# Studio Recommendations



## ray5 (Jan 24, 2016)

Hi,
For a long time I have been wanting to start a studio in the basement. Non professional, mainly for family and friends. 
I would like to finally get started, perhaps a background with poles would be a good place to start? I have no typical studio equipment like lights, stands, backgrounds etc. I currently have the 5D III, 24-70 F2.8LII, 70-200 F2.8LII, Zeiss 135, EX 580II speedlite and perhaps also an older speedlite. I would like to start slow so please also advise about sequence of acquisition etc. My hope is that whatever I buy, would/could travel with me in bags? But not absolutely essential. I have learnt that it's cheaper in the long run to get good equipment rather than spend on successive upgrades. Thanks,
Ray


----------



## Don Haines (Jan 24, 2016)

I would probably start with getting a background. Rather than holding it with stands (they get in the way in a small space) put some hooks in the ceiling and suspend your pole from the hooks.

Step two would probably be a couple of light stands. You can get 250 and 500 watt daylight bulbs for almost nothing.... just make sure the head will handle the power. (almost all will)

Step 3, have fun! As a hobbyist, that's what it is all about....

and as you play, start thinking about studio flashes, multiple flashes, triggers, bounces, modifiers, etc etc... I'd recommend taking a course before you go that far as it can get really complex really fast


----------



## ray5 (Jan 24, 2016)

Don Haines said:


> I would probably start with getting a background. Rather than holding it with stands (they get in the way in a small space) put some hooks in the ceiling and suspend your pole from the hooks.
> 
> Step two would probably be a couple of light stands. You can get 250 and 500 watt daylight bulbs for almost nothing.... just make sure the head will handle the power. (almost all will)
> 
> Step 3, have fun! As a hobbyist, that's what it is all about....



Good ideas. Any particular place to get backgrounds?


----------



## Don Haines (Jan 24, 2016)

ray5 said:


> Don Haines said:
> 
> 
> > I would probably start with getting a background. Rather than holding it with stands (they get in the way in a small space) put some hooks in the ceiling and suspend your pole from the hooks.
> ...


You can get them from camera stores..... that said, almost anything will do... I have a couple of cloth ones from the remnants bin at a fabric store, a flannel sheet with snowflakes printed on it, and a throw rug that has a nice pattern on it


----------



## rexbot (Jan 24, 2016)

First thing - you'll also need to get the flash off camera. Yongnuo makes several wireless triggers that would work with that setup - about $15 each, one for the camera + one for each flash. This may also work with the older flash you might have as well. Add another flash or two for about $70 each as you get into it more. These don't have to be fancy flashes, as you'll probably just use them in manual mode anyway.

Next step is light stands and diffusers. I use the CheetahStand C8 as it is not crazy expensive and is easy to move around. You can get cheaper stands, but you said you wanted quality as well, and I think these are a good balance. Whatever stand you buy, you'll want at least two eventually. You'll also want some diffusers, and the cheapest of these are good old umbrellas. Amazon has a few stand + flash mount + umbrella packages for around $40.

For inexpensive backgrounds, you can use some cheap bedsheets. Full sized flat sheets are <$10 at Walmart, come in a variety of colors, and give you a roughly 5 foot by 7 foot working area. King/queen sheets are bigger, but cost more. You just want the flat sheets, not the whole bedding set with pillow cases and stuff.

For setting up a pole, the ceiling hooks are a good idea. Then just get a PVC pole ($5-10) and some line to run through the pole and attach to the hooks. Then attach a sheet with a few clamps. Should only take a minute or two to change sheets/colors. And you could take the whole thing down and leave only the hooks if desired. Line along, without the PVC pole, might work, but it would probably sag too much.

You could also get some colored paper and hang that with tape directly to the wall, but then changing colors is a pain, and it won't look as "neat."

I think you could get a pole, clamps, and a few sheets of different colors (probably black and white to start with) all for around $50. Another $50 or so for wireless triggers for your flashes. And $80 for cheap light stands and umbrellas.

If you want a portable background stand, look at the Westcott X-drop setup. 5x7, about $120 with one backdrop - and those flat sheets I mentioned are a perfect fit for the stand which keeps the cost down to add colors. All fits in a carry bag and takes just a few minutes to setup. Then just throw your flashes and light stands into a duffle bag and the whole thing can go anywhere.


----------



## ray5 (Jan 24, 2016)

That's really creative! Thanks.
Keep going folks. As usual, this is very helpful.


----------



## Valvebounce (Jan 25, 2016)

Hi Ray. 
I visited a show late last year and one of the demos / try outs there was flash and models, we were shown the incredible difference a soft box (or other diffuser) can make, also we used 2 flashes jelled with different primary colours in a large softbox to create different coloured backgrounds by varying the power ratio. Since then I have tried it on a plain wall, it works ok but not as good as the softbox, that could be the flashes and jells or just that they are open, not sure how well it might work from behind a sheet acting as a soft box. 
It might also be worth reading Strobist 101, I found it of great interest. 
http://strobist.blogspot.co.uk/2014/01/lighting-101-to-go.html > takes you to the website with a link to the PDF document. 
https://docs.google.com/file/d/0B7GDplcFYn-iakYtaExlT0Q4WjQ/view?pref=2&pli=1 > the PDF document link. 

Cheers, Graham. 



ray5 said:


> That's really creative! Thanks.
> Keep going folks. As usual, this is very helpful.


----------



## ray5 (Jan 25, 2016)

Valvebounce said:


> Hi Ray.
> I visited a show late last year and one of the demos / try outs there was flash and models, we were shown the incredible difference a soft box (or other diffuser) can make, also we used 2 flashes jelled with different primary colours in a large softbox to create different coloured backgrounds by varying the power ratio. Since then I have tried it on a plain wall, it works ok but not as good as the softbox, that could be the flashes and jells or just that they are open, not sure how well it might work from behind a sheet acting as a soft box.
> It might also be worth reading Strobist 101, I found it of great interest.
> http://strobist.blogspot.co.uk/2014/01/lighting-101-to-go.html > takes you to the website with a link to the PDF document.
> ...



That's a good read. Thanks


----------



## ray5 (Jan 25, 2016)

I saw some Paul C Buff studio packages. Anyone has any input on those? Or any other company?


----------



## privatebydesign (Jan 26, 2016)

ray5 said:


> I saw some Paul C Buff studio packages. Anyone has any input on those? Or any other company?



Very highly recommend the Einsteins, actually all the Paul C Buff stuff is good to great, but the Einsteins are unmatched at twice the price.


----------



## ray5 (Jan 26, 2016)

privatebydesign said:


> ray5 said:
> 
> 
> > I saw some Paul C Buff studio packages. Anyone has any input on those? Or any other company?
> ...


Thanks. Is it prudent to start with a package or just with a background and work my way up?


----------



## privatebydesign (Jan 26, 2016)

ray5 said:


> privatebydesign said:
> 
> 
> > ray5 said:
> ...



Show or link to a few portraits in the style you want to shoot (not necessarily yours) and I'll list my recommendations for getting that lighting setup at a reasonable price. Framing makes a huge difference, are you looking to shoot full body, head and shoulders etc etc. A starter package for one person won't necessarily suit another, but I'd recommend thinking about one light, a decent softbox and grid, and a five way reflector.

Fill in some blanks and we can save you a lot of time and money.


----------



## mackguyver (Jan 26, 2016)

I'll add another vote on the Paul C Buff stuff, particularly the Einsteins. I have 3 of them now and they are all excellent. The packages save you money, but the biggest thing to know about ordering from them time and time again (as I have) is that they charge a fair bit for shipping. I agree with Private as far as knowing what style you want, but I'll add that their PLM system is an excellent value. I have the silver and soft silver versions and they are excellent. For people, I'd go with the white versions, of course.


----------



## privatebydesign (Jan 26, 2016)

mackguyver said:


> I'll add another vote on the Paul C Buff stuff, particularly the Einsteins. I have 3 of them now and they are all excellent. The packages save you money, but the biggest thing to know about ordering from them time and time again (as I have) is that they charge a fair bit for shipping. I agree with Private as far as knowing what style you want, but I'll add that their PLM system is an excellent value. I have the silver and soft silver versions and they are excellent. For people, I'd go with the white versions, of course.



Hey Mac, welcome back!


----------



## ray5 (Jan 26, 2016)

privatebydesign said:


> ray5 said:
> 
> 
> > privatebydesign said:
> ...


So far I have mainly shot outdoors, under a tree or in some shade. Almost exclusively of couples and kids. Have done a variety of full body, head shots and more. No specific preferences. Haven't done any grungy stuff. I enjoy shooting folks the way they see themselves, at ease, chatting or doing something they enjoy. Try not do ask them to pose too much.


----------



## ray5 (Jan 26, 2016)

mackguyver said:


> I'll add another vote on the Paul C Buff stuff, particularly the Einsteins. I have 3 of them now and they are all excellent. The packages save you money, but the biggest thing to know about ordering from them time and time again (as I have) is that they charge a fair bit for shipping. I agree with Private as far as knowing what style you want, but I'll add that their PLM system is an excellent value. I have the silver and soft silver versions and they are excellent. For people, I'd go with the white versions, of course.


Hi Ian,
Good to hear from you. I was looking at their packages. Don't know what PLM system means?


----------



## Mr Bean (Jan 26, 2016)

I enjoyed this book for flash and studio setups....Speedliter's Handbook - Sly Arena.

http://www.amazon.com/gp/product/032171105X?ie=UTF8&tag=answersplanet-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=032171105X


----------



## Don Haines (Jan 26, 2016)

ray5 said:


> privatebydesign said:
> 
> 
> > ray5 said:
> ...


The background is the first step.... regardless of your lighting system(s), if you can't get the rec-room paneling out of your image you can't get a professional look to your shots.....


----------



## RustyTheGeek (Jan 26, 2016)

Graham beat me to the Strobist 101 suggestion! 

I don't have a studio, I shoot mainly outside and on the go. So I think it's worth the extra effort to make at least part of what you are buying somewhat portable. For instance, you might want to volunteer to shoot some event portraits, groups, small sports teams, etc. Having the portable option, even if you leave it set up in your basement most of the time is very handy. And it makes it easier to sell too with a wider market.

My thought is that if you are buying quality gear, you can easily use portable capable gear in a studio but it's hard to use less portable, heavier and more fragile studio gear in a portable setting.

Others here with more studio experience may offer better advice based on their own experience. I'm just thinking out loud and I have a couple photographer friends that work portably all the time.


----------



## mackguyver (Jan 26, 2016)

ray5 said:


> mackguyver said:
> 
> 
> > I'll add another vote on the Paul C Buff stuff, particularly the Einsteins. I have 3 of them now and they are all excellent. The packages save you money, but the biggest thing to know about ordering from them time and time again (as I have) is that they charge a fair bit for shipping. I agree with Private as far as knowing what style you want, but I'll add that their PLM system is an excellent value. I have the silver and soft silver versions and they are excellent. For people, I'd go with the white versions, of course.
> ...


Hi Ray,

Good to talk with you again, too. PLM is parabolic light modifier, which is just a fancy curved umbrella. You can check them out, here: http://paulcbuff.com/plm.php

Also, Don's right about the background, unless you have some nice clean white walls... I use a reversible pop-up one from Lastolite, but unless it's needs to be portable, save your money and get something less expensive. Lastolite and FJ Westcott both make nice speedlite light modifiers if you want to stick with Canon flashes for now. I bought most of my studio lights before the RT lights and at the time a full three or four 580EX set up with Pocketwizard transceivers and such was considerably more than the Einsteins. That's not the case, now, so it's another option to consider.


----------



## ray5 (Jan 26, 2016)

Don Haines said:


> ray5 said:
> 
> 
> > privatebydesign said:
> ...


I hear you. I once was shooting some friends in a school gymnasium, without a background. Another guy was doing the same but with a background and some off camera speedlites. After he was done, I asked if I could borrow his background. I shot some folks, with only my on camera speedlite, everything else remained the same but the background. What a difference it made to the overall look! This was of course indoors, I think it may not make that dramatic a difference outdoors but don't know for sure.


----------



## RustyTheGeek (Jan 27, 2016)

ray5 said:


> Don Haines said:
> 
> 
> > ray5 said:
> ...



That depends on the outdoor background. Fortunately, most of the old rec room paneling from the seventies is almost extinct in the outdoors. Fortunately, if enough distance can be achieved most things can be blurred quite a bit when outdoors.


----------



## mackguyver (Jan 27, 2016)

RustyTheGeek said:


> That depends on the outdoor background. Fortunately, most of the old rec room paneling from the seventies is almost extinct in the outdoors. Fortunately, if enough distance can be achieved most things can be blurred quite a bit when outdoors.


There is that pesky thing called weather when you're outdoors, though. It's not hard to work around, though, if you have your own lighting. 

The first and last time I used my Einsteins outdoors, they began tripping on their own, or so I thought. Then I realized that some distant lightning was setting them off! Needless to say I moved indoors. Even then, I had to turn off the slave tripper.


----------



## ray5 (Jan 27, 2016)

I assume the packages will have height adjustable background and light stands? The Paul C Buff packages are portable?


----------



## ray5 (Jan 28, 2016)

Any advice on lights?


----------



## privatebydesign (Jan 28, 2016)

ray5 said:


> Any advice on lights?



As I already said, spend the $499 and get the Einsteins, they are the best light for the money by a very long way, also, if you find you don't like them they hold their value very well. When used with the Vagaond Mini Lithium they make a very portable and flexible package.


----------



## ray5 (Jan 28, 2016)

privatebydesign said:


> ray5 said:
> 
> 
> > Any advice on lights?
> ...



It seems buying a higher package is better value. What I would like to do, say get a background, two lights and triggers and get started. Add subsequently as needed. Since I don't do this full time, I don't want to buy a lot of equipment and get overwhelmed. Is that a good idea?Thx


----------



## privatebydesign (Jan 29, 2016)

I'd recommend one light, one light stand, a white umbrella, a white beautydish, a large 5 in 1 reflector, a background stand set and a black and a white background cloths, if you can stretch the money to include a set of cybersyncs then all the better. You can run an extension cord to the light outside most of the time if you think about power when scouting locations, but when you have the money get a Vagabond Mini.

The reason I asked about your shooting style preferences earlier was because that is key to the modifiers that would be most suitable for your shooting. I prefer a large softbox, but many prefer the beautydish or octabox, the beautydish is best for outside shoots.

Don't forget in outside shoots you have the ambient light for an effective second light and the reflector gives you enough control to emulate most three light setups, but start with one light and mix with ambient.


----------



## ray5 (Feb 4, 2016)

Besides Paul Buff kits any suggestions or opinion about Profoto?


----------



## Pookie (Feb 4, 2016)

ray5 said:


> Besides Paul Buff kits any suggestions or opinion about Profoto?



http://www.canonrumors.com/forum/index.php?topic=27445.msg572235#msg572235


----------



## Halfrack (Feb 4, 2016)

The Profoto B1/B2 gear is amazing, but before investing in it I would recommend you get a hold of them for a few hours/days and see if you're willing to part with them. 

The Einsteins are great and just work, while the Profotos are a solution for specific problems. 
HSS -> Profoto
need 2400ws -> Profoto D4
need to augment my gear with rental gear anywhere in the world -> Profoto

PCB doesn't do retail sales, so buy an extra bulb, cuz there's no where else to get them.


----------



## ray5 (Feb 4, 2016)

Halfrack said:


> The Profoto B1/B2 gear is amazing, but before investing in it I would recommend you get a hold of them for a few hours/days and see if you're willing to part with them.
> 
> The Einsteins are great and just work, while the Profotos are a solution for specific problems.
> HSS -> Profoto
> ...


Ok, thx. Sounds like the Einsteins are universally liked and recommended!


----------



## ray5 (Feb 4, 2016)

Pookie said:


> ray5 said:
> 
> 
> > Besides Paul Buff kits any suggestions or opinion about Profoto?
> ...


Nice summary, thx.


----------



## ray5 (Feb 4, 2016)

Ok, next step. Backgrounds:
What 
-material, paper, cloth,muslin etc?
-Size?
-Color/s?
-Any specific company to get it from? Thx
Ray


----------



## pwp (Feb 5, 2016)

I had Elincrom's which were fine but spent too much time at the repair shop, then switched to Profotos with 600ws monos (x4) and two 2400ws floorpacks and all the Profoto accessories, mods etc but again, the cost of ownership was high with too many trips to the repair shop. Profoto has a rep for rock n roll build quality and they are solid, but just didn't cut it long term in my business. 

As an experiment borne partially out of desperation, I got two Einsteins and 8 inch reflectors and worked them hard for a year. They passed the tough test so I got four more plus more mods including 86 inch and 60 inch PLM's. All the Profoto stuff was sold. So I join others in recommending Einsteins. They're astonishing value.

In a small home studio soft boxes and PLM's are bulky and possibly an unnecessary extra expense. If your walls and ceilngs are white, you've got it made. Bounce flash is what I use most of the time. For harder light move the light closer to the wall/ceiling and for softer light move it further away. You're decreasing/increasing the size of the light source.

If you're on a budget and would like to use your lights on location, the battery powered, ETTL, 360ws, HSS capable Godox AD360 (true 360ws output) are seriously worth checking out. I have three of them (the previous non-ETTL, fully manual model) and have to say they're amazing. The batteries last longer than anyone would consider reasonable and with 360ws output they really pack a punch.

Good luck setting up your home studio. There is a lot of good, though conflicting advice in this thread. You just need to make the best of it, stay inside your budget, do research outside of CR and make a decision. 8)

-pw


----------



## LDS (Feb 5, 2016)

ray5 said:


> Ok, next step. Backgrounds:
> What
> -material, paper, cloth,muslin etc?
> -Size?
> ...



Paper: cheap, can't be easily cleaned, wears out faster than other materials, available in many colours and sizes.
Vinyl: more expensive, lasts longer, can be cleaned, may be more reflective than paper, less colours available.
Cloth: may be expensive, can be cleaned (often in a washing machine), can be draped, often available in different patters and textures. Some material like black velour may reflect very little light, being very useful to obtain "true black".

Size (and length) depends on your subject(s), their size, placement from background, lightning requirments, and so on. Take into account support and storage needs. Collapsible ones are easier to carry around, but are less versatile. Rememeber subjects may need to be some distance from the background to avoid to cast unwanted shadows on it, and still the background needs to fill the frame. I would start with something around 2.5/3 metres wide, unless you are sure something narrower (usually around 1.5 metres) fits your needs (i.e. head and shoulder portraits, tabletop product images). Get decent supports for it (I find a telescopic bar more comfortable than componible ones), and use sandbags/gaffer tape/etc. to avoid tripping over the background could lead to worse situations (especially if they involve lighting).

I'd start to get some paper ones in basic colours (white, gray, black) to obtain most classic looks, unless you already have specific requirements. You can change colors using colored gels on a background light, if you need.

Some background patterns may make images less predictable and give more "character" to it, but they also need to match the subject and the intended outcome - and risk to become a bit "boring" when used over and over.

The first brands that comes to my mind are Lastolite, Superior Specialties, and Colorama, but there are several others, from cheaper ones to the expensive ones.


----------



## ray5 (Feb 5, 2016)

LDS said:


> ray5 said:
> 
> 
> > Ok, next step. Backgrounds:
> ...


Thanks for your advice. Looks like 10'X12' is a common size in most vendors. I am also not too enamored with paper for the same reasons as you mention. Perhaps as suggested I should start with basic white and black and then go from there. 
Here is what Pookie has suggested and I like it for stands:
http://www.amazon.com/gp/product/B003TLSXMO?psc=1&redirect=true&ref_=ox_sc_act_title_1&smid=A17W6NLJ3OBMCK

But with this if I get more than one background I'll have to take one off and mount the other. Perhaps there are stands which allow more than one horizontal rod? And you pull down whichever background you want?

Like with everything there are a mind boggling number to choose from! I looked at Lastolite and http://www.dennymfg.com/photo-black/BackDropDetail/7849

They are not cheap though!! Thx
Ray


----------



## ray5 (Feb 5, 2016)

pwp said:


> I had Elincrom's which were fine but spent too much time at the repair shop, then switched to Profotos with 600ws monos (x4) and two 2400ws floorpacks and all the Profoto accessories, mods etc but again, the cost of ownership was high with too many trips to the repair shop. Profoto has a rep for rock n roll build quality and they are solid, but just didn't cut it long term in my business.
> 
> As an experiment borne partially out of desperation, I got two Einsteins and 8 inch reflectors and worked them hard for a year. They passed the tough test so I got four more plus more mods including 86 inch and 60 inch PLM's. All the Profoto stuff was sold. So I join others in recommending Einsteins. They're astonishing value.
> 
> ...


Thanks.
I have never done anything other than on camera flash, so going off is going to be a learning curve. I am guessing I do want ETTL? Please advice. Thx


----------



## pwp (Feb 6, 2016)

ray5 said:


> Thanks.
> I have never done anything other than on camera flash, so going off is going to be a learning curve. I am guessing I do want ETTL? Please advice. Thx



The thread started with the subject being your home studio. Off camera studio lighting has little need for ETTL which will just cost you more $$. Getting the right manual exposure takes a few seconds. You've had loads of great advice in this thread, but you're going to have to make your own call and just jump in at some point. We've all started out with some degree of uncertainty but the way forward is to just go for it. You can research till the cows come home, but don't worry too much about getting something wrong. It's over to you now!

-pw


----------



## LDS (Feb 6, 2016)

ray5 said:


> But with this if I get more than one background I'll have to take one off and mount the other. Perhaps there are stands which allow more than one horizontal rod? And you pull down whichever background you want?



Yes, there are, but they need to become sturdier (and heavier) because of the added weight. For such needs usually the best option are ceiling or wall mounted hooks - usually they can hold from three to five rolls. They are a fixed setup, of course, thus you can't use them in another location. Depending on the ceiling height and your needs, you may need some mechanism to roll/unroll the backgrounds easily, Just remember not every background may be compatible with these systems, usually only those using a tubular core, many cloth ones usually don't. Usually, a simple pole works with almost everything.

If this is your first studio setup, and you don't need to change backgrounds very quickly because "time is money", IMHO there is little need of a more complex setup - and remember, GAS can be an issue in this situation too. And as said, remember safety is important.


----------



## Daan Stam (Feb 6, 2016)

i used bowens 500r flashes and the are awsome! i used 3 but if you wanted you could just take one because they are a bit heavy. bowens also has really good battery packs


----------



## LDS (Feb 6, 2016)

ray5 said:


> I am guessing I do want ETTL? Please advice. Thx



In most controlled studio situation ETTL is not of much use. What you may want is radio triggering to avoid cable clutter (usually more reliable than slave photocells), and usually remote control of light power settings - useful when the light source is in a position where it is not easily accessible without changing its position. Studio lighting is all about setting each light to reach the desired outcome, regardless of what a camera controlled computer may think 
I'd suggest you to read a book like "Light Science and Magic: An Introduction to Photographic Lighting" to fully understand the basic principles of controlled lighting, and understand what you really need beyond the marketing of photographic gear.


----------



## ray5 (Feb 6, 2016)

pwp said:


> ray5 said:
> 
> 
> > Thanks.
> ...


You are correct. There cannot be a perfect time or solution. What I am trying to do is learn from everyone else's mistake and success. Though I will make my own mistakes, I think it's prudent to learn from mistakes by others. I want this to be beyond GAS. I have mostly done landscapes and informal portraits but stepping into this more formally needs thought, money and most of all effort. I appreciate all the help I continue to receive here, I intent is to minimize unnecessary expense and get good gear, whatever it costs, rather than a continuous upgrading process. Thanks
Ray


----------



## ray5 (Feb 6, 2016)

LDS said:


> ray5 said:
> 
> 
> > But with this if I get more than one background I'll have to take one off and mount the other. Perhaps there are stands which allow more than one horizontal rod? And you pull down whichever background you want?
> ...


Agreed. Get one background and then evolve from there. Makes sense. Keep it simple. Thx


----------



## ray5 (Feb 6, 2016)

daaningrid said:


> i used bowens 500r flashes and the are awsome! i used 3 but if you wanted you could just take one because they are a bit heavy. bowens also has really good battery packs


Thanks.


----------



## ray5 (Feb 6, 2016)

LDS said:


> ray5 said:
> 
> 
> > I am guessing I do want ETTL? Please advice. Thx
> ...



Excellent advice and summarizes it all. Will do. Thx


----------



## tpatana (Feb 7, 2016)

While the profoto and Einstein are awesome, for more price conscious buyer (=cheap/poor like me) one option would be like I did, get the Neewer 3x 300Ws studio kit. With all stands and stuff it's still only couple hundred bucks and you get 3 strobes with modifiers. I've been slowly upgrading parts here and there, my main light is now Flashpoint Rover 600 with 48" octa, I absolutely love that strobe, but at many cases the Neewers do decent job too. Did I say they are dirt cheap?

But if you know what you're getting, and know what you want, go with the good ones.


----------



## ray5 (Feb 8, 2016)

tpatana said:


> While the profoto and Einstein are awesome, for more price conscious buyer (=cheap/poor like me) one option would be like I did, get the Neewer 3x 300Ws studio kit. With all stands and stuff it's still only couple hundred bucks and you get 3 strobes with modifiers. I've been slowly upgrading parts here and there, my main light is now Flashpoint Rover 600 with 48" octa, I absolutely love that strobe, but at many cases the Neewers do decent job too. Did I say they are dirt cheap?
> 
> But if you know what you're getting, and know what you want, go with the good ones.


Thanks.


----------



## ray5 (Mar 5, 2016)

If I were to plan for a home studio in the basement and had a choice of having some source of natural lighting(windows) versus only artificial lighting what should I do? I have the choice of picking space without windows easier than one with windows but not impossible. Thx
Ray


----------



## privatebydesign (Mar 5, 2016)

ray5 said:


> If I were to plan for a home studio in the basement and had a choice of having some source of natural lighting(windows) versus only artificial lighting what should I do? I have the choice of picking space without windows easier than one with windows but not impossible. Thx
> Ray



It depends entirely on your schedule, i.e. what time pif day you can actually work there, many photographers have started out with only natural light, but in a studio it can be a mixed blessing depending on widow size and placement and their aspect to the sun. 

In a toss up between the two I'd probably take the daylight, but I know well enough how to use it, a studio without the windows is more common and easier to deal with from a lighting setup point of view.

If you draw a plan view of the space with the windows I'll tell you what I would do in that specific space.


----------



## ExodistPhotography (Mar 6, 2016)

ray5 said:


> Hi,
> For a long time I have been wanting to start a studio in the basement. Non professional, mainly for family and friends.
> I would like to finally get started, perhaps a background with poles would be a good place to start? I have no typical studio equipment like lights, stands, backgrounds etc. I currently have the 5D III, 24-70 F2.8LII, 70-200 F2.8LII, Zeiss 135, EX 580II speedlite and perhaps also an older speedlite. I would like to start slow so please also advise about sequence of acquisition etc. My hope is that whatever I buy, would/could travel with me in bags? But not absolutely essential. I have learnt that it's cheaper in the long run to get good equipment rather than spend on successive upgrades. Thanks,
> Ray



You already have some amazing gear to start with. But to know what gear to recommend is little tricky without knowing exactly what you want to accomplish. So I will just start with what I recommend is the best gear you can get on a budget and get the best results possible. 

First thing is we need to get that flash off your camera. I really recommend at least 3 speedlites to start with. I use the YN560 III and IV speedlites (A LOT) I actually have 8 on hand right now. Plus the YN560 TX controller, its inexpensive and convenient. Now you need 4 generic 9ft stands. I have the neewer pro ones, I would never use them at 9ft, but they are inexpensive and more then sturdy enough up to 7 ft. Dont forget sandbags, btw put rocks in these not sand.. Easier to clean up if there is a spill. You will also need a 43" round or a 24"x36" 5-in-1 reflector. Also get a 7ft stand and reflector boom arm kit. Reflectors are essential for getting light filled/bounced just right. I highly recommend a 18" beauty dish (w/ grid) from fotodiox. They are one of the cheapest and have really good quality in both build and light quality. Get one with the speedlite mount. Now I have two 12" x 52" strip softboxes (w/ grids) for my rim/edge/hair backlights from fotodiox. I actually got the ones with the bowens mounts (btw these mount/speed rings are easily changeable) and the neewer S-type brackets (bowens mount) to mount these to your stands. Trust me these are built like a tank and much better then the traditional metal brackets. As far as backdrop. Start with a 6x9 foot grey muslin, neewer on amazon has these for about $15 bucks.. Just use a spray bottle with water to remove the wrinkles. Position your model 3 to 5 ft away depending on taste to darken or lighten the background. I have mine handing from a 7ft stainless steel pipe and using eye bolt lag screws to anchor it to the ceiling. With this setup you can achieve professional results with a little practice. I will put a list breakdown below:

3x YN560 IV speedlites
1x YN560-TX wireless controller
4x 9ft stands
1x generic lighting boom arm (about 24 to 48" long max)
1x 7ft reflector stand with boom arm
2x S-type speedlite / bowens brackets
1x fotodiox 18" beauty dish (w/ grid & sock) w/ speedlite bracket
2x fotodiox 12x52" Strip soft boxes (w/ grids)
1x 43" (or a 24x36") 5-in-1 reflector
1x 6x9' grey muslin
1x Sand Bags (comes in a 4pk)

Total cost is about $700.. This is my main go to setup and it gets results that leave people speechless (in a good way LOL)


----------



## ExodistPhotography (Mar 6, 2016)

ray5 said:


> If I were to plan for a home studio in the basement and had a choice of having some source of natural lighting(windows) versus only artificial lighting what should I do? I have the choice of picking space without windows easier than one with windows but not impossible. Thx
> Ray



Go with speedlites. I will explain 
I used to shoot pretty much only natural light, like anyone that starts out. However the day I set down and learned to start using flash correctly was the turning point in for me. I had always used a flash, as more of a on camera with a bounce card or diffuser on top. As just a way to get a better exposure when shooting at night, at parties, nothing serious. But when I set down and started shooting with it off camera thru a proper light modifier (not an umbrella) was the day that it dawned on me how much sharper, cleaner and detailed my images were over just using natural light. The difference was mind blowing, at least to me. I even use them shooting outdoors. Worried about IS or some form of optical stabilizer, who cares. With my speedlites at 1/8th power I am popping them faster then 1/1000th of a second. BTW, unless your at an event (weddings included) you should be shooting manual. I dont mean that is some elitist jerk who thinks everyone should be some manual machine freak. Not at all, when I am shooting flash I shoot manual on both the camera and flash units for exposure consistency. You will thank yourself when you go to batch retouch photos in lightroom. 

BTW. I have a friend that shoots on those overpriced bowens b-cash systems that has continuous lights. He always tries to get me to get them.. hehe, not happening. However everytime they see my photos, despite him using I think a D800 and some really great lenses like the Sigma 85mm f/1.4. My images turn out sharper with my 70D and my Sigma 17-70mm Contemporary lens. Why? FLASH... Which is funny as he refuses to use YN speedlites as he thinks they are cheap? LOL He is the one using $3000 plastic flash lights...


----------



## ray5 (Mar 6, 2016)

privatebydesign said:


> ray5 said:
> 
> 
> > If I were to plan for a home studio in the basement and had a choice of having some source of natural lighting(windows) versus only artificial lighting what should I do? I have the choice of picking space without windows easier than one with windows but not impossible. Thx
> ...


Hi PBD,
Here is quick draw of the space I will have. Thx
Ray


----------



## ray5 (Mar 6, 2016)

ExodistPhotography said:


> ray5 said:
> 
> 
> > If I were to plan for a home studio in the basement and had a choice of having some source of natural lighting(windows) versus only artificial lighting what should I do? I have the choice of picking space without windows easier than one with windows but not impossible. Thx
> ...



Thanks for your detailed suggestions, very useful. I have so far done mostly available light portraits, some with a speedlite fill flash. For obvious reasons I am apprehensive about going with strobes but whatever I have read, the results are amazing. I have attached a rough draw of the space I will have above. The advantage having a window is that I can cover them when I want, how effective that is going to be I don't know. With taking up space without windows I control everything. 
The left corner where the windows are is east and the wall with the door is mostly south facing, to give you an idea of lighting during the day. Thx again.
Ray


----------



## privatebydesign (Mar 6, 2016)

ray5 said:


> privatebydesign said:
> 
> 
> > ray5 said:
> ...



I'd take the windows


----------



## ray5 (Mar 6, 2016)

privatebydesign said:


> ray5 said:
> 
> 
> > privatebydesign said:
> ...


Why?


----------



## privatebydesign (Mar 6, 2016)

It is another light source, the corner windows give you a wrap around light source too! It isn't difficult to kill the ambient in a studio setting, unless the sun was directly in the windows the ambient is easily controlled, no studios are dark, they all have ambient and modelling lights.

I'd get tissue paper to cover them to diffuse the window light, and something heavier to cut it down.

Having the windows gives you options, for all our talk it is very difficult, indeed impossible in a small space, to truthfully replicate sunlight, the falloff properties of sunlight are unique (there isn't any).

Having natural ambient light in a studio makes it, in my experience, a 'nicer' place to be.


----------



## ExodistPhotography (Mar 7, 2016)

ray5 said:


> Thanks for your detailed suggestions, very useful. I have so far done mostly available light portraits, some with a speedlite fill flash. For obvious reasons I am apprehensive about going with strobes but whatever I have read, the results are amazing. I have attached a rough draw of the space I will have above. The advantage having a window is that I can cover them when I want, how effective that is going to be I don't know. With taking up space without windows I control everything.
> The left corner where the windows are is east and the wall with the door is mostly south facing, to give you an idea of lighting during the day. Thx again.
> Ray



My small studio office is about 14ft by 14ft. So its a small space, but I have very large windows 2 of them are 4ft by 4ft, the other is 3ft by 4ft.. But even with speedlites I can easily get an exposure completely without any outside or other ambient light playing part in my photos. Yet still keep my speedlite settings on about 1/8th power or lower. Actually they are on about 1/16th most of the time. Even during the daytime with my office lights on, a camera setting of ISO200, 1/200th shutter and aperture of f/6.3 eliminates any outside light. And yea I like to keep the window curtains open as well. If you want to shoot consistently and at anytime you want, day or night. Don't let your environment control you. Take control of your light yourself. Soon as you go strobes, you dont go back.. LOL 

If you are anyone else is worried about getting soft smooth light, just simply get a larger softbox. I have a 60" fotodiox octobox that I can pop two speedlites in and create light so smooth you would think who ever you photo'd was sitting under a shade tree in the late afternoon.. Smooth light is all about the the size to distance ratio of your lighting modifier.


----------



## ExodistPhotography (Mar 7, 2016)

privatebydesign said:


> ........ no studios are dark, they all have ambient and modelling lights.
> 
> .......
> 
> Having natural ambient light in a studio makes it, in my experience, a 'nicer' place to be.



Yea I have trouble getting enough light into my studio at times. Sometimes my 70D just doesn't want to play nice about focusing in darker areas.

Also agree, you dont want some one to feel like they are in a dungeon. A studio with a comforting atmosphere will help you bring the best out in your clients and create better portraits.


----------



## LDS (Mar 7, 2016)

privatebydesign said:


> Having the windows gives you options, for all our talk it is very difficult, indeed impossible in a small space, to truthfully replicate sunlight, the falloff properties of sunlight are unique (there isn't any).



Real windows and proper curtains could also be nice "props" in some kind of portraiture and even still-life. They could be replicated - and often are - but they require a more complex, expensive setup and larger light sources. If needed (and possible), real windows can also be lit from outside using lamps or reflecting panels, it the Sun position is not quite good.


----------



## ray5 (Mar 7, 2016)

privatebydesign said:


> It is another light source, the corner windows give you a wrap around light source too! It isn't difficult to kill the ambient in a studio setting, unless the sun was directly in the windows the ambient is easily controlled, no studios are dark, they all have ambient and modelling lights.
> 
> I'd get tissue paper to cover them to diffuse the window light, and something heavier to cut it down.
> 
> ...


I understand, Thanks.


----------



## ray5 (Mar 7, 2016)

ExodistPhotography said:


> ray5 said:
> 
> 
> > Thanks for your detailed suggestions, very useful. I have so far done mostly available light portraits, some with a speedlite fill flash. For obvious reasons I am apprehensive about going with strobes but whatever I have read, the results are amazing. I have attached a rough draw of the space I will have above. The advantage having a window is that I can cover them when I want, how effective that is going to be I don't know. With taking up space without windows I control everything.
> ...


Thanks again!


----------



## ray5 (Mar 7, 2016)

LDS said:


> privatebydesign said:
> 
> 
> > Having the windows gives you options, for all our talk it is very difficult, indeed impossible in a small space, to truthfully replicate sunlight, the falloff properties of sunlight are unique (there isn't any).
> ...


Curtains as props? Good thought, didn't think of that one. Thx


----------

