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  • Welcome to the new site. Here's a thread about the update where you can post your feedback, ask questions or spot those nasty bugs!

question about lighting

What difference is there between a simple camera flash or spot light versus a flood light into a umbrella (other than the obvious that the flash will be triggered and flash)

What affect will each make on the photo outcome?
 

John Angulat

pro member
Hi Bull,
With either an on-camera flash or a spot light it's still a single source of direct illumination. That's going to create a bright source and equally deep shadows. Using an umbrella to bounce your light softens and widens the dispersion of the light.

Here's some quick links to lighting. They can expalin it a lot better than I can.

Strobist has some pretty good stuff: http://strobist.blogspot.com/2006/03/lighting-101.html

Here's a couple of others:

http://www.lightingmagic.com/topics.htm

http://www.adidap.com/2006/11/30/studio-portrait-lighting-a-how-to/
 

John Angulat

pro member
Theoretically...no difference. That assumes the color temperatures are the same and the measured light falling on the subject is the same.
 
so thanks for the help folks basicly what ive gotten for an answer is (flashes vs static light) there is no difference if wattage and ligth output are the same just the flash produces a larger lumination than a static ligth due to the enrgy being stored in a capacitor and released on demand rather than always being at one level
 

Asher Kelman

OPF Owner/Editor-in-Chief
so thanks for the help folks basicly what ive gotten for an answer is (flashes vs static light) there is no difference if wattage and ligth output are the same just the flash produces a larger lumination than a static ligth due to the enrgy being stored in a capacitor and released on demand rather than always being at one level
Aaron,

You are starting to understand but what's really needed is to spend some time on the links you have been given. Here's what you should look out for and must master. We don't teach here, but give resource connections if we can. So I'm going to provide the questions that you need to be able to answer to use light. Don't worry about the electronics, that will get you nowhere unless you want to start your own lighting company, LOL!

Think of light as salt, sugar, spices and heat you might use to bring out flavor in food. We need to know something about the quality of each as it effects what we are trying to achieve, not the physics which gives no help at all!

Here are the questions you MUST be able to answer for each time you choose your light. when you read the references, just look out for just these answers:

  1. What happens to light when it comes from a very large area, such as a light box or an overcast day with bright clouds?

  2. How is that light different when it's from a point source such as mid day sun or a bare light bulb?

  3. What happens to light when it is moved closer and closer to the subject?

  4. How much light is needed at each part of the picture?

  5. What should be the junction between differently lit areas? Sharp and hard or soft and ghost like?

  6. What do I like?

  7. What do I need?

As a start, my offering:

  1. Window light is free and from heaven is can't be that bettered.

  2. A white card or reflector/sheet can lighten shadows.

  3. A sheet can soften harsh sunlight.

  4. A camera small flash dialed down low can fill in the shadows a tad

Now for your part you have to read the sources and only ask again after you make you 5th or 10th picture and are proud or stuck!

So the deal for newbies is that we'll stop what we're doing to help out, but then you must do the work!

Good luck!

Asher
 
Well, I read all the above links and what my question really was that is it necessary for me to fork out a large amount on flashes right away or can I cobble up or buy some more economical static lights to get the same affects in conjunction with soft boxes and umbrellas as what a flash would produce and from the answers I have gotten here I believe I found my answer and that is static lights a cheap alternative to flashes but do produce more heat and have less illumination.
 
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Asher Kelman

OPF Owner/Editor-in-Chief
Static lights are not a good idea to start. The best is to use sunlight a piece of card as a reflector and the least expensive single light or flash you can get for opening shadows a tad.

Trust me, I'm right and it's not my idea, I learned it from everyone else! However, that's the only way to start! When you can do that for one set up of anything you chose, then worry what's missing for new things. Again, brilliant, but not my idea.

Newbies buy equipment. Others simply use light that' available. Pros rent!

The problem is not buying lighting, it's actually taking interesting pictures. That's the problem. So we have to get on with it. Anyone can buy gear if they find the money!

Asher
 
If you're asking about the visual difference between continuous lighting and strobes, all other things being equal--you can generally get similar lighting effects with either.

Strobes will stop action, so if this is for portraits, you'll notice that even with relatively still subjects the part of the image that's in focus will be sharper with strobes. Strobes are more powerful, so you have more flexibility in choice of aperture to control depth of field. Strobes are balanced for daylight and tend to be very consistent in color, which is an advantage if you want to shoot daylight film or mix strobe and daylight without having to gel the strobe. For very precise studio work, though, some photographers measure the light with a color meter and always gel the lights.

Things are not, in fact, equal though. Continuous fresnel spots seem to have their own effect, though I have a fresnel strobe made out of a continuous lighting fixture that's as close to a theatrical fresnel as one can get with a strobe. Banks of fluorescent lights have their own look. Window light is its own thing, but you can get pretty close to it with a softbox.

The main principle to keep in mind is that the larger the light source relative to the subject (so a light source that is close to the subject is larger than the same light source at a greater distance), the softer the light.
 

Ken Tanaka

pro member
The late Yousuf Karsh, perhaps the greatest photographic portraitist in history, took this jaw-dropping portrait of François Mauriac in 1949 after the power failed in Mauriac's 17th century 5th floor apartment in Paris. He improvised with only window light and a bed sheet.

m198130600004.jpg


Study light, not lights.
 
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