What does “Open-N-Use” mean?

Question

In the description of a softbox kit it says "Open-N-Use as studio umbrella. More convenient than traditional soft box." What does that mean exactly?

Here's the product http://www.ebay.com.au/itm/Photography-Photo-Studio-Softbox-Continuous-Video-Light-Lighting-Kit-VL-9099-/120804387578?pt=AU_Cameras_Photographic_Accessories&hash=item1c2080aafa

Asked by Graham

Answer

Open-n-use has a similar meaning to the much more common "plug-n-play" adjective of computer peripherals, it means you just open it up like an umbrella and start using it right away.

Essentially it's an umbrella softbox hybrid that opens quickly like an umbrella, but has a front diffuser screen like a softbox, giving a softbox like quality of light but without the hassle of assembling a softbox (which can be like putting up a small tent at times).

Answered by Matt Grum

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How can I prevent light spill from an umbrella?

Question

I've been reading Strobist lately and love the moody half-lit-half-dark effect in a lot of these types of photos. I'm a beginner and have a limited equipment budget, so I got a 45" reflective/shoot-through umbrella.

It gives great softness for the really low price. However, I find that I can't get the really dark areas/high contrast in my portraits. I think that this is because the excess light from my strobe is bouncing off my room walls and coming back at my subject. This effectively creates a new "ambient" light source (I've killed the real ambient) that prevents the deep shadows.

What are some good ways to work around this? Bonus points for being low-cost.

Answer

One option is called "bookends"; 4x8 sheets of foam board, hinged together with tape. Leave one side white and use it as a reflector, paint the other side black and use it to eat light.

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Preventing light spill from an umbrella

Question

I've been reading Strobist lately and love the moody half-lit-half-dark effect in a lot of these types of photos. I'm a beginner and have a limited equipment budget, so I got a 45" reflective/shoot-through umbrella.

It gives great softness for the really low price. However, I find that I can't get the really dark areas/high contrast in my portraits. I think that this is because the excess light from my strobe is bouncing off my room walls and coming back at my subject. This effectively creates a new "ambient" light source (I've killed the real ambient) that prevents the deep shadows.

What are some good ways to work around this? Bonus points for being low-cost.

Answer

Another option is called "bookends"; 4x8 sheets of foam board, hinged together with tape. Leave one side white and use it as a reflector, paint the other side black and use it to eat light.

Check more discussion of this question.

Soft boxes vs umbrellas, pros and cons

Question

I won't ask which is better, as that is highly subjective. I know that reflective umbrellas can spill more light in close quarters, and are more easily caught by a gust of wind, but are cheap and easy to set up.

What are the pros and cons of soft boxes, shoot through umbrellas, and reflective umbrellas for portrait photography?

Does the answer depend on whether you're using studio lights or speedlights?

Is there a quantitative difference in the quality of light (contrast or softness) produced by each?

Answer

For me the main difference is a softbox generally has better control of the direction of the light. The softbox will have a flat diffusion panel on the front and possibly a raised edge that stops light spilling off to the side. You can add a grid to it to control the spill even more. While an umbrella, has a curved surface that reflects or diffuses light in a more uncontrolled way. If you were in a small room using a shoot through umbrella you'd get light spreading all over the place as well as where you were actually pointing it. This isn't necessarily a bad thing.

The softness/quality of light are so subjective but softboxes can have multiple diffusion panels so you might get a more even light spread. Softness if going to depend on relative size of source and subject, and contrast is going to be determined by your light source to subject distance. A silver reflective umbrella will probably give you higher contrast/more specular highlights.

Umbrellas are simple to put up and down and can be purchased very cheaply. They just mount to your light/light-stand with their pole so they are universal. Soft boxes usually have a specific mount and can be a pain to assemble.

There are brolly boxes/easy up softboxes which open like an umbrella but are enclosed and have a flat front of a softbox.

In short: Umbrellas: cheap, easy to use, versatile, less spill control, reflective umbrellas are difficult to get close to subjects because of the pole. Soft boxes: generally more expensive, more spill control, better for larger sizes, more even light spread, need to get them with the correct mount to match your lights

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What lighting gear to get after my speedlight?

Question

I recently got a Nikon SB-700, and after spending some time trying (and failing) to take some high-key b/w portraits, I am quickly realizing that I need to significantly modify the light, because bounced lighting isn't really giving me the control I need.

I would prefer not to spend more than $100, so I would guess that umbrellas are the way to go. I am looking at kits like this: http://www.amazon.com/CowboyStudio-Photography-Continuous-Day-Light-Fluorescent/dp/B001G4DDE4/

My questions are:

1. Am I heading in the right direction?
2. Does it make sense to mix continuous light with flash like this to achieve high-key portraits?
3. How do I use a flash with the umbrella? More gear?

Thank you!

Answer

You're heading in the right direction!

There is a whole website/blog that talks about using small portable lighting gear for everyday use and getting the most out of simple elements. The "Strobist" site has many resources for what kind of kit to get and how to use it.

Here's the deep link for the basic kit that they say you'd do well to get for the starting shots: http://strobist.blogspot.com/2006/05/round-up-starving-student-off-camera.html

For my purposes, I started with some off camera triggers (optical triggers are fine, too), two flashes, two stands, one umbrella, and some gels. The rest of the diffusers, reflectors, and snoots/grids came from cobbled together bits from around the house. I use foam craft paper to act as larger bounce cards and flags.

For the rest of your questions about mixing continuous lighting with strobes, you just need to understand how light works with blending the short impulse with ambient light. This balance can be learned by trial and error as well as through some exercises. In the end, it's all about ISO, F stop, shutter speed. Each one controls the way that light comes into the camera and how the camera responds to it. In short, it does make sense to mix, so long as you know the color balance of your lighting and can control it. To that point, be prepared to gel your flash to match the color of your ambient light.

What I'd also suggest is getting together with other local photogs to practice settings and borrow gear. That will teach a lot about what effects modifiers may have and how to best use them. I've started going to a local meetup group and have learned tons in just a short while.

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What are the effects of umbrella size?

Question

I keep seeing shoot thru an reflecting umbrellas in sizes around 33", 36", 42" and even larger. Many of the kits (stand, clamp, umbrella) I see around have the smaller size umbrellas. Strobist.com also suggests a 42".

What differences could I expect between the different size umbrellas and how might their usage / flexibility compare? Would I expect more light fall off with a larger umbrella?

Answer

Are you planning to shoot indoors or outdoors? Umbrellas are difficult to use outdoors as they act like a sail and it only takes a slight breeze to send your umbrella - and flashgun crashing down. You either need a serious stand weighted down, or someone holding the umbrella. Even so I'd go with the smaller size for shooting outdoor.

A larger umbrella gives a softer light - at the same distance. However it's a apparent size of the lightsource as seen from the subject that defines the softness/hardness (hence the character of the light). e.g. the sun and moon have the same apparent size, viewed from the Earth. The sun is much bigger, but at the same time further away.

Therefore a 33" umbrella at a distance of 2 meters should act very similar to a 42" umbrella at 2.5 meters. However:

• You will receive less light from the further away brolly (i.e. bigger brollies need more powerful flashes in general). Likewise you need a bigger stand etc.

• Having the light further away makes it easier to control flare (by ensuring the lightsource is not in frame) and gives the subject more room to move.

• A further away lightsource gives more even lighting. Again taking the sun as an example the near and far sides of a 1 meter object are effectively at the same distance from the sun and receive the same amount of light. However if you place a lightsource 1m from the object then the far side is double the distance from the near side and receives 1/4 the light.

Finally, the difference between 33" and 42" is not that great, and 42" isn't that big in the scheme of things, so unless I was putting together a kit that was designed to be ultra mobile I'd go for the 42".

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What is the difference between a softbox and a shoot-through umbrella?

Question

As far as I can see, using shoot-through umbrellas is slightly cheaper than using softboxes.
Would I give up anything if I went with umbrellas?

Would it make any difference to the images I create?

Answer

You have more control over spill and hot spots with a softbox. The hot spots are much less significant with a softbox.

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