I just got my X800 and X1600 flash units from White Lightning and this is my first studio lighting system. I would appreciate it if anyone could share their knowledge on how to do studio flash unit metering. I would also like to have some recommendations on selecting a flash meter for the lighting system.
Thank you very much in advance.
Bill
Posted by Kent Staubus on June 7, 2009 at 12:54 PM
Bill--
This is about the exact opposite kind of forum for those kinds of questions. I would guess that only about 10% of folks here even own a monolight. I'd suggest you try the Strobist board on Flickr.com. However, I'll give you a quick answer. I have a big pile of monolights & triggers now and have learned how to use them. While I only use them outdoors, I've been finding I don't really need a handheld meter (even though I have one.) You use the modeling lights to get shadows where you want, then simply adjust exposure while checking your histogram. It's very fast and easy. I would skip the meter and buy more CyberSync triggers, or softboxes, grids, etc.
I have been a owned photography studio for over 25 years. I would be happy to
make suggestions. If you are interested just contact me
at bernie@wolffphotography.com, and I would be happy to help.
Thank you very much for the quick response. As for the CyberSync trigger, do I need to buy a receiver for each light system in order to work with it? If so what trigger and receiver do I need to buy? I've been to the White Lightning site looking for a trigger and receiver. However, it is very confusing since there are so many options there.
I have a 508 which I bough used a few years ago and have had no major issues with it that weren't user induced. The incident meter is a 1/3 over on exposure but that is easily corrected.
The 758 (not the cine model) will probably be the last meter you will ever need to buy and has more features that you'll need most of the time.
There are other brands out there but I am not familar enough with them to comment.
What you will need in a meter is reflective metering (preferably with 1% spot metering), incident metering (a must for studio flash work) and flash metering. Beyond that, it is what you want to spend.
How to meter: There is no short answer here. A lot of it depends on what you want to do, the number of lights you are using in your setup, what needs to be lit, lighting ratios desired, etc. It is messy to give a generic answer.
So... What I will do is give a short answer to explain this shot, which was about as easy as it gets.
The two daisies were set up knowing that I wanted a black background and for them to be evenly lit. The black background was placed about 24" away. While is was a black velvet paper, if it is too close it can pick up some light and look light black.
The flash (the Alien Bees 1600, or their most powerful unit, whatever that is), was placed about 36" away and had a softbox attached to it to soften the light.
The camera was set up and an aperature of f11-f13 was selected. I don't remember the exact stop so we'll assume that it was f11, with an ISO of 100. Shutter speed was probably 1/125 sec.
Time for a quick note: Most lower end studio flash units seem to have a synch speed about half of what the camera's maximum synch speed is. I'd test that with your setup but with the Canon 5D, 20D and EOS 3 with the Alien Bees, this seems to be the case. Unless you are shooting action, this should not be a problem since the flash will be your light source, not ambient light.
Set the camera for manual, with f-stop as desired and shutter speed as desired. For best exposure control, set to the highest speed that works with your camers. I'm generally in the f11, 1/125 sec.
Set the meter to the correct ISO and either the aperature or the shutter speed. I usually preset the aperature since that is what I am interested in.
Now, hook up the meter with your flash. Set the flash at a mid-power setting. With experience, you'll know better where it should go once you set up, but for know, go with a mid-power setting. Set it to incident and flash (read the meter directions for this. Point the metering unit towards your camera lens. This is because incident metering is measuring the light that falls on the subject at the angle that the camera sees. Press the "meter" function, which should trigger the flash unit.
The meter will give one of three types of readings:
f11, 1/125 at ISO 100. You have picked the correct power setting and you can now just shoot.
f11, 1/60 sec at ISO 100. Since the shutter speed is 1/2 the needed shutter speed, you you have 1/2 the amount of light you need. Move the power setting up one stop and retest. It is marked on the White Lightings. You should get the correect reading.
f11, 1/250 sec at ISO 100. The shutter speed is twice as fast, which means you have twice the amount of light which you need. Back off the power on the flash by one stop and retest. You should get the correct 1/125 sec once you do this.
Shoot!
Let's suppose that no matter what you do, you cannot get enough light out of the flash to allow 1/125 sec at f11, ISO 100. You'll see this if the shutter speed never reaches 1/125 sec. Go back to your experience with hot shoe mounted flash. You can boost the ISO a couple of stops, use a larger aperature, move the light closer, remove the softbox (which will gain about 1-1/3 stops or so, or add a second light.
Using a slower shutter speed really won't be a good option in this case since you will let in a lot more ambient light (UNLESS you want this), Some of the strenghs of using studio lighting is that you control the light completely and you don't have to worry about outside light sources messing with the image or its color balance.
I'd be hesitant about removing the softbox as well since you will be getting a point light source, again with the caveat that this works if that is that you want.
Some other thoughts:
If you begin to reach macro distances, there is a lght of light loss that occurs. Again, this a topic for a different day but I can make some comments. IF you are shooting digital, use the meter reading for your starting point and adjust from there. Make the adjustments using the camera histogram. If you are using film, buy a digital camera and use that instead
No, not really. You just have to start digging into the subject a lot more than I can help you with.
I use incident metering also because I don't have to worry about tonality of the subject. It is one less thing to think about and make a mistake with.
The best way to learn is to read as much as you can. Strobist.com is a good source for basic information. They are geared mostly to people avoiding the studio flash setup but are a great resource for general principles. Paul Bluff's website is a good resource. Barnes and Noble and Borders as well. Spend time with the books there.
There is also a book which has a red cover called something like Studio Light and Magic. Sorry, I just packed into a box for a move and I don't know where it is, but someone here will recognize it. It is essentially a textbox for college courses but it a good primer on handling studio lights. How do you photograph metal, relfective surfaces, general principles of lighting, why things work, etc. I'd recommend this book. If no one can identify it, I'll PM you it in a couple of weeks once it gets unpacked.
One transmitter, one receiver (CSRB) on one light, nothing plugged into the other light except the AC cord. It will trip by built in optical slave. In fact, in an indoor studio setting, you could probably just use your pop-up flash set to -1.0 flash comp and trip both monolights using the optical. Worth trying as it's free.
Dan--
My Alien Bees 1600 and White Lightning X3200 units all sync just fine with my D300 1/250 sync. No problems at all.
I'd probably use a -2 flash comp, *if* that triggers the flash. It will contribute less light to the scene and depending on the setup, less of a shadow. Again, something to test.
Bill - again, if you are shooting digital, try playing a lot with the flashes and intentionally make some mistakes. Playing is a good way to learn, even better than my suggestion to read as much as you can. Do both.
On rereading my post, I think I probably could have sent that through a spell checker. Yikes!
Kent - the Nikon compatibility is what you get when you buy a camera from a company that actually has thought through their flash system. Rub it in... Rub it in... Maybe it is just a Canon thing, but I've seen some problems when I push the synch speed with the Alien Bees radio remotes and I know others have reported the issue as well. In retrospect, I think they are Canon shooters, which is how I orginally became aware of the issue.
I really appreciate your help, advice and recommendations.
The metering example of the daisies shot is great help on understanding studio lighting setup. Dan, thank you very much for the reading recommendation, too.
Kent, I'll try the on camera flash on my Nikon D70 (both -1 and -2 flash comp) and see if it works. By the way, what is the CSRB+ for?
CSRB+ is a new trigger that will allow you to adjust the power output of the lights from the flash. Unfortunately, the way I read it is you also have to have the Cyber Commander thing, which is another $180, for the remote adjust to work.
Bill, I am enclosing a link for you to explore, these are all former posters on the now defunked AB forums. I use the Sekonic L-358 and the AB1600's myself and just pre-ordered the new cyber commander and 4 of the receivers.
http://www.pixelburners.com/index.php?sid=b760c5762bc551b6b1bb7892102c0996
Discussion
10 repliesThank you very much in advance.
Bill
This is about the exact opposite kind of forum for those kinds of questions. I would guess that only about 10% of folks here even own a monolight. I'd suggest you try the Strobist board on Flickr.com. However, I'll give you a quick answer. I have a big pile of monolights & triggers now and have learned how to use them. While I only use them outdoors, I've been finding I don't really need a handheld meter (even though I have one.) You use the modeling lights to get shadows where you want, then simply adjust exposure while checking your histogram. It's very fast and easy. I would skip the meter and buy more CyberSync triggers, or softboxes, grids, etc.
Kent in SD
I have been a owned photography studio for over 25 years. I would be happy to
make suggestions. If you are interested just contact me
at bernie@wolffphotography.com, and I would be happy to help.
Bernie
Thank you very much for the quick response. As for the CyberSync trigger, do I need to buy a receiver for each light system in order to work with it? If so what trigger and receiver do I need to buy? I've been to the White Lightning site looking for a trigger and receiver. However, it is very confusing since there are so many options there.
Thanks,
Bill
http://www.bhphotovideo.com/c/product/368226-REG/Sekonic_401_309_L_308S_Flashmate_Light_Meter.html
I have a 508 which I bough used a few years ago and have had no major issues with it that weren't user induced. The incident meter is a 1/3 over on exposure but that is easily corrected.
The 758 (not the cine model) will probably be the last meter you will ever need to buy and has more features that you'll need most of the time.
There are other brands out there but I am not familar enough with them to comment.
What you will need in a meter is reflective metering (preferably with 1% spot metering), incident metering (a must for studio flash work) and flash metering. Beyond that, it is what you want to spend.
How to meter: There is no short answer here. A lot of it depends on what you want to do, the number of lights you are using in your setup, what needs to be lit, lighting ratios desired, etc. It is messy to give a generic answer.
So... What I will do is give a short answer to explain this shot, which was about as easy as it gets.
http://www.danborzynskiimages.com/flowerimages/large/studioflowers/gerber.htm
The two daisies were set up knowing that I wanted a black background and for them to be evenly lit. The black background was placed about 24" away. While is was a black velvet paper, if it is too close it can pick up some light and look light black.
The flash (the Alien Bees 1600, or their most powerful unit, whatever that is), was placed about 36" away and had a softbox attached to it to soften the light.
The camera was set up and an aperature of f11-f13 was selected. I don't remember the exact stop so we'll assume that it was f11, with an ISO of 100. Shutter speed was probably 1/125 sec.
Time for a quick note: Most lower end studio flash units seem to have a synch speed about half of what the camera's maximum synch speed is. I'd test that with your setup but with the Canon 5D, 20D and EOS 3 with the Alien Bees, this seems to be the case. Unless you are shooting action, this should not be a problem since the flash will be your light source, not ambient light.
Set the camera for manual, with f-stop as desired and shutter speed as desired. For best exposure control, set to the highest speed that works with your camers. I'm generally in the f11, 1/125 sec.
Set the meter to the correct ISO and either the aperature or the shutter speed. I usually preset the aperature since that is what I am interested in.
Now, hook up the meter with your flash. Set the flash at a mid-power setting. With experience, you'll know better where it should go once you set up, but for know, go with a mid-power setting. Set it to incident and flash (read the meter directions for this. Point the metering unit towards your camera lens. This is because incident metering is measuring the light that falls on the subject at the angle that the camera sees. Press the "meter" function, which should trigger the flash unit.
The meter will give one of three types of readings:
f11, 1/125 at ISO 100. You have picked the correct power setting and you can now just shoot.
f11, 1/60 sec at ISO 100. Since the shutter speed is 1/2 the needed shutter speed, you you have 1/2 the amount of light you need. Move the power setting up one stop and retest. It is marked on the White Lightings. You should get the correect reading.
f11, 1/250 sec at ISO 100. The shutter speed is twice as fast, which means you have twice the amount of light which you need. Back off the power on the flash by one stop and retest. You should get the correct 1/125 sec once you do this.
Shoot!
Let's suppose that no matter what you do, you cannot get enough light out of the flash to allow 1/125 sec at f11, ISO 100. You'll see this if the shutter speed never reaches 1/125 sec. Go back to your experience with hot shoe mounted flash. You can boost the ISO a couple of stops, use a larger aperature, move the light closer, remove the softbox (which will gain about 1-1/3 stops or so, or add a second light.
Using a slower shutter speed really won't be a good option in this case since you will let in a lot more ambient light (UNLESS you want this), Some of the strenghs of using studio lighting is that you control the light completely and you don't have to worry about outside light sources messing with the image or its color balance.
I'd be hesitant about removing the softbox as well since you will be getting a point light source, again with the caveat that this works if that is that you want.
Some other thoughts:
If you begin to reach macro distances, there is a lght of light loss that occurs. Again, this a topic for a different day but I can make some comments. IF you are shooting digital, use the meter reading for your starting point and adjust from there. Make the adjustments using the camera histogram. If you are using film, buy a digital camera and use that instead
No, not really. You just have to start digging into the subject a lot more than I can help you with.
I use incident metering also because I don't have to worry about tonality of the subject. It is one less thing to think about and make a mistake with.
The best way to learn is to read as much as you can. Strobist.com is a good source for basic information. They are geared mostly to people avoiding the studio flash setup but are a great resource for general principles. Paul Bluff's website is a good resource. Barnes and Noble and Borders as well. Spend time with the books there.
There is also a book which has a red cover called something like Studio Light and Magic. Sorry, I just packed into a box for a move and I don't know where it is, but someone here will recognize it. It is essentially a textbox for college courses but it a good primer on handling studio lights. How do you photograph metal, relfective surfaces, general principles of lighting, why things work, etc. I'd recommend this book. If no one can identify it, I'll PM you it in a couple of weeks once it gets unpacked.
And ask questions!
Dan--
My Alien Bees 1600 and White Lightning X3200 units all sync just fine with my D300 1/250 sync. No problems at all.
Kent in SD
Bill - again, if you are shooting digital, try playing a lot with the flashes and intentionally make some mistakes. Playing is a good way to learn, even better than my suggestion to read as much as you can. Do both.
On rereading my post, I think I probably could have sent that through a spell checker. Yikes!
Kent - the Nikon compatibility is what you get when you buy a camera from a company that actually has thought through their flash system. Rub it in... Rub it in...
I really appreciate your help, advice and recommendations.
The metering example of the daisies shot is great help on understanding studio lighting setup. Dan, thank you very much for the reading recommendation, too.
Kent, I'll try the on camera flash on my Nikon D70 (both -1 and -2 flash comp) and see if it works. By the way, what is the CSRB+ for?
Thanks again.
Bill
Kent in SD
http://www.pixelburners.com/index.php?sid=b760c5762bc551b6b1bb7892102c0996
Thank you for the link. The postings are very informative and educational.
Bill