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Studio Anywhere 2: Hard Light

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Studio Anywhere 2: Hard Light: A Photographer's Guide to Shaping Hard Light

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Whether you 're created the request or Still, if you do your non-technical and traditional lines profoundly lives will handle corrupt differences that are always for them. Yes, high-end gear is nice. Both Profoto and Broncolor lights will provide you with quality light at a high output with which to light agency-represented models in couture clothing.

But how often is that caliber of gear actually needed? The question should not be, Which expensive, high-end lighting rig should I buy? Rather, it should be, Have I yet reached the limitations of my current gear? I like traveling light and working alone. A big gear kit requires help to haul it, room to store it, and money to fund it.

No thank you. This was not a decision that I came to overnight, but one that was forged through years of working with the only gear I could afford.

Studio Anywhere 2: Hard Light - RockyNook

I would put my camera on a tripod and do a long exposure, walking over to the subject and manually popping the flash think light painting. It was far from ideal, but I sure learned the limitations of my gear. It also gave me plenty of time to think about what piece of gear I needed next. So it goes with camera lenses. Upgrading my glass, I decided, would need to come first. I shelved my kit lens in favor of a used 24—70L.

Now I was in business. My image quality improved considerably. I got a 40D instead. Through this learning process, I have found that I need only two prime lenses and I prefer to use flashguns to studio strobes. Studio strobe systems, such as Profoto, are fantastic—a luxury but not, I dare say, a necessity. They provide a consistent high output and color temperature. If I were strictly shooting in the studio, a Profoto system would be perfect—I even owned one for about a year.

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Once I was making enough money in my business to afford one, I bought a used Acute2 pack with two heads, excited about the increase in power I would have. I was excited to shoot portraits in full daylight, eclipsing the sun with my output. The problem was not only did I need a pound battery pack to accompany the already pound light kit, but my lights were also tethered to the pack. The farthest each light could be moved from the pack was about 10 feet on either side, without getting power cord extensions, which would mean more money and more weight.

Additionally, there were cords running everywhere and I needed an assistant to help lug the massive gear kit which, with light stands and sand bags, was well over pounds before adding in the weight of my camera and lenses. This meant booking an assistant, which meant even more money and planning and less spontaneity—no more running. This action might not be possible to undo. Are you sure you want to continue? Upload Sign In Join.

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