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What lighting setup do you use the most?
- Thread starter Krav Maga
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tcphoto1
Senior Member
I typically use one or two lights along with a variety of modifiers from grids, foam core, diffusion, octabox and softboxes. Just about every shoot is different with it’s own objectives and problems.
john isaacs
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I use 3 lights, although usually set up 4-5 lights. Key light, fill light, and a hair light if the background is dark, or one or two background lights (one from the top or two from opposing sides) if the background needs to be lit.
Modifiers are umbrellas and grid/snoot if I'm portable, or octagon, softbox, strip box, grids if I'm using studio gear.
Speedlights or Quantum bare bulb flashes if I'm portable, strobes if I'm using studio gear.
Continuous LED lighting for video.
Michael Firstlight
Veteran Member
In the studio, for portraits, at least 3 and sometimes 4 or 5. I employ five Einstein 640's wirelessly controlled by a PCB CyberCommander that sits on my camera hot shoe and the images wirelessly transmitted to my workstation and rendered live on an 75" 8K screen for previewing (not in sight of the subject) using a CamRanger 2,
Common lights and modifiers:
1) Main (key light)
My cherished 4x6 Larson softbox is my most often used main light modifier, followed by a medium SB and sometimes a large beauty dish (with or without a grid and sock).
2) Fill light (or reflector - varies)
The fill light modifier is typically either a flat panel reflector or an 86" PCB white parabolic with a sock.
3) Hair light
I use a medium strip box mounted from the ceiling using a strip box using a short Bogen wall boom above the background.
4) Background light
I vary between a light using a very long 72" strip box ceiling mounted using a long Bogen wall boom above (facing) the background. This light give super even illumination across a 9+ foot background and from top to bottom with no fall off. It is the ideal illumination also for a 9 foot wife pure white BG needing only the one light instead of the typical two-lights flanking which eats up space and often lacks even illumination. When using a pure white BG I'll often pair it up with the 86" PCB parabolic as the fill light and the two combined evenly illuminate a white floor as well - which can sometimes include a reflective white 4x8 foot shower panel.
I also have an alternate monolight to light the BG using a snoot and and optionally gels when I want a BG highlight. I use light #5 interchangably for this when I need it - bit a 6th E640 would be a luxury as I don't often need both.
5) Kicker (accent) light
Another monolight using either a snoot or barn doors with or without gels to provide a bit of rim lighting or other subtle highlight on the subject - it's what the greats used to call a "garlic" light - perfect when adding just a dash and not used in excess.
Of course there are other reflectors and gobos that contribute to the overall lighting setup - not just lights.
On-location lighting is a whole different ball game.
MFL
--
The one thing everyone can agree on is that film photography has its negatives. It even has its positives and internegatives.
Common lights and modifiers:
1) Main (key light)
My cherished 4x6 Larson softbox is my most often used main light modifier, followed by a medium SB and sometimes a large beauty dish (with or without a grid and sock).
2) Fill light (or reflector - varies)
The fill light modifier is typically either a flat panel reflector or an 86" PCB white parabolic with a sock.
3) Hair light
I use a medium strip box mounted from the ceiling using a strip box using a short Bogen wall boom above the background.
4) Background light
I vary between a light using a very long 72" strip box ceiling mounted using a long Bogen wall boom above (facing) the background. This light give super even illumination across a 9+ foot background and from top to bottom with no fall off. It is the ideal illumination also for a 9 foot wife pure white BG needing only the one light instead of the typical two-lights flanking which eats up space and often lacks even illumination. When using a pure white BG I'll often pair it up with the 86" PCB parabolic as the fill light and the two combined evenly illuminate a white floor as well - which can sometimes include a reflective white 4x8 foot shower panel.
I also have an alternate monolight to light the BG using a snoot and and optionally gels when I want a BG highlight. I use light #5 interchangably for this when I need it - bit a 6th E640 would be a luxury as I don't often need both.
5) Kicker (accent) light
Another monolight using either a snoot or barn doors with or without gels to provide a bit of rim lighting or other subtle highlight on the subject - it's what the greats used to call a "garlic" light - perfect when adding just a dash and not used in excess.
Of course there are other reflectors and gobos that contribute to the overall lighting setup - not just lights.
On-location lighting is a whole different ball game.
MFL
--
The one thing everyone can agree on is that film photography has its negatives. It even has its positives and internegatives.
Last edited:
Gato Amarillo
Forum Pro
As a location portrait guy these days I do almost everything with speedlights. My standard is a two-light setup --
An umbrella softbox as main with reflector fill, then a second light for background or separation. The second light may be aimed at the background, or may be set as a rim light or hair light. Usually I will have a pair of speedlights teamed in the umbrella box. That gives me enough power to shoot ISO 400 with the lights between half and quarter power for quick recycle and long battery life.
I carry a couple of extra speedlights in case I want to do something more elaborate.
Gato
An umbrella softbox as main with reflector fill, then a second light for background or separation. The second light may be aimed at the background, or may be set as a rim light or hair light. Usually I will have a pair of speedlights teamed in the umbrella box. That gives me enough power to shoot ISO 400 with the lights between half and quarter power for quick recycle and long battery life.
I carry a couple of extra speedlights in case I want to do something more elaborate.
Gato
GreatWhiteWing
Senior Member
In the process of expanding a bit but two AD200's and two umbrellas on flashpoint quick stands. My setup is most like a table top product shoot. Sometimes I will use an older 550EX for background.
Four Godox AD600, one AD200.
One AD600 as main light, often in an octa, sometimes with a grid.
One or two AD600 for the background. Sometimes with barndoors and/or grids, coloured gels. Sometimes the two background lights as kickers from the sides or slightly behind the model.
For contrast reduction a reflector or one AD600 in a large white reflective umbrella on axis behind the camera. This AD600 can also be used with another octa for clamshell or beauty lighting.
The AD200 with the Fresnel head on the extension cable and the grid and barndoors for a hairlight. Maybe with the bare bulb in the folding beauty dish with a grid for softer light or in the small softbox configuration. This is a very versatile little light.
Rarely going over 1/4th power for quick recharge, 100 ISO at f/8.
One AD600 as main light, often in an octa, sometimes with a grid.
One or two AD600 for the background. Sometimes with barndoors and/or grids, coloured gels. Sometimes the two background lights as kickers from the sides or slightly behind the model.
For contrast reduction a reflector or one AD600 in a large white reflective umbrella on axis behind the camera. This AD600 can also be used with another octa for clamshell or beauty lighting.
The AD200 with the Fresnel head on the extension cable and the grid and barndoors for a hairlight. Maybe with the bare bulb in the folding beauty dish with a grid for softer light or in the small softbox configuration. This is a very versatile little light.
Rarely going over 1/4th power for quick recharge, 100 ISO at f/8.
GreatWhiteWing
Senior Member
Take all that on location? Assistant?
I am sure that includes stands and sandbags etc...
For me, generally on most shoots, I use just one monolight. Typically in a 60 inch octa boomed out overhead, aimed straight down and feathered in front of the model from anywhere between a foot and two feet; depending on their features and facial structure. Or, I'll use one monolight with a 70 degree magnum reflector for real hard light.
The second most used setup is a speedlight in a 28 inch octa. I use this ad hoc on run and gun style shoots in the city; with an assistant holding it to provide a slight fill if needed.
I do have an ongoing personal project roughly recreating Hollywood glamour from the 30s and 40s. That typically consists of anywhere between 3 and 5 lights, all with just standard reflectors, grids, or snoots.
The second most used setup is a speedlight in a 28 inch octa. I use this ad hoc on run and gun style shoots in the city; with an assistant holding it to provide a slight fill if needed.
I do have an ongoing personal project roughly recreating Hollywood glamour from the 30s and 40s. That typically consists of anywhere between 3 and 5 lights, all with just standard reflectors, grids, or snoots.
Yes. I do up to eight sessions of 30 minutes in a typical day of shooting. I try my best to individually light and pose each subject.
I don't bring anything I have no intention of using.
No assistant. Trollies, studio on ground floor. Constantly honing my packing technique.
It does.
Understood. It still seems like a lot of lights, though, unless you're shooting completely different looks with each person.
Gato Amarillo
Forum Pro
Now I'm curious. What's your typical setup time for a location session?
Can you post a couple of sample photos?
Thanks
photolando
Senior Member
If I am shooting a lot of portrait sittings or headshots that day, I use setups that make it easy-er to keep them looking the same and controllable. If I am doing just one person I will get a lot more creative since I have more time.
My portrait set up is a basic one. 3 lights.
My main is a 320 watt/sec Digibee with a 45 inch covered umbrella/softlighter. Usually set to about 1/4 power. I have it strung to about 45 inches and move it from one side to the next depending on the pose.
I use another DB800 set to about 1/8 with a 45 inch umbrella for fill. I keep it close to the camera or may even mount it so it's right over the camera. This is called form fill. If the ceilings are too low I keep to to the sides of the camera changing sides as I change my main.
My third DB800 is mounted with a medium strip I keep on the left side of the background as a kicker/hairlight.
Most times, that's it. You don't need a lot of lights or even power to create great portraits. I could drop the fill light and just use a reflector. But the fill light is little easier since I change the position of my main all the time.
My portrait set up is a basic one. 3 lights.
My main is a 320 watt/sec Digibee with a 45 inch covered umbrella/softlighter. Usually set to about 1/4 power. I have it strung to about 45 inches and move it from one side to the next depending on the pose.
I use another DB800 set to about 1/8 with a 45 inch umbrella for fill. I keep it close to the camera or may even mount it so it's right over the camera. This is called form fill. If the ceilings are too low I keep to to the sides of the camera changing sides as I change my main.
My third DB800 is mounted with a medium strip I keep on the left side of the background as a kicker/hairlight.
Most times, that's it. You don't need a lot of lights or even power to create great portraits. I could drop the fill light and just use a reflector. But the fill light is little easier since I change the position of my main all the time.
The location shoots I'm talking about is done pro bono for a charity, working to get people back on the workforce after they have been left behind for some years. As they are in a vulnerable position, I will not share those. The location is a meeting room where I can set up studio. I can park a few meters from the door, and setup time from I pull the hand brake until the first shot is approximately 45 minutes. When a new subject enters, there is ten minutes of small-talk and light changes until we shoot. I try to make setup time as short as possible, it's my experience that models who are not used to getting photographed tire quickly.
In another recent post, I shared a couple of pictures made at home with "friends and relations". In the first, there was some lighting and wardrobe changes and we ended up with a three light setup, IIRC. For a while, I experimented with a gelled background light, but we ended up with black. For the girl in white, I used four lights, I think. Pretty mainstream stuff, the best portrait light goes unnoticed IMHO.
Sometimes a blown white background, sometimes coloured with a gelled light, sometimes plain grey or black. That's two, one or zero lights. Most often a hairlight, except for bald subjects. Main, fill, clamshell to (my) taste - another one or two lights.
I try my best to accomodate what I see in them, so yes, setups differ.
Gato Amarillo
Forum Pro
Thanks. I agree about keeping it short -- that's largely why I asked.
And agree about the light
Thanks again
Gato
Thanks. It'salways interesting to see the process of others.
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