Mobile studio

oakfieldphotography.com · February 2, 2012

Hi
i am planning on upgrading my current flash system to help me photograph vehicles for articles. I have seen videos on youtube of different lighting systems being used to photograph individuals so i guess my question is If i wanted to light up from a motorbike to a lorry which one of those currently on the market would suit my needs? I will not have to access to power so i guess i will need batteries of some form. My budget is €1500
Kind regards
Patrick.:D

ziggy53 · February 2, 2012

In this country this would be classed as "automotive photography", and is simply a form of product photography.

Like any product photography, intent is a consideration. If it is your intent to duplicate what you see in nationally advertised publications, your €1500 may not cover even a single day's rental for a lorry (truck) lighting rig, especially a large lorry (truck).

My suggestion is to intern for a photographer already doing this sort of work. It can involve dozens of lights, or a handful of extremely powerful studio strobes, powered by generators or patched into an industrial mains system. Large reflectors, large scrims and large flags are also often employed.

If this is an indoor shoot, then you may have better control over ambient lighting, and less production lighting may be required. You might even be able to use a long exposure and "painting with light" approach. In controlled conditions you might easily do with a €1500 lighting budget.

Some pertinent links:

http://youtu.be/AgCMsVqOWjg

http://www.diyphotography.net/shoot-big-cars-with-a-diy-huge-scrim

http://strobist.blogspot.com/2009/05/what-it-takes-to-light-car.html

Art Scott · February 2, 2012

the Paul C Buff system has probably the smallest batteries on the market for studio flash systems ... BH still has the sunpak 622 handle mount flashes ... or you could always go with your camera manufacturers flash system ...for MC's a couple to 3 speedlights would work ...with Nikon the CLS system would work very good..you might want to read Joe McNally's HOT SHOE DIARIES ... the one thing a lot of people do not take in to consideration is that when you go without AC power you lose the modeling light ... so to keep location lighting lightweight, I would look into your camera companies speedlights or the sunpak 622's that BH is still selling the 622 have a Guide Number of 200, so they are as powerful as a lot of the lower end to mid range studio flashes ...mine run on quantum QB1 batteries that I bought used off ebay and then rebuilt over the years...

kitkos · February 2, 2012

Here are a couple setups for vehicle photography.
http://www.core77.com/blog/photography/car_studio_photography_set-ups_21672.asp
Probably a little more than you are planning on spending but can give you an idea of what some of the pros use.

Icebear · February 2, 2012

kitkos wrote: »

Here are a couple setups for vehicle photography.
http://www.core77.com/blog/photography/car_studio_photography_set-ups_21672.asp
Probably a little more than you are planning on spending but can give you an idea of what some of the pros use.

huh

Egad!

Art Scott · February 2, 2012

kitkos wrote: »

Here are a couple setups for vehicle photography.
http://www.core77.com/blog/photography/car_studio_photography_set-ups_21672.asp
Probably a little more than you are planning on spending but can give you an idea of what some of the pros use.

1st off the OP asked for mobile solutions and I haven't seen a building in NW Ark that could house those set ups, besides a closed down super walmart or two story chicken house.......did not read article, so maybe they are in LA or NY or Chi Town....:D

oakfieldphotography.com · February 2, 2012

Hmmm
after looking at your responces i should have added that i will only be doing location shots. I should have not said mobile studio. All i wanted to know was would a few strobes with large softboxexpowered from a battery source cover my needs and if so caould someone reccommend a setup that they think will suit my needs.
Kind regards
Patrick.

ziggy53 · February 2, 2012

Please link to some images that are similar to what you want to achieve.

oakfieldphotography.com · February 2, 2012

ziggy53 wrote: »

Please link to some images that are similar to what you want to achieve.

I just want to photograph vehicles with strobe lighting. Nothing too fancy. No dark edges just plenty of good light.

Nikolai · February 2, 2012

oakfieldphotography.com wrote: »

I just want to photograph vehicles with strobe lighting. Nothing too fancy. No dark edges just plenty of good light.

"...just..."

rofl
It's a VERY tall order, mate!

Location gear for a human subject photogrpahy can easily get you over your budget if you want high quality results. And with cars it gets worse, much worse.
Quoting the article:

Tabletop product photography is challenging enough, but car photography—where you're dealing with an enormous and ultra-reflective object whose surfaces seem to bend in every direction—takes it to a whole ’nother level

It seems like you're looking for a silver bullet, but I kinda doubt one exists...

oakfieldphotography.com · February 2, 2012

Nikolai wrote: »

"...just..." rofl
It's a VERY tall order, mate!
Location gear for a human subject photogrpahy can easily get you over your budget if you want high quality results. And with cars it gets worse, much worse.
Quoting the article:

It seems like you're looking for a silver bullet, but I kinda doubt one exists...

I didnt come on here to be laughed at. I have been photographing cars for 3 years now and all i wanted to know was if i could use some studio lights outside on location shots that i choose and not where the car passes in a location i have never been to before. All of my subjects are of an age that the shine has long since left them, much like many of my old girlfriends.
I am not here for a laugh, i am on here to look for some help that i know i will get. I value this forum and whilst i admid that i have not been able to help other people here, the last thing i would do is do what you have just done.
I have been persistant in finding out through other peoples posts here on this forum what i otherwise would have spend good money after bad on gear i really did not need. I am not blowing smoke on here but if i have a problem you can be sure i will call in here along the road to my answer. I am greatful for the help that i recieve but Dont disrespect me as this in turn makes you look very small indeed. I have seen very high class work done on locations that would have put most to shame on a budget.
Rant over.
Kind regards
Patrick.:D

ziggy53 · February 2, 2012

Patrick,

I don't think that Nik was making fun of you, but he does have some first-hand knowledge of how hard it can be to light outdoors. Lighting something as large as a large truck, which is what I understand a "lorry" can mean, is just a very difficult task.

Back in the late 1970s or early 1980s I was involved with a project to photograph and videotape a new type of farm building door system. The company I worked for had already done an in-house instruction piece showing the basic process of construction for the door system, but it was only intended for "installers", who did not need a "glory" piece. They (corporate management) wanted something that looked much more "real" and targeted towards farm owners. The idea was to show just how easy it was to field assemble these doors, but to show it on a real building.

I did the location scouting, because I was involved with the earlier production, but we were hiring an "agency" photographer/videographer for the actual shoot. During the location scouting I mused to someone that it would be nice to use our new warehouse, a 100,000 sq. ft. building, which was still mostly empty. That way we could control ambient light as well as remove weather concerns.

I'll be darned if they (my employers) didn't buy into the idea!

We constructed a building facade of a farm building, minus the doors. The building was something like 40' x 12' and we were installing 10' bi-parting doors. (I'm not sure of the exact dimensions anymore but this was a life-size building because we would be showing people working on it.)

One of the attractions of the indoor assembly was how much less light it would take compared to an outdoor shoot. We still had to tap the building mains for the lights, but it was doable. This sized "building" required a lot of light, even indoors in somewhat controlled light.

I believe this is comparable to a large lorry in your scenario. I believe that proper outdoor lighting might cost many thousands, possibly tens-of-thousands, of dollars to purchase, especially if you want to use double-diffused light modifiers like large soft-boxes. (Remember that a double-diffused softbox "costs" around 2-stops of light.)

In other words, to do what you seem to be asking to do might cost 10-15 times your budget of €1500 to light something like a large truck/lorry in an outdoor situation.

If you would show what it is that you want to do in a link, that might better explain what it is that needs to be done. You said, "I have seen very high class work done on locations that would have put most to shame on a budget.", so we need to see what you saw to understand.

oakfieldphotography.com · February 3, 2012

ziggy53 wrote: »

Patrick,

I don't think that Nik was making fun of you, but he does have some first-hand knowledge of how hard it can be to light outdoors. Lighting something as large as a large truck, which is what I understand a "lorry" can mean, is just a very difficult task.

Back in the late 1970s or early 1980s I was involved with a project to photograph and videotape a new type of farm building door system. The company I worked for had already done an in-house instruction piece showing the basic process of construction for the door system, but it was only intended for "installers", who did not need a "glory" piece. They (corporate management) wanted something that looked much more "real" and targeted towards farm owners. The idea was to show just how easy it was to field assemble these doors, but to show it on a real building.

I did the location scouting, because I was involved with the earlier production, but we were hiring an "agency" photographer/videographer for the actual shoot. During the location scouting I mused to someone that it would be nice to use our new warehouse, a 100,000 sq. ft. building, which was still mostly empty. That way we could control ambient light as well as remove weather concerns.

I'll be darned if they (my employers) didn't buy into the idea!

We constructed a building facade of a farm building, minus the doors. The building was something like 40' x 12' and we were installing 10' bi-parting doors. (I'm not sure of the exact dimensions anymore but this was a life-size building because we would be showing people working on it.)

One of the attractions of the indoor assembly was how much less light it would take compared to an outdoor shoot. We still had to tap the building mains for the lights, but it was doable. This sized "building" required a lot of light, even indoors in somewhat controlled light.

I believe this is comparable to a large lorry in your scenario. I believe that proper outdoor lighting might cost many thousands, possibly tens-of-thousands, of dollars to purchase, especially if you want to use double-diffused light modifiers like large soft-boxes. (Remember that a double-diffused softbox "costs" around 2-stops of light.)

In other words, to do what you seem to be asking to do might cost 10-15 times your budget of €1500 to light something like a large truck/lorry in an outdoor situation.

If you would show what it is that you want to do in a link, that might better explain what it is that needs to be done. You said, "I have seen very high class work done on locations that would have put most to shame on a budget.", so we need to see what you saw to understand.

http://www.youtube.com/watch?v=aQlynJd0sH8

Icebear · February 3, 2012

oakfieldphotography.com wrote: »

http://www.youtube.com/watch?v=aQlynJd0sH8

Wonder what THAT shot cost!?!?
The actual lighting could have been done with modified work lights.

oakfieldphotography.com · February 3, 2012

Icebear wrote: »

Wonder what THAT shot cost!?!?
The actual lighting could have been done with modified work lights.

Now we are talking buissness.

ziggy53 · February 3, 2012

That video is showing a photo session involving (primarily) night photography of the subject, and a "painting with light" methodology and compositing in post-production. (I mentioned painting-with-light in my first post.)

As they mention in the video, this particular technique involved as many as 40 images, each one a separate component of the final image, and covered 6 hours of shooting. Then the compositing process would begin in post-production. Post-production might take as long as 2 weeks for a single commercial image result.

Since I see them moving the light only 2 feet at times, and since they are in fairly close proximity to the vehicle, this technique would probably not require anything too extravagant for a flash.

The Alien Bee units would be fine, along with a Vagabond Mini Lithium portable power unit. I suggest that a B800 or B1600 monolight be considered for a larger double-diffusion modifier.

http://www.paulcbuff.com/alienbees.php
http://www.paulcbuff.com/vm120.php

An Adorama Flashpoint II "M" series monolight might also be considered:

http://www.adorama.com/FP620MP.html

or

http://www.adorama.com/FP1220.html
plus
http://www.adorama.com/FP2PPN.html

oakfieldphotography.com · February 3, 2012

ziggy53 wrote: »

That video is showing a photo session involving (primarily) night photography of the subject, and a "painting with light" methodology and compositing in post-production. (I mentioned painting-with-light in my first post.)

As they mention in the video, this particular technique involved as many as 40 images, each one a separate component of the final image, and covered 6 hours of shooting. Then the compositing process would begin in post-production. Post-production might take as long as 2 weeks for a single commercial image result.

Since I see them moving the light only 2 feet at times, and since they are in fairly close proximity to the vehicle, this technique would probably not require anything too extravagant for a flash.

The Alien Bee units would be fine, along with a Vagabond Mini Lithium portable power unit. I suggest that a B800 or B1600 monolight be considered for a larger double-diffusion modifier.

http://www.paulcbuff.com/alienbees.php
http://www.paulcbuff.com/vm120.php

An Adorama Flashpoint II "M" series monolight might also be considered:

http://www.adorama.com/FP620MP.html

or

http://www.adorama.com/FP1220.html
plus
http://www.adorama.com/FP2PPN.html

Thanks Ziggy
I think both options are fine for my use.
Looks like i will have to see if i can get these in europe.
Kind regards
Patrick Mullan.

Nikolai · February 4, 2012

ziggy53 wrote: »

That video is showing a photo session involving (primarily) night photography of the subject, and a "painting with light" methodology and compositing in post-production. (I mentioned painting-with-light in my first post.)

As they mention in the video, this particular technique involved as many as 40 images, each one a separate component of the final image, and covered 6 hours of shooting. Then the compositing process would begin in post-production. Post-production might take as long as 2 weeks for a single commercial image result.

Since I see them moving the light only 2 feet at times, and since they are in fairly close proximity to the vehicle, this technique would probably not require anything too extravagant for a flash.

The Alien Bee units would be fine, along with a Vagabond Mini Lithium portable power unit. I suggest that a B800 or B1600 monolight be considered for a larger double-diffusion modifier.

While I don't want to argue that with this kind of technique this image could be done on a budget, the gear they have used (based around remote controlled profoto brick + head + various modifiers) is about $10,000 new (I'm not counting camera, computer it was tethered, computer stand, house, software, etc.).
And in my experience, the lack of these things means one thing: more time and/or less quality (by an order of magnitude difference).
I'm not event talking about such a *trivial* fact that they shot the darn thing near the firestation and used the firehoses to wet the pavement (which is a rule #1 for any decent car shoot). Without those it will take a lot of time and efforts to get *just* that.
Perfect example of why "way more money" = "way less time". So, if for them it was 6 hours, without all that gear it could be 12. Or two days/sessions. And a lot more in post.

OTOH, they were shooting a giant truck. For an old non-reflective sedan it could be a little bit less troubles.

leitmotif · March 6, 2012

oakfieldphotography.com wrote: »

I just want to photograph vehicles with strobe lighting. Nothing too fancy. No dark edges just plenty of good light.

What are your strobes? Since you are looking for a battery pack, you can just plugged in your strobes to ANY battery pack.

RevLinePhoto · March 7, 2012

I would say for that budget you should go with speedlights, they are compact and mobile and will allow to get decent quality equipment for the price. Say if you are shooting canon 3 580ex speedlights should be a minimum along with appropriate remotes such as pocket wizards. Even that will be past your set budget but will get you in the right direction.

many shots from this flicker group are done with speedlights and depending on the execution and understanding of lighting some really stand out from the rest. http://www.flickr.com/groups/carstrobist/pool/

oakfieldphotography.com · March 7, 2012

http://www.adverts.ie/other-photography/bowens-2-light-kit-with-travel-battery-ringlight-more/1423041
This is link to what i want to use despite the fact that it is well over my budget. I need big softboxes with a travel battery. I looked at those strobist photographs on flick and they are great but i think i will have to spent more money than i have at the moment. I guess i will have to work harder and save my money for a good kit and not something that will fall apart in 12 months. Thankyou everyone who answered my call here but i will have to put this off for a few months. I can reasurre you all i will repost on this tread when i get my gear.
Kind regards
Patrick.

KMpics · March 8, 2012

The cool thing about automotive photography is that it can be long exposures... Having a tripod and some creativity can yield great results. This shot was on a 30 second exposure in a pitch black alley 430 ex2 on a 8 foot pole facing down at the car. Triggered at 1/64th power and cheep radio triggers fired around 30 times while walking around the car.

Nikolai · March 8, 2012

KMpics wrote: »

The cool thing about automotive photography is that it can be long exposures...

clap
Technically you can go Bulb and take all the time you need :-)

Art Scott · March 9, 2012

oakfieldphotography.com wrote: »

http://www.adverts.ie/other-photography/bowens-2-light-kit-with-travel-battery-ringlight-more/1423041
This is link to what i want to use despite the fact that it is well over my budget. I need big softboxes with a travel battery. I looked at those strobist photographs on flick and they are great but i think i will have to spent more money than i have at the moment. I guess i will have to work harder and save my money for a good kit and not something that will fall apart in 12 months. Thankyou everyone who answered my call here but i will have to put this off for a few months. I can reasurre you all i will repost on this tread when i get my gear.
Kind regards
Patrick.

Good Luck... it was not that long ago that when shooting on location it was either with something in the range of the Sunpal 622 or Metz handle mount flashes...they were the only ones that had the POWER ... as I stated way above B & H is still selling the Sunpak 622 for under $200 each and by purchasing used Quantum QB1 Batteries and cables to match that needed kit could be quite light...add in some inexpensive ebay flash triggers and your on your way.... personally that is how i would go and use some diffusion gels (theatrical Lighting gels from ROSCO) to get the light softened and you done...

Really just need to study the photogs of the PRE digital age to set your self up as inexpensively as possible....the sunpak 622's are real work horses...mine have been firing away for well into 20yrs and still work...my Quantum QB1 (and QB1+) have been rebuilt about 3 times in a little over 15 yrs and originally I paid $20 each for them with chargers from ebay...and the rebuilds run me right at $25 ...now the QB1+'s are powering my Nikon SB900's also ... I came out of the film era, so I still use lightmeters a lot instead of shooting and chimping, as to me that is a waste of my time....

Good Luck with this endeavor.

KMpics · March 9, 2012

Art Scott wrote: »

Good Luck... it was not that long ago that when shooting on location it was either with something in the range of the Sunpal 622 or Metz handle mount flashes...they were the only ones that had the POWER ... as I stated way above B & H is still selling the Sunpak 622 for under $200 each and by purchasing used Quantum QB1 Batteries and cables to match that needed kit could be quite light...add in some inexpensive ebay flash triggers and your on your way.... personally that is how i would go and use some diffusion gels (theatrical Lighting gels from ROSCO) to get the light softened and you done...

Really just need to study the photogs of the PRE digital age to set your self up as inexpensively as possible....the sunpak 622's are real work horses...mine have been firing away for well into 20yrs and still work...my Quantum QB1 (and QB1+) have been rebuilt about 3 times in a little over 15 yrs and originally I paid $20 each for them with chargers from ebay...and the rebuilds run me right at $25 ...now the QB1+'s are powering my Nikon SB900's also ... I came out of the film era, so I still use lightmeters a lot instead of shooting and chimping, as to me that is a waste of my time....

Good Luck with this endeavor.

^Great advice here for inexpensive equipment, and experience with that equipment.

After I figured out how to shoot manual power output strobes triggered by cheep triggers I realized I could have spent half the money (or less) avoiding the ETTL tech.

Do realize that unless you have moving objects with the cars (girls

) you might not need a lot of power all at once. Also figuring out how to hide the reflections of your strobes can get tricky, so sometimes less is more.

leitmotif · October 19, 2012

oakfieldphotography.com wrote: »

http://www.adverts.ie/other-photography/bowens-2-light-kit-with-travel-battery-ringlight-more/1423041
This is link to what i want to use despite the fact that it is well over my budget. I need big softboxes with a travel battery. I looked at those strobist photographs on flick and they are great but i think i will have to spent more money than i have at the moment. I guess i will have to work harder and save my money for a good kit and not something that will fall apart in 12 months. Thankyou everyone who answered my call here but i will have to put this off for a few months. I can reasurre you all i will repost on this tread when i get my gear.
Kind regards
Patrick.

Hey patrick, have you gotten your gear?

Mobile studio

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