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Crazy Stupid Light
I recently attended an online workshop on Creative Live called Crazy Stupid Light by Scott Robert Lim. This is the same guy that designed and sells the Tiny Triggers, and Strobie 130 flashes. Anyway, his theory is down right easy once you think about it and play with it. First off, this is for full manual flash, not TTL. The first thing you do is set your camera for the ambient light. In one setup, he set his ISO to 100, and shutter to 1/200 (if I remember right) and aperture to f5.6. This made the whole frame black. Now he adds in flashes to light the subject, which is 7 to 8 ft from the backdrop. What would YOU set the flash power to, to light the subject without light spilling onto the backdrop, and how far away would you put the flashes, and not change any camera settings?
The answer to the above: Put all flashes aprox. 6 ft away, and set the flash power to 1/8. If you want one to be a main and other fill? Just move the one you want as main in half the distance or close to it and you now have a difference without changing power settings. Same goes for adding a flash to light the backdrop. He showed that using a neutral gray backdrop, you can use any color gel with the flash 6 ft away, set at 1/8 power, the backdrop will look that color. Using this theory you should be able to setup a shot and get it right in the camera on the first shot, if not the second.
Well, Scott Robert Lim did intensive testing and came up with his own flash calculator. The jpg below is on the side of his SRs Strobie 130 flashes that he sells. He even created an iPhone app that you can even enter the distance from subject to flash, along with all the other settings. Anyway, to find your flash power setting, start at the top and look for your ISO setting. Then on the left, go down to your f stop. Where the two intersect, that is your power setting. Very easy! Give it a try, but remember, set flash to manual, and if your have your flash zoomed, set it to 35mm. I'd love to hear what you guys think!
Visit www.scottrobertphotography.com to get a list of his other upcoming workshops, and to check out some of the other cool stuff he is coming up with! You can also follow him on Facebook at: https://www.facebook.com/scottrobertlim
Note: I do not work for, nor am I associated with him. I am just sharing some useful information I learned from watching one of his workshops.
GaryB
The answer to the above: Put all flashes aprox. 6 ft away, and set the flash power to 1/8. If you want one to be a main and other fill? Just move the one you want as main in half the distance or close to it and you now have a difference without changing power settings. Same goes for adding a flash to light the backdrop. He showed that using a neutral gray backdrop, you can use any color gel with the flash 6 ft away, set at 1/8 power, the backdrop will look that color. Using this theory you should be able to setup a shot and get it right in the camera on the first shot, if not the second.
Well, Scott Robert Lim did intensive testing and came up with his own flash calculator. The jpg below is on the side of his SRs Strobie 130 flashes that he sells. He even created an iPhone app that you can even enter the distance from subject to flash, along with all the other settings. Anyway, to find your flash power setting, start at the top and look for your ISO setting. Then on the left, go down to your f stop. Where the two intersect, that is your power setting. Very easy! Give it a try, but remember, set flash to manual, and if your have your flash zoomed, set it to 35mm. I'd love to hear what you guys think!
Visit www.scottrobertphotography.com to get a list of his other upcoming workshops, and to check out some of the other cool stuff he is coming up with! You can also follow him on Facebook at: https://www.facebook.com/scottrobertlim
Note: I do not work for, nor am I associated with him. I am just sharing some useful information I learned from watching one of his workshops.
GaryB
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
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Not everyone has a flash meter. This method does work, and is quite simple once you do it a couple of times. I didn't realize how easy it was until I watched the workshop on Creative Live, and seen it actually done. They shot tethered, using only the meter in the camera, and got shots perfect on the first try. They showed actual photos real time as they were shot without any processing.
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
I have a default setting that I fall to (f/8, 1/200 or 1/250, ISO200, flash at 1/4) and then make quick adjustments as needed. With practice, you learn very quickly what needs to change (manual flash up or down for subject lighting, shutter speed down for how much ambient, aperture up or down for how much flash if you don't have immediate access to it hanging from a lightstand in a tree).
Do post your results though!
Hi! I'm Wally: website | blog | facebook | IG | scotchNsniff
Nikon addict. D610, Tok 11-16, Sig 24-35, Nik 24-70/70-200vr
Explain to me how this is too much work. You are setting your camera for ambient light, taking the ISO and aperture settings and using them to get your flash setting from a chart. Because this is based on a 128 guide #, I know that if I place my subject 7 or more feet in front of the background, and use the suggested power setting from the chart, that the light from the flash will not reach the backdrop, if flash is placed 6 ft in front of subject, thus no shadows. During the workshop, they used a neutral gray backdrop. They placed the subject 7 to 8 ft in front of the backdrop. They then set the camera so the frame was totally black. They then took the aperture and ISO setting, and using the chart above, set the power on 2 flashes, and placed them 6ft in front of the subject at a 45. When they fired off a shot, the subject was perfectly exposed, and still had a black background, all in one shot. No chimping needed. Before you condem this method, give it a try. It does work! I seen it with my own 2 eyes.
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
It's not a matter of condemning the method. It's just some of us don't want to carry around a chart or have their own way of doing it. You take the time before hand to setup and get it right with one shot, or get everything set and take a couple of shots to get the light on the back end. It's not biggie. If it works great for you wonderful. You don't need to make challenges in forums for others to take this up. Just post the info.
I definitely wasn't condemning it but when I'm shooting in the dark of an event and can't see the back of a chart and my flashes are already in place and can't be moved or gotten to after I set them up... for a studio with time, I could see it working. For most of what I shoot, it's just not possible.
Hi! I'm Wally: website | blog | facebook | IG | scotchNsniff
Nikon addict. D610, Tok 11-16, Sig 24-35, Nik 24-70/70-200vr
The flash "Guide Number", or simply the "GN", is the vital bit of information. If the GN is accurate, then exposure is simply calculated by the formula, GN/Distance.
"But ziggy, my 'xyz' flash doesn't have published Guide Numbers (or I don't trust them)." No problem. Just use a flash light meter to measure the output, or (much better) use your own camera and a gray/grey card* to derive the GN.
To use a flash meter, follow the meter manufacturer's directions.
To use your own camera, pick up a photographic gray/grey card and take a few measurements at different flash output settings (full output and fractional output), distances from the target (to measure light falloff) and with different flash modifiers in place (umbrella, soft-box, etc.).
I suggest setting up in a large room and using a black backdrop for most accurate results. Otherwise, just try to use surroundings typical for your style of shooting. Don't use any room lights and keep the room dark, except for the flash.
The concept is pretty simple; you want an exposure which places the gray card exposure in the dead center of your camera's histogram. If you use a dark background and telephoto lens, to help isolate the gray card exposure, you will look for a definite "spike" in the histogram center. (Use a spot meter or center-weighted meter setting in the camera.)
Since shutter speed mostly affects "ambient/available" light, use the flash sync of your camera for these tests (generally 1/200th or 1/250th). Also, start with the camera's lowest ISO.
Take a series of image captures, varying the aperture, and using the flash for the primary exposure until you see the gray card "spike" in the center of the histogram. Record those exposure settings and then vary either the card's distance from the flash, or the flash output settings.
Once you have recorded the "correct" distance-to-subject, aperture and flash output settings, use the formula "Distance x Aperture = GN" to calculate your own custom GNs. It's just that simple.
Now that you have your own set of Guide Numbers, as long as the flash output is repeatable at any setting, you should be able to calculate the required Aperture with GN/Distance. Likewise, if you have a preferred aperture and you want to know the optimal Distance from flash to subject use GN/Aperture.
Another thing that can affect the Guide Number/GN is the zoom head of the flash. If your flash has a zoom head, additional testing may be required at different zoom settings.
Built-in flash diffusion panels and wide-angle panels are another consideration.
*I do use and recommend the Kodak R-27 Gray Card (18% reflectance) and I prefer to use the 8" x 10" target for these tests. It would appear that B&H still has some of those card sets for sale, but they are out of production so once they are gone ...
http://www.bhphotovideo.com/c/product/27715-REG/Kodak_1903061_Gray_Cards.html
A worthy replacement may be:
http://www.adorama.com/DGKR27.html
Be aware that camera meters and hand-held meters seem to use an ANSI illumination value which seems to be similar to a 12% reflectance target for middle gray. There are numerous discussions about the value of using 18% gray cards with digital cameras, but I trust and respect Thom Hogan and he recommends testing and choosing for yourself (read the sidebar "What Should You Do?"):
http://www.bythom.com/graycards.htm
Moderator of the Cameras and Accessories forums
The creator of the chart above, Scott Robert Lim, is an Internationally known wedding photographer, and he uses this method for everything he shoots. Granted, since he created the chart, he has it memorized, and sets up his flashes without looking at the chart. But in his workshop, he states that it doesn't matter how many flashes you use, 1 or a 100, if you go by his chart you can set them up and get a perfectly exposed photo on the first shot. As to not being able to access the flashes after they have been set up, no problem, just change your aperture if the ambient light changes.
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
You are correct Ziggy! For years I have been a natural light only shooter. When I posted photos for C&C, because they were not shot with flash, they got passed over, or I was told they were no good, throw them away. So, I started looking for tutorials on using flash, and found one that was easy to understand and thought I'd share what I learned. I guess, because I'm a newbie to flash, most think that I'm just trying to blow sunshine up their butts. Well, the guy that created the chart, has mentored many professional photographers, and has taught his concept to thousand upon thousands of people like me.
BTW, I won't have to carry a chart in my pocket, to go by. I am purchasing Scott Robert Lim's Strobie 130 flashes, and the info on the card is imprinted on the side of every one of his flashes.
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
Gary, could you please advise whether you have received and are using the Strobie 130 flashes? I watched Scott Robert Lim on Creative Live and am hoping to find someone who has actually used his flashes and his Tiny Triggers.
Check out Fuzzies site http://www.duenkel.com/families/index.html He is world renowned for his use of natural light and his prints rock. He will use flash when needed or if going for a special effect. He mainly uses reflectors to direct the light.
A chart is just that a chart, you still need to understand light and light patterns and how they affect the subject.
www.cameraone.biz
That chart is very old, and while Scott may have made that particular one up, some of the old school people here have been using similar charts for a very long time. I started using one in 03' or so when shooting with multiple 550's.
The brilliance behind how Scott has his laid out is that you can move up or down steps as you add more lights, or diffusers.
Most photographers I have worked with who shoot often already have this memorized. Even my assistants have it memorized and it is a very very easy and fast way to shoot once you get it down. The charts are set to 6 feet from the flash to subject which is about my arms length. Compared to using a meter, this is much much faster and very accurate IME (I have probably photographed over 5000 clients using this method with speedlites.)
I have never used his triggers so I can not give an opinion there but IME the Strobies are good units. It is a very basic flash, no bells or whistles but you can change the power from full to 1/64th. I do wish there was a zoom control, but there is not, so I made a snoot for one of mine. I do also like that you can set the flash to activate with a strobe, so if you are shooting on manual you can put four of these behind one umbrella and you only need to have a trigger on one to fire all four.
I have four of the Strobies, but I still use my 580's for the bulk of my work, more because I own the flex system and do like to do HHS and ETTL on occasion.
JME
I checked out his site, and found that he provides tutorials/classes on different things, including how to alter light in Photoshop. This proves that you don't need to have perfect light for every photo, to be a great photo. The photo that I shared here was taken on a day with no real directional light, taken in a gazebo, just before a hurricane passed to the east of us. I also stated that I was a newbie to Photoshop, which I recently purchased. I plan on purchasing some of this guys tutorials, along with some more of the workshops on Creative Live, as this seems the only way I will learn. I thought dGrin was supposed to be a community that helped newbies like myself to learn from their mistakes, and what to do to improve.
As an update, I have recently purchased a Nikon SB600 (for when I need TTL) and 3 SRs Strobie 130's, and a Tiny Trigger setup (1 transmitter & 4 receivers) and planning on learning using flash manually, using the tips from Scott Robert Lim's Creative Live workshop. I just need the weather to cooperate so I can get outside to practice.
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
In Scott's workshop on Creative Live, he takes the ISO and f-stop and sets all the flashes to the same setting based on his chart. He also explains that if you move the flashes from 6ft to 3ft, you drop the power setting on the flashes 2 stops. So if you were at Full power you would lower it to 1/4 power. He also stated that if you are using an assistant that is holding a flash on the other side of the room, or on a light stand out of reach, and ambient light has changed, you can simply change your f-stop to correct. A lot of his tips were very helpful, and can't wait to give them a try.
I have purchased his trigger system, and one needs to remember that it is a full manual triggering system, thus the reason his Stobie 130's being manual only. His latest version of the Tiny Triggers have been updated to 16 channels, and now has a range of up to 300+ feet. This can vary due to interference though. He also incorporated a focus assist light/beam in the transmitter for the Cannon version for low light situations. You are correct about the slave option, as there are two options available for slave.
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
A great place to learn photoshop is to join NAPP. National Association of Photoshop Professionals. (photoshopuser.com) It's about $90 a year and the tutorials and videos are awesome. I'm always referring to them. They even have a help desk where you post a question and someone will respond within 24 hours.
Keep posting and asking for CC. Those photos are your child and it is hard at times to accept cc but use what you can to correct your images. With time we all develop a thicker skin and accept cc and realized it is meant to help.
Don't go crazy purchasing items until you know what you really need. I've got a closet full of stuff that I thought I needed from listening to others. Education is more important than equipment.
Post some of you racing photos.
Best of luck.
www.cameraone.biz
I will check that out, along with purchasing some of the workshops on Creative Live. Some that I've already picked out are by Lesa Synder, and already purchased a few by Ben Wilmore, who has some on both Lightroom and Photoshop CS6. As for getting thick skin, I do have thick skin, but when I'm only told to throw it away and start over and nothing else, it does hurt a bit, when others post photos and they are told what to try to improve theirs.
As for posting some of my racing photos, here's one that I took at the track. My friend that I usually went to the track with, was talking to the track owner, and they spotted me getting ready to fire off a shot and this is what they did. This shot appeared on the track's website's main page for about a month. The caption he used was "We want YOU at Beaver Springs Dragway"
The main reason I took this shot was because they look very similar, and the track owner made the statement that they are brothers from different mothers, and wanted to show him how much they looked alike. If you want me to post a few photos of race cars here, let me know, but I felt that would be off topic, unless asked to do so.
GaryB
“The single most important component of a camera is the twelve inches behind it!” - Ansel Adams
www.cameraone.biz
Your in central PA. They have some great pro organizations in PA. The central one is very active with workshops. I've attended a few there and Pittsburgh has TriAngle Institute and when that event happens it is a good one to attend. Ask a pro studio owner who lives in or outside of your area when and where they meet.
www.cameraone.biz