Softbox Suggestions Please

[rolandogomez]

Thanks, but no, not into supporting anyone's cheap shots. I stopped giving stuff away a while back after I found out the people I've helped in the past become disloyal. Not worth it any more....

However, just so they don't go to bad use, we're looking at them for use while shooting on location in the hot sun, keeps the models from looking sunburned...wishing you the best, and Happy Holidays, rg sends!

(Shot with only a California Sunbounce reflector and a Dyna-Lite Uni400 shot into the reflector, no umbrellas as we were under a porch, no boxes either, just 27-years of photographic experience. Location, Cozumel from my Exotic Glamour, Beauty & the Nude workshops)

[eselby]

As expected everyone is offering different advice. Some of it comes from years of experience - some of it seems, well, just wrong.

A softbox is not going to solve your lighting issues. Nor will an umbrella. Each one reflects and/or diffuses light, but each does it differently and creates completely different results. Neither is better or worse than the other - just different.

Direct sunlight produces one result - diffused sunlight another - and window light another. Neither is better or worse. Just different. To quote the Dread Pirate Roberts, "Anyone who says differently is selling something."

Take a light at 45 degrees to camera left - shoot it without any modifier. See the result.

Add a shoot thru umbrella. See the result.

Change it to a reflected umbrella. See the result.

Use a softbox. See the result.

If you leave your light in exactly the same spot, and your subject posed exactly the same way, and your light output (whether true watt seconds or effective watt seconds) exactly the same, you are going to get different results. Which one gets you what you are trying to achieve?

Amherst Media (www.amherstmedia.com) has some EXCELLENT books about lighting that show you how to use different lighting set ups to achieve desired results - including the use of umbrellas. Buy a book and follow along. It'll be more effective than wading thru this.

[rolandogomez]

Ed,

I'm going to disagree with some of your statements, or perhaps clarify what most people fail to understand--it's still about using the right tool for the right situation.

While no light modifier will cure a photographer's problems with lighting immediately, it sure can help once you learn to use the modifier properly and learning many aspects of light (and form) along with the qualities of light will sure help too. Soft boxes are directional and can be even more directional with grids and louvers. Umbrellas are not as directional, thus not great for learning how to control light. The closest to controlling light with an umbrella and no flags, scrims or cutters is shooting through it.

Ever look at an Octabox? An umbrella you shoot through a hole in the back with a soft box front!

In fact, umbrellas have been described over the years as the easiest way to light something because it scatters light in almost every direction, when the light source bounces into the umbrella and bounces back toward the subject, lightscatters everywhere--how can you go wrong? Umbrellas are a "fail-safe" method of lighting any image--buttttt

It's not about just putting light on your subject, it's about understanding the light source and the light modifier and the end result--or the quality of the light it produces. Sure, you can light anyone with a 7-inch reflector, but it doesn't make that light flattering for your subject. Even a 4 x 6-foot softbox can fast become crappy light when it's placed at a distance where it becomes smaller than the subject. You have to study your subject's skin, as well as what the end result is and then choose the appropriate light source and light modifier.

Let's forget about umbrellas and soft boxes for a minute, beauty dishes--same thing, not everyone can be lit in a flattering manner with a 22-inch beauty dish no different than a 12-inch ringflash. Even in the case of the fabled rings, just changing the glass on the front from clear to frosted will have impact on the quality of the light that in turn creates a different affect on your subject.

If you leave your light in exactly the same spot, and your subject posed exactly the same way, and your light output (whether true watt seconds or effective watt seconds) exactly the same, you are going to get different results. Which one gets you what you are trying to achieve?

Now that statement I agree with and that's what I'm talking about--what works not only for you, but more important the right light and light modifier for your subject.

Just because you prefer an umbrella, or for that matter a medium soft-box, that doesn't make it the right light and light modifier for your subject. You have to learn what each light does because even the "does" can change by not knowing how to use the light properly, or if you know lighting, light theroy and light qualities (and I'm not talking about a Master's degree here), then you'll know if you take a medium "soft" box and have it close to your subject, it's soft light, but to change that quality and add contrast, start moving it back till you get what you want.

Your quote on selling, yes I'm sponsored but I make no commission off Chimera or Hensel or for that matter anyone else. The only thing I'm trying to sell is watch out for marketing hype, make educated purchasing decisions, and more important, get the right tool for the right job. I'm sponsored because I teach, I'm a photography magazine writer, I write books as photography author and I speak at places like Photo Plus Expo and next month FotoFusion and I'll be the first to tell you it's not because I'm a great photographer--I learn and practice every day!

Amherst Media (www.amherstmedia.com) has some EXCELLENT books about lighting that show you how to use different lighting set ups to achieve desired results - including the use of umbrellas. Buy a book and follow along.

Since you brought up my publisher, Amherst Media, there's a whole chapter about my lighting and I in this book that just came out this past August (this is a link to the book) Professional Portrait Lighting: Techniques and Images from Master Photographers and I agree with you, it's an excellent book and worth every penny.

And for the record, I didn't write that book and I get ZERO royalties from it. Now my newest book from Amherst Media that I did author (will be announced shortly) the scanned cover is below and it will feature in-depth on lighting along with diagrams and lighting set-ups. Wishing you the best and Happy Holidays! Thanks, rg sends!

(Photo of Tiffany Karns at the Virgin Islands Glamour, Beauty & the Nude Workshop Series, shot with Hensel Porty Premium Power Pack with 1200WS Ringflash with the optional Sunhaze soft box adapter, Rosco Bastard Amber #2 gel in side umbrella-shaped softbox. Light is about 15-feet from subject, ISO 100 at F/8)

[mcherry]

As someone who has worked as a gaffer I think I know a bit about light, but then again, maybe not... LOL!

I would advise AGAINST learning with a softbox. And to start with one strobe, a BUNCH of c-stands, a diffusion panel (or three of various sizes, you can make them yourself), flags, whiteboard, reflectors, gaffer tape and a roll of cinefoil. With this set of basic tools you can do almost anything. No, you cannot achieve a playboy look with it, or other complex lighting setups, but you can do far more than you would imagine.

The reason I recommend this is that starting with a softbox does almost nothing to teach you about controlling light. Sure, you might learn how to use the softbox, where to place it, the inverse square law, how to feather it. But you are not really learning about controlling light, you are learning about controlling a softbox.

If you were to buy the materials I suggested you could build your own softbox in about fifteen minutes. You can diffuse light, bounce it, cut it snoot it, shape it, redirect it.... You get the idea. Get some books on lighting for cinema. Two books you should get immediately if you do not already have them is "Light, Science & Magic" and "Matters of Light and Depth". This will not be an easy process. Rolando's route will have you taking better pictures faster. Mine will leave you a bit frustrated at first. But if you are someone who enjoys experimenting and mastering a craft, it is the only way to go. I guarantee you, if you work this through and learn to "see" light and make it succumb to your will, you can do anything...

Good luck,

Matt