mixing light sources Archives

Building a set can be easy

Using a set in your photoshoot adds a lot.
When I started out with modelphotography I mostly shot on seamless (paper) and although it was a lot of fun working with different colors at one point you get a bit bored with it and I started with using custom walls with paint, structure or wallpaper.

A few years ago we came into contact with clickbackdrops and loved their huge selection of prints and the materials vinyl and especially pro-fabric (which mimics the old vintage canvas backgrounds without all the disadvantages)

Today in the blog some images I shot during a workshop with Felisa.
During this workshop I used the “boho drapes” background which can be used without anything extra and gives a real sense of shooting on an old fashioned set.
But it becomes much more interesting when you start to add some props.

In this case I added a chair for the model but also some branches with faint lights and a nice lamp.
For the workshop this is was a great setup to experiment with mixing light sources, finding interesting angles and of course also shoot some images without the strobes.

By using props in front of a scenic backdrop and taking into to account the way the shadows fall on your backdrop you can quickly create something that looks like it was shot on a cool vintage location.

During the workshops I always try to include several “challenges” into the sets and mixing light sources is always one that is often requested.
In essence the technique is not that hard, but you need to realise some important facts.

The continuous lights are of course a lot less bright than the strobes.
The strobes however are just a pulse, and after the pulse they don’t emit light anymore, so when you shoot images like this it can be cool to leave the modelling lights on, but if you need longer shutter speeds it’s important to disable the modelling lights, if you use the longer shutter speeds the strobe will freeze the model, but the modelling lights will start to register on the model at one point, so if you don’t want this make sure you only use the pulse of the strobe.

Let’s set the shot up

For a quick setup I’m using a lightmeter.
The Geekotos I’m using can go really low in their output, which is a huge benefit for these kind of setups where you mix faint light sources with strobes.
With the Geekotos it actually often means that I don’t have to use them on the lowest setting, which gives me more headroom to correct the balance without having too much noise in my images. If you use strobes that are more powerful or can’t go lower on their output it can help to choose a different light shaper, for example a striplight with grid will eat light while a metal reflector will boost your output. If you tried everything and just can’t go low enough think about adding a ND filter to your strobe (not the lens).

But let’s continue with my setup.
First I will meter the strobe on the lowest setting, when I know my aperture I will raise the ISO on the lightmeter till I hit that aperture (the light meter will calculate the aperture in real time when you change the ISO values).

Now it’s important to put the camera in the “exposure compensation” mode when using an EVF.
Look at the EVF and change the shutterspeed till you like the output of the lights.
Longer shutter speeds means more light from the continuous lighting, and as long as you don’t change the output of the strobes and ISO the shutterspeed will have to influence on your strobe output (as long as you take into account the Xsync of your strobes, max shutterspeed).

As you can see it workshops great when you mix continuous lighting with strobes.
I love to keep the color of the continuous lighting warmer than the mainlight, but if you want to correct the strobe to mimic the color temperature of the continuous lighting you can use so called Color Correction gels.

Workshops

During the workshops we always try to shoot at least 3 different setups with different challenges, if you want to visit one of the workshops visit fotografie-workshops.nl
The workshops are in Dutch but if you let us know a few weeks in advance we can switch to English.
We are also now offering online 1:1 workshops live from our studio, where you can ask questions, see all the light setups via 4 cameras and see the whole retouch process.

There is a lot to say for powerful strobes.
But always remember that now a days cameras have no problem at all with ISO200-400-800 or even 1600. Alle are perfectly usable in a studio setting. So although a 1000W strobe with spotlight sounds awesome in the studio it’s unusable because even on the lowest setting you will break the X-sync which prevents most studio strobes to shoot above 1/125 of a second.

Mostly in modern studios you can get away with 100-200-400w strobes, and in most situations you don’t even have to raise your ISO above 100, a little bit depending on the light shaper of course because every light shaper will take away or add light output depending on the material.

A fresnel for example will give you a tremendous light output compared to a striplight with narrow grid.

So when we start to combine light sources we have to realise that we are mixing an often very faint light source, for example tungsten lightbulbs or Christmas lights with a very high powered light source like a strobe.

As you can probably guess the problem is not in the output, it’s actually in the lack of output.
This is why when you buy new strobes it’s very important to not only focus on output, but mostly on the amount of stops you have available. A 200W strobe with 3 stops of range is much less usable than a 400W strobe with 7 stops of range. So one might think to get the 200W strobe when mixing in very faint light sources, but in this case the 400W actually works better because you can put it a lot lower in output.

Also the modifier you chose will have a huge impact.
I love using my own Frank Doorhof flashbender for these kind of shots, I will use it in the striplight with grid setting for this. It will still spread enough for a 3/4 body shot from relatively close, but it’s also very narrow on the sides preventing spill light. It’s really perfect for these setups. But I also often use strip lights or even an umbrella feathered to the extreme edges for these kind of shots. During the workshops I always vary so it’s clear it can be done with almost everything, but the flashbender is the best solution in this case 😀

What I normally do is setup the mainlight source (strobe).
I will set the strobe on the lowest setting and meter the light. At that moment I don’t care if it’s f2.8 ISO3200.
When I know the strobe output I know that when shooting on f2.8 ISO3200 I will get a properly lit model on every shutter speed as long as it’s below 1/125 (x-sync)

Now I will turn on all the extra lights and take the first shot on 1/125.
In most cases it will be nice but a little but too dull for the continuous light.
The trick is now that by lowering your shutter speed you can let in more of the continuous light and “build” the perfect exposure.
As long as you don’t change the ISO or aperture your strobe will be constant and with the shutter speed you control the continuous lighting to the effect you like.

For me personally this is one of the things I love to do with the Geekoto strobes.
Seeing they have their heritage in the speedlight family they have a huge range going from 1/128 to 1/1 which is a huge range and often means that if you choose your lightshaper with some grids you probably not even have to shoot on the lowest setting 😀

I hope the next time you have to combine light sources you remember that the ISO/Aperture determine the strobe and the shutter speed the continuous light.

PS.
Remember that in most cases light sources can/will vary in colortemperature.
You can chose to do nothing and just mix them, which can be great.
Or (much better) make sure you have a so called color correction kit with gels you can place in front of your strobes to mimic the color temperature of the light source you mix with the strobes. A calibrite colorchecker, or white balance card is essential to get it all in sync.

Here you can find our color correction kits
For round strobes, speedlights and magnetic systems.