guess I've got more questions than I originally thought, are
there any 'must have' texts to add to my library to help my
transition? I'd like to jump in without getting to frustrated at
my own ignorance!

E-mail me if you want, I might be able to save you a few hundred on some Bees.

Augusta · Dec 7, 2005

Kim Walker said:
.. .. fair amount of tweaking in Photoshop to make the guitars look the way I want (color wise) ...
... strobes would give me color that I would like better.
A friend of mine, ..., has been encouraging me not to switch. ...

Monolights or Flashes either, get the same Colour cast, basically. Continuos Lights also, both Tungsten or Halogen, would be good for the guitar; their reddish/yallowish 3200 K° are easily compesable, in WB. I am very little partial for Flourescent bulbs, instead.
All it depends on how Your friend lightened and set the guitar up:

I often use that "Multi-Colour Card" (We call: "Tavola della Selezione Cromatica"), since I am a Painting-Reproductions keen (half)-Photographer; it must be embeded in the picture-frame! Several sizes available of Chromatic Card.

Kim Walker said:
Anton

Darrelll · Dec 7, 2005

I'm planning to get some studio lights in the next couple months...

I can buy a nearly new (8+ yrs old but never used) Speedotron 805 w/2 103 heads, 2 stands/umbrellas and a 22" reflector w/grid and cloth cover and case for around $800. Or...

A couple of AB's and some accessories...

I shoot mainly peeps and small products...

What to do... what to do...
--
My glamour gallery - Comments appreciated. Link below...

http://www.pixs.ws/gallery2/

Cheers,

Darrell

Kim Walker · Dec 7, 2005

Anton,

Thank you very much for your input here!

This looks like a very good set up. I just purchased a good WB reference card and now I think I will add a chroma color reference card. The set up that you have shown in this picture is mono lights, correct? I just wanted to make sure that I understand correctly that you are saying that mono lights are good for this kind of work.

I understand what you are saying about the tungsten or halogen lights having a nice warm color, which is good for guitars. However, I was having trouble getting good colors in the blues and greens of my inlays. When I would white balance and then saturate the blues and greens, to look correct, they always came out noisy.

Thanks again, Kim

Augusta · Dec 7, 2005

Kim Walker said:
... I will add a chroma color reference card.

Here in Europe, they are marketed by Kodak. When it is not on use to a long time, keep the chromatic card in the darkness. Light hitting it, can change the colours cast; they follow an universal standard cast. No problem on brief periods, of course; just avoid to forget it under the sun!

On the Printing-Labs, Pro- Dep., operator has it in "darkroom" to check how the coluors cast works out while printing and to fine tune the process.

To a personal use only, You can also get an home-made chromatic card; by shooting at a group of various colours cards and keeping that/those picture as a model.

Kim Walker said:
I just wanted to make sure that I understand correctly that you are saying that mono lights are good for this kind of work.

Yes, they are very well; and a couple are enough. Also, if any doubt about colour/WB persists, tray on changing the material (the softner, the Brand) You use to diffuse the Light; any can get a bit difference than an others, acting like a filter. I found as great an expeeenssiiiivve brand called: .... tissue-paper.

Kim Walker said:
Anton

Kim Walker · Dec 7, 2005

Anton,

Thank you so much for your help! I will follow your suggestions on getting the color reference card by Kodak and then taking pictures of them to use as a model for color adjustments. That makes perfect sense. Also, I will look for that very expeeeeensive tissue paper you recommend for a diffuser! I think that I will get two mono lights, as well.

Kim

Dasher · Dec 7, 2005

I have a AlienBee large softbox, and am wondering what the "abomination" problem is with it? Attaching the inner diffuser was the only thing that was a stretch for me, and next time I will partially attach it before putting it over the frame.

Augusta · Dec 7, 2005

Thank "Dasher",

How about their Light-Stands? Could You weigh one out (Lbs or Kg.) on a balance; on next later days?

Sandorglez1 · Dec 7, 2005

the best four you is the AB ,
Also you have the batery choise .
You can bring your ligth outdoor COOLLLLLLLLLLLL.
Sandor

MKII
Alienbees
Photogenic

CharlieDIY · Dec 8, 2005

Dasher said:
I have a AlienBee large softbox, and am wondering what the
"abomination" problem is with it? Attaching the inner diffuser was
the only thing that was a stretch for me, and next time I will
partially attach it before putting it over the frame.

I agree. I have two AB softboxes, and have had NO problems with either one, assembled or in use. Maybe I'm doing something wrong.
--
Charlie Self
http://www.charlieselfonline.com

GPB · Dec 8, 2005

It could be that if you haven't seen better, you don't have an appreciation for better quality, features and diffusion properties. Heck, some people still use AOL.

-- Greg

padeye99656 · Dec 8, 2005

I would say if it's not broken don't fix it. There's the cost and learning curve in switching to studio flash and you may not get as much benefit as someone shooting people. As for the color cast are you setting a custom white balance from a white or gray reference card or correcting color in post?
--
'When it's time to shoot, shoot, don't talk'
Tuco - Il Buono, il paparazzo, il cattivo

Kim Walker · Dec 8, 2005

Padeye,

Thanks for your thoughts on this.

Although the expense is something to consider, it's the learning curve that I worry about more. I have been using custom white balance from a Kodak gray card and also using Icorrect in postprocessing. I have been shooting in raw mode for the last nine months, which does help with dynamic range problems. I just received a WhiBal and have been checking my lighting to see if that helps. Anton suggested I get a color checker and I think I will do that, as well. It may be that I can solve this, well enough, with a software solution. I've saved some Selective Colors in Photoshop and I think I can apply these and get a reasonably good solution. I'm getting ready to do a shoot, so, if I end up frustrated with this session I'll try some B400s.

Of course, buying gear to take guitar photos is a good excuse to get new things that stimulate my other photography! In that regard, the learning curve would be okay and a creative outlet. I do enjoy looking at good portrait photography, but have done very little other than available light work, myself.

Thanks again, Kim

tolive · Dec 8, 2005

I know this is a dumb question, but I'm learning here with no studio experience.

If using multiple strobes, how do I connect those multiple sync. cords to my camera? Do I have to use a multi-channel control board like AB's LG4X?

Augusta · Dec 8, 2005

tolive said:
... If using multiple strobes, how do I connect those multiple sync. cords to my camera?

Up to three Syncro Cords can arrive, from the Strobes (each Strobe, one cable) to such a Multiple Plug-Adapter :

http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=89996&is=REG&addedTroughType=categoryNavigation

http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=109455&is=REG&addedTroughType=categoryNavigation

From it, a (PC-Female to PC-Male) Syncro Cable will be going to the Camera; also, the Triple-plug could be placed on the Camera body, directly. Similar thread here:
http://forums.dpreview.com/forums/readflat.asp?forum=1025&thread=16030816

tolive said:
Do I have to use a multi-channel control board like AB's LG4X?

That is an optional, good tool though; You are just not forced to buy it.

tolive said:
Anton

padeye99656 · Dec 8, 2005

tolive said:
If using multiple strobes, how do I connect those multiple sync.
cords to my camera? Do I have to use a multi-channel control board
like AB's LG4X?

Alien Bees like nearly all monolights have built in slaves which can fire any not connected by a sync cord.

--
'When it's time to shoot, shoot, don't talk'
Tuco - Il Buono, il paparazzo, il cattivo

AlienBee's pro's and cons for transition from hot lights?

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