Metering Multiple Flash Units

kdog

I'm wonder about the best way to use a flash meter (Sekonic or whatever) for setting up the relative strengths of multiple flashes. I know if I fire off all my flashes, I get an aggregate reading from the effect of all of them. However, let's say I want a 4:3:1 ratio of key/fill/hair lights for example. Can anybody shed any words of widsom for achieving this most efficiently with a light meter say if the end result is that you want to use F8 for example? Or do folks typically just eyeball the look they want?

Thanks!
-joel

ziggy53

Some speedlights/speedlites will calculate output for you after you set the desired ratios.

http://www.youtube.com/watch?v=I4KRmiBsgcU

Working with manual flash units, including many/most studio flash units, I normally set the key light first, guessing the approximate under exposure based on the desired light ratio and experience with the flash units.

The lighting setup and lighting style will definitely impact your choices in illumination. Some lighting setups will not have much additive effect from key and fill lights, so it's important to understand how the different light impacts the scene.

Some light meters will indicate the approximate fill flash output in order to reach a certain lighting ratio.

Ambient light versus flash output technique will vary according to whether the ambient is key or fill, but the basic premise is the same as with multiple flash units.

http://www.youtube.com/watch?v=NfKzY4wMixQ

kdog

Thanks, Zig! I should have said "manual flash", as I do already use the ETTL ratio feature. I'm trying to get away from using ETTL in studio environments because it's just too inconsistent.

That second video was great. The first 3/4 of it was review for me. But the section near the end about metering each light individually was really what I was looking for. Retracting the Lumisphere to meter each light is an important tip that I'd read about previously, but not put into use.

Still, it looks like there's no getting around the fact that it will either take a lot of iterations of metering and test flashes to get the ratios right AND the desired F-stop, or just a lot of experience like you say. I guess I was hoping for some short cuts.

ziggy53

kdog wrote: »

... Still, it looks like there's no getting around the fact that it will either take a lot of iterations of metering and test flashes to get the ratios right AND the desired F-stop, or just a lot of experience like you say. I guess I was hoping for some short cuts.

Practice in a suitable space similar to the shooting venue, and take notes on positions and settings. You can use that data later for the paying/serious situations. That saves lots of setup time.

Art Scott

ziggy53 wrote: »

Practice in a suitable space similar to the shooting venue, and take notes on positions and settings. You can use that data later for the paying/serious situations. That saves lots of setup time.

taking a set up shot is also very valuable to future shoots............oh and place cards on lights and so that have the
info you want to retain in archive..............

kdog

ziggy53 wrote: »

Practice in a suitable space similar to the shooting venue, and take notes on positions and settings. You can use that data later for the paying/serious situations. That saves lots of setup time.

Art Scott wrote: »

taking a set up shot is also very valuable to future shoots............oh and place cards on lights and so that have the
info you want to retain in archive..............

Thanks, guys. Sounds like it pays to be organized. That's not my usual strong suit, but I'll try. I've even seen the tip of keeping strings with knots on them for being able to rapidly set light distances. I guess I can see why. There are a lot of variables.

I appreciate the help.