{"id":38319,"date":"2017-03-19T19:06:49","date_gmt":"2017-03-19T23:06:49","guid":{"rendered":"https:\/\/neilvn.com\/tangents\/?p=38319"},"modified":"2017-11-28T23:08:26","modified_gmt":"2017-11-29T03:08:26","slug":"flash-photography-the-difference-between-a-grid-and-a-snoot","status":"publish","type":"post","link":"https:\/\/neilvn.com\/tangents\/flash-photography-the-difference-between-a-grid-and-a-snoot\/","title":{"rendered":"Flash Photography: The difference between a grid and a snoot"},"content":{"rendered":"

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Flash Photography: The difference between a grid and a snoot<\/h1>\n

We use grids and snoots to control\u00a0the light from\u00a0our\u00a0flashes.\u00a0We want to control\u00a0how the light spreads, and we want to light only a part of our scene or subject. However, strongly favoring softer light when using flash, I\u00a0don’t regularly use grids on my flashes.<\/p>\n

The article on\u00a0using grids with flash for a spot of light<\/a>, had someone ask when I would use a snoot and when I would use a grid with flash. When in the studio, I would use the Profoto 10\u00b0 Honeycomb Grid<\/a>\u00a0(B&H<\/a><\/em>\u00a0\/\u00a0Amazon<\/a><\/em>) – it is made of metal and can withstand the heat from the modeling lights of the Profoto D series flashes.\u00a0On location with the Profoto B1 though, I use Profoto OCF Grid Kit<\/a>\u00a0(B&H<\/em><\/a>\u00a0\/\u00a0Amazon<\/em><\/a>). With the OCF grid kit, I used the wider 30 degree grid as my default. My loose reasoning (not based on actual comparative testing until now) was based on the idea that in the studio I have more time, and can accurately place the spot of light. On location, time is usually a constraint, and then I am happy with the leeway that a wider beam gives me.<\/p>\n

When the question came up about what\u00a0the difference was in the results that a snoot gives compared to a grid, I had to do a more formal test. For my own curiosity too. (If you’re not sure what a snoot or a grid might look\u00a0like, there are examples further down in this article.)<\/p>\n

Before we start<\/em> – I used the Profoto series here. Even though other brands of flash modifiers might give slightly different results, I think the results will be similar enough that\u00a0the results\u00a0will follow the pattern we see here. So even though you might not use Profoto, read through this. I am sure it will be of value to anyone who uses flash photography.<\/p>\n

For\u00a0this discussion of grids and snoots, photographing Anastasiya<\/a>\u00a0in the studio,\u00a0I wanted to illustrate\u00a0how the narrower beams of light might be used. In\u00a0this case, a look reminiscent\u00a0of\u00a0the Hollywood Glamor style of lighting, where they used Fresnel\u00a0lights\u00a0\/\u00a0hot lights. These lights (and style of lighting)\u00a0generally gave a harder light.<\/p>\n

If you’re interested in studying the Hollywood Glamor style of lighting, I \u00a0strongly recommend this book where the authors analyze and break down some of the best known portraits and describe how the images where lit – Hollywood Portraits, by Roger Hicks and Christopher Nisperos<\/a>\u00a0(Amazon<\/em>).<\/p>\n

The pull-back shot to show the lighting setup used here:<\/p>\n

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Camera settings & photo gear used during this\u00a0part of the\u00a0photo session<\/h2>\n