AboutScott Valentine Expertise Most anything about digital post processing (Photoshop, etc), effects, and image restoration, some technical information about digital imaging systems, light and electron microscopy, optical physics and image analysis. I can help with shooting basics, lighting setups, and getting the most out of your digital camera. I am also an 'expert' here for Photoshop (Computers/Technology > Software > Graphics Software > Photoshop).
I am currently writing a book for Adobe Press on composite artwork using Photoshop CS4.
Experience I've been an image analyst and advanced amateur photographer for over 6 years. I run an Adobe user group, focusing on digital media, and have lectured on digital image capture systems. Currently, I am an administrator for a rather large instructional Photoshop forum
Organizations Adobe User Groups, National Association of Photoshop Professionals, Advanced Imaging Specialists
Education/Credentials Bachelor of Physics, University of California, San Diego
Awards and Honors Winner: Best in Show and several category first place awards - Imaging Professionals of the Southwest Print Competition (multiple years)
Question Hello Scott,
I was hoping you could give me some advice with lighting. I use a Canon
10D with a 420EX speedlite (no transmitter) for all my photography with the
exception of studio lighting...for that i've been using a fuji s2 with a Novatron
lighting system. yet today i had to return my fuji and the lighting system i've
become accustomed to (it was through work) and so now i'm back to my
canon. I was wondering what I can get away with without buying studio
lighting if i want to continue doing studio setups...animals, commercial and
stock photography, as well as wedding photography? would two 420's and a
transmitter work? Any advice is much appreciated.
Thanks,
Brad
Answer Hi Brad,
A good studio setup is quite a bit more flexible than using speedlites. Using speedlites can be quite effective, but the results can be very hard to predict. However, that does not mean you have to invest in high-powered, expensive rigs.
For small stock work, I generally use a pair of flashes, with one acting as a manual slave. But I do have some small lamps for previewing and balance, as well as a handful of LEDs that can be placed for special effects.
Portrait work typically requires larger light sources, which you can approximate with large diffusers or umbrellas on stands. These can be reasonably priced, especially if you look in used camera shops. For a mobile setup for weddings and other parties, speedlites are your best bet.
In general, it's good to have some flexibility for studio work. Some local shooters I know use halogen work lights from the hardware store, and have custom color correction files in their cameras. Others have garages full of the best gear collected over the years. On paper, you can't tell the difference. In the end, it comes down to knowing your equipment well, and how to get the most out of it.
Consider adding another speedlite and a transmitter, but don't stop there. Hunt around for ways to light your subjects without breaking the bank. Auto sunshades make good specular reflectors, and fabric stores have tons of scraps for making scrims or translucent diffusers.
The trick is to experiment. Before you actually need a particular lighting setup, shoot with a variety of subjects and light sources. LEDs, desk lamps, even florescent boxes are very useful. A useful test setup is to have a variety of objects in the same image - sandpaper, glass, metals and plastics, translucent pieces, etc. Play with your lighting just to see how it all works. Soon enough you'll be able to compete with huge studio rigs without spending more than a few dollars.
I hope that helps. If you have any other questions, or would like some advice on building a studio from odds and ends, please ask!
