flash photography

comparing power: studio lights vs. speedlites / speed lights

Speedlights pack a huge amount of light for the size. Very portable, and loaded with sophisticated features, owning a speedlight is a must. A simple choice.

Studio lights and the larger portable flashes such as the Profoto B1 500 W/s battery powered flash (vendor), offer a lot more power than speedlights. Exactly how much more powerful isn’t all that easy to find out. There’s very little available as direct comparison. Even the specs aren’t directly comparable. Speedlights’ power is given as a Guide Number (GN), and studio lights’ power is usually given in Watt-seconds. Not an obvious translation between the two of them.

The Profoto B1 500 W/s battery powered flash (vendor) is quite powerful, offering 500 W/s as a maximum. It also features TTL capability, and can be wirelessly controlled. All this gives the B1 a flexibility approaching that of speedlights. The question then inevitably comes up just how much stronger the Profoto B1 is than a speedlight. In other words, how many speedlights would you have to gang up to match 500W/s of studio light output?

This is then what we’re going to look at here – how do studio lights compare to speedlights / speedlites in terms of output.

I had a model, Melanie in the studio, to do a series of test photos. I used a Nikon SB-910 Speedlight (vendor) vs a Profoto D1 Air 500 W/s studio light (vendor). The studio-bound D1 is similar to the portable B1, aside from not running off a battery. It also has a typical power rating of this kind of studio light. Also keep in mind that the Nikon SB-910 Speedlight (vendor) has the same output as the Canon 600EX-RT Speedlite (vendor)

Learn more inside…

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various scenarios: balancing flash with ambient light

Adding flash to ambient light – its’s a topic that can appear to be confusing. With advic that ranges from under-exposing the ambient light by a stop or two … or dialing FEC down for fill-flash, or advice that you should be metering for the background … it all appears confusing and contradictory.

What we do, and the thought-process we step through, depends on the (lighting) situation we find ourselves in. There isn’t one blanket do-all method. No single piece of instruction that will fit every occasion.

So let’s try to work through various general scenarios, to see how we’d approach each one:

Learn more inside…

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photography: gelling flash for late afternoon sun (& deep blue skies)

The warm light from the nearly-setting sun, accentuated with gelled flash. Towards the end of the recent photography workshop, we were shooting on the rooftop – the warm tone of the sunlight contrasting beautifully with the blue sky.

To punch it even more, we added gelled flash via an off-camera speedlight in a softbox. We had to gel the speedlight of course, to make sure the blue color balance of the flash didn’t kill the natural light. We used a 1/2 CTS gel here which brought the flash’s WB down to around 3700K. (This photo of our model, Melanie, was taken by Rosario.)

Learn more inside…

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flash photography questions & answers (FAQ)

Like anyone who maintains a site diligently, I check my web stats daily.  I want to know where traffic is coming from, and how people reach my site. I need to know the referral sites. Of specific interest are the search phrases people use, and then end up on the Tangents blog.  I originally intended there to be a monthly series of posts, with direct answers to some of the questions that popped up in the Google searches. However, since Google decided to hide the exact search phrases, this idea came to a halt. But there were some really good material here, so I decided to amalgamate the best into one longer article.

Okay … let’s look at some of the questions on the topic of flash photography:

Learn more inside…

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Light Blaster: image projection effects for creative backgrounds in the studio

Working with an idea in mind – a moody B&W portrait with a stylized cityscape as background. Using the Light-Blaster again in the studio, this final image was a progression of that idea. I knew I wanted to use the cityscape background of one of the metal gobos that came with the Light-Blaster kit.

Because I wanted the final photo to be black and white, I set my camera to Monochrome so that I’d have a good idea during the shoot what the final image would look like. Since I shoot in RAW, the image would pull up in color the moment I start my post-processing. Then I reverted it to B&W again, and edited it for contrast and for the vignette you see in the final image at the top.

The first step of the shoot was to set up the Light Blaster, then get the exposure, and then figure out the lighting on our model, Priscilla.

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update: new gear for flash photography workshop

The material covered, and the gear used in the on-location flash photography workshops, are constantly being fine-tuned and adapted with each workshop. With the first workshops (around 2006) centered around bounce flash photography. Over time the workshops expanded from that fairly simple premise, into what is a more comprehensive on-location lighting course.

The past two years there has been a surge in the various brands and types of flash. For example, Canon used to be just the 580 speedlights and wireless system. There’s now the 600EX speedlights with built-in radio transmitters as well. Phottix and Yongnou have become strong contenders in the field of flash photography with their speedlights and wireless systems.

When the workshops were presented across the country and in New York, there was a restriction – I had to travel light, and had to pare down on the gear I could bring. This meant that for the off-camera flash portion of the workshop, I could most easily help the Nikon and Canon shooters, and use their respective wireless control via RadioPoppers.

Now that the workshops are presented at my studio in New Jersey, and with a smaller class, I could make the big step and see if I could accommodate everyone at every workshop, regardless of system. With two models, it does mean doubling up on speedlights and systems. So I had a look around for soft boxes that would allow two speedlights … and still allow access to the speedlight controls from outside.

The Profoto RFi Speedring for dual speedlights (vendor), looked like the best candidate – rugged (which means it is heavy), and it easily allows two speedlights. The two speedlights could be of different size and use different radio systems. I purchased two of these Profoto RFi Speedrings for dual speedlights (vendor), and two of these medium-sized Profoto 1.3′ x 2′ softbox (vendor). This means that with the flash photography workshops, we can accommodate up to 4 different flash systems simultaneously!

We can now more easily help photographers who prefer hardcore strobist manual-only flash, or Phottix or Yongnuo, or either of the two Canon options or Nikon, or Sony, or Pentax. Alternately, we can double up, or have a Nikon and Canon speedlight in each of the two soft boxes. More flexibility.

So if you’ve been considering attending a workshop, but don’t use Nikon or Canon speedlights, we can now easily help you with whatever challenges you have with off-camera flash photography.

There will be two more workshops for the rest of 2014, which will take place on:

  • Sept 21, 2014  (Sunday)
  • Oct 26, 2014  (Sunday)

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image projection effects in the studio with the Light Blaster

Shooting in a studio can feel like a challenge at times – you’re in a big box of a room, and somehow you have to work past that restriction with light and ideas, create something. I’ve been curious about using projection effects in the studio, but always seem to come up short against equipment that is either too expensive, or too limited .. until Udi Tirosh of DIY Photography, turned me onto the idea of the Light Blaster.

The Light Blaster attaches to your speedlight on one end, and a lens on the other end. In the middle, you insert a slide with colors that you can project onto a background, or onto your subject. Alternately, you can use a metal gobo to create shadow patterns on the background. Quite simple really, but the effects are great.

Learn more inside…

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using bounce flash vs. available light vs. using the videographer’s light

The expressive trumpet player in the band at a wedding – a simple portrait of this musician, sweetened with some bounce flash. The light on his face, is by now perhaps predictably, on-camera bounce flash with the black foamie thing.  Looking at the light pattern on his face, you’ll see there was no direct flash of any kind.

camera settings:  1/60 @ f2.8 @ 2000 ISO // TTL flash
Nikon D3; Nikon 70-200mm f2.8 AF-S VR II;   Nikon SB-910 Speedlight

In comparison, here are a few other images.  One with no flash, so we can see the effect of the bounce flash.  Another image with just available light; and another image where I was able to use the light from the videographer’s camera.

Learn more inside…

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off-camera flash / speed light – overpowering the sun – what are my settings?

Teaching a class on using off-camera flash at the After Dark photography convention, I took a group of attendees outside on the street with two models. Then I stepped them through the thought-process in how to get to your basic, fail-safe, works-everytime camera settings and flash settings.

Regular visitors to the Tangents blog and those who have read my books on flash photography, should know the algorithm off by heart. There’s a specific thought-process that will get you to your basic camera & flash settings when working in bright sunlight, where you have to overpower the sun with a single speed light.

Instead of re-treading this ground myself, and re-stating everything, I thought it would be good to have everyone work through this themselves. It’s a good check to see if you’re familiar with what you need to do. There’s a very specific series of decisions you make that gets you to where you need to be with your camera and flash setting – and then you can concentrate on composition and everything else that is important in taking a photograph.  The camera settings choice should be second nature and should take you a few seconds.

So here’s the challenge – call it homework if you will:
– what are my (typical) camera & flash settings for the photograph at the top?
– how did I arrive at these settings?

Learn more inside…

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step-by-step guide to using a flash meter with manual flash & ambient light

A question posted on the Tangents forum was on the topic of exactly how to use a light meter to get to correct settings for manual flash. This article covers that first tentative step in what exactly you should do with this brand-new light-meter in your hand. It will help you cope with that initial “what now?” moment.

How exactly would you have used the flash meter (with the strobe in manual mode) to arrive at the correct settings to illuminate the model properly without changing your in-camera settings? Values entered into the flash meter?

It is much easier than you think, so let’s take it step-by-step:

Learn more inside…

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