NikonGear'23
Images => People, Portraits, Street, PJ & Cityscapes => Topic started by: paul_k on April 27, 2017, 14:03:29
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For many techies the Broncolor Para reflectors are about the ultimate for studio photography
The ability to evenly light a model from top to toe with a more contrasty look then a similar 6 or 7 feet softbox will give
is a mouth watering idea for many fashion photographers
Downside of course is the major pricetag, over here in the Netherlands a Para 222 will set you back around Eor 6,500 ex VAT, and
of course in addition to that you'll need a extra sturdy lightstand to handle the weight, and obviously a strong flash as well
And there also is the consideration how often you will use that set up
There are large (7 feet) umbrella's around (from the expensive Profoto and Westlite, to cheapo Chinese ones), but due to the weight the full length of the central "mounting' rod can't be used due to flexing, and effectively forcing to use only the central part of the umbrella, which of course counters the 'top to toe' lit effect looked for
Yet, although I consider myself more of an 'outside location' fashion shooter, I wanted to try my hand at a similar set up to be prepared for the occasion when I would be requested to do a shoot in this fashion.
So I got a cheapo Chinese 7 feet umbrella for Eur 39,95 :P , and as an equally cheap mounting solution used an old lightstand/boom I have had lying around for years (basically a bad purchase, being a low cost one, the boom arm proved too weak to safely carry the weight of e.g. a 3,5 k Bowens Gemini).
Set up is simple
I mount the Gemini (with a standard 'wide' reflector which also has an umbrella adapter) on the lightstand in the standard way, then put the boom (shortened to about 80cm or so) in a horizontal position (or tilted depending of the position I will/want to put the flash in eventually)
At the end of the boom, I mount an very basic lightstand/umbrella adapter (like the one eg for using an umbrella with a speedlight on a lightstand)
I put first put the central 'mounting' rod through the hole of the umbrella adapter, and then put it through as far as possible needed to connect to the Gemini's reflector.
Since the central 'mounting' rod (and the weight of the umbrella) is already supported by the umbrella adapter at the end of the boom, I don't have to put it in too far in the Bowens umbrella adapter. While at the same time, the boom arm function as a support for the umbrella, and counters any possible flexing/bending of the 'mounting' rod
Of course I can't imitate the Para's option to focus the light by putting the flash closer to the umbrella, and likewise a simple umbrella will splash the light around a bit more then a Para's 'deep' reflector
But for an evenly 'lit from top to toe' effect on a Para the flash will be in the furthest position away from the reflector anyway, much like my set up
The cheapo solution works out like this :)
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Paul , Light is nice and even on 2 and 3, on #1 I see a slight gradient on the background
I have a 1m octabox (cheap chinese) which can give a decent even light on the model , if I want an even background I often direct another light to the background, I liket the octabox, but in small spaces it can be problematic, I have used 2 square soft boxes to create a vertical soft box and give even light from foot to head of the model
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Paul , Light is nice and even on 2 and 3, on #1 I see a slight gradient on the background
I have used 2 square soft boxes to create a vertical soft box and give even light from foot to head of the model
Have used the 2 stacked softboxes in the past too but only for static shots
Due to the more directional character of the light by the softboxes found the area lit too narrow/aimed to be sure that a model running from left to right will get correct/full lighting all the time
To really get the impression of movement, rather then just a little bounce for the picture, the model ran 5 steps/leaps from right to left, and tried to be more or less in the middle with the 3rd step/leap
The wider light spread of (in particular) this mock Para set up (although I have the impression that with an original Para at the widest setting a similar effect can be achieved) is a lot 'safer' in that respect
For completeness sake I have to mention that for this shoot I used two lightsources/7 feet umbrella's, the silver one from the left as main, and a reflected white one from the right as fill
Unfortunately the studio wasn't wide enough te be able to really place them wider apart and create a more contrasty effect, and I was forced to position them almost next to my shooting position
In hindsight I also, rather then is now the case with the silver one as a main on the left and white one on the rright as fill, might have better used the white umbrella as the mainlight (from the left) at a higher power setting with the silver one as a lower powered fill on the right
Probably would have worked out better as far as the lighting on the face was concerned (I now have make some corrections with dodging and burning - no layering or cloning - on the shadows and creases in postprocess)
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I'm confused here: a soft box does not produce directional light and a parabolic umbrella used as intended sends out its light directional, parallel and about the same coverage as its diameter. One can place the light source somewhere other than the focus of the parabola but then why go to the expense of a giant parabolic umbrella?
Dave Hartman
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I'm confused here: a soft box does not produce directional light
I beg to differ, it definitely does
The effect of the light may seem soft, but that's only on condition the softbox isn't placed too far away from the subject
Generally speaking that should be no more then the diagonal of the square, otherwise it just becomes another very much aimed light source
But apart from that, the very construction of a softbox creates a far more aimed (eg in comparison to an umbrella) light source, which nevertheless still has a 'soft' appearance.
Fortunately I'm not the only one saying that https://www.bhphotovideo.com/explora/photography/tips-and-solutions/softbox-introduction
It's that very characteristic, and the possibility to control it, what made it such a huge advancement in lighting technique, especially when studio flash became wider available and affordable
In the pre-flash area, there were similar box shaped set ups with lamps/bulbs (very much prone to overheating) or fluorescent lamps (with funky, unpredictable color temperatures), but with flash came higher output (shorter exposure times) and better and more constant, close to 'day light' color temperature
I started my art academy professional photography education back in the late 70's early 80's, the era when things started to change in that respect, so I was educated in and grew familiar with it in a very hands on way
and a parabolic umbrella used as intended sends out its light directional, parallel and about the same coverage as its diameter. One can place the light source somewhere other than the focus of the parabola but then why go to the expense of a giant parabolic umbrella?
Dave Hartman
Again, I beg to differ
Rather then trying to describe it, I suggest you compare the results/images in these two video's
In the first one
https://goecker.23video.com/video/9143137/karl-taylor-beauty-lighting-comparison
the author Karl Taylor demonstrates in detail the effect of various Para (and other) light modifiers
In the second one
https://goecker.23video.com/video/8030566/using-the-lastolite-mega-umbrellas
specifically the effect of using large umbrellas as light modifiers is shown
As far as the cost of a giant umbrella is concerned, the most expensive 'normal ones around, e.g. the Westcott 7' parabolic at US 99.90 at B&H or over here in the Netherlands Eur 119 ( Profoto is a whole different price category) still costs a fraction of a Broncolor Para ( eg the Para 222 for a whopping US $ 6,840 at B&H, and you'll still need to buy a flash to go with it)
In my case I went really cheap and e.g. got my silver 7 feet, as far as I know, and considering the price don't expect, non parabolic umbrella for just Eur 39,95, compared to a eg a 45 inch (couldn't find a 7 feet one) Photoflex softbox for US $ 175,95 at B&H.
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A soft box produces diffused light, diffused not directional. It scatters it's light in every direction from it's surface. That's every which direction up to 180 degrees.
I won't bother with a 7 foot parabolic umbrella.
Cheers!
Dave who is on his way...
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No need to confuse the matter, why not just call this what it is?
I don't see it as faking anything, it's using two large umbrellas.
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A soft box produces diffused light, diffused not directional. It scatters it's light in every direction from it's surface. That's every which direction up to 180 degrees.
I assume you mean Directional as in controlled light spread.
In which case: How about a grided softbox. Is it not directional? albeit diffused directional.
How about Barn doors?
Are you not being a tad opinionated as of late? Spring?
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The diffusion is simply a means of spreading the light over a bigger area in order to make the light source's relative size bigger. From the point of view of the subject, it is lit from a variety of directions, which creates shadows with a soft edge (each shadow is filled with light from a different direction).
I understand the word 'directional' to be used for the degree to which the spread of light can be controlled. It has no direct correlation with the hardness of the light within the cone. You can have a very narrow cone of light with soft shadows, or a very wide cone with hard shadows.