Another good review for the AB800's here... Mine just arrived today, and they're amazing. I got the Large Softboxes with crates (grids), and some gels... Haven't done any real testing on people yet... but from what I have done, they're pretty sweet.
Boy, are those softboxes big, and HEAVY... Alot heavier than what I was expecting, but not too bad. Its kindof a pain to take them off and put them back on if they're assembled. but then again... thats not how you're supposed to do it anyways.
I have used the White Lightnings before. The studio at my work uses white lightnings for the front work, and alien bees for background lighting and hair lighting... The White Lightings (also by paul c buff) are pretty sweet. If I had extra dough I would've opted for them instead of alien bees. But I do not regret my purchase!
And, I agree with Art about the Customer Service of Paul C Buff... there was an issue with my order (They couldn't find my student discount on file)... and so I called them, and we had the issue resolved within minutes. They were very nice, especially for how hectic it is around there right now... (All of the lucky photographers getting their Christmas gifts )
I'm not sure if someone answered this or not... But someone mentioned, why the need for an AB800 or 1600? Because when you're on location, you sometimes have to overpower the sun, and a tiny AB400 wont do the job very well. You can always lower the power on the strobe, you can never add more to it!
One last question to the lighting gurus: What can I do with just one strobe? I would optimally like to get 2 lights to start, but I don't know if that's gonna happen, so is it worth it to get 1 light, or should I wait till i can afford both together?
The best uses for a single light involve augmenting ambient light when shooting on location. All the studio setups I use require at least two lights.
Generally speaking I stay quiet and learn during these posts.
But I feel I should share my experiences, I am a fairly new photographer
and just recently (2 years) started doing alot of portrait work.
I was in the same situation as yours, low budget, high quality stuff...
I shoot Canon but I really don't think it matters.
I had a 580EXII and a 40d to start off with, after a few months I needed more lights... I went the Vivitar route and purchased 2 of them, along with softboxes, umbrellas, a Lumiquest 80-20 some cheapo tripods from circuit city (at the time were 16.99 to use as light stands). I used these triggers and they did the trick up to about 50ft: http://cgi.ebay.com/Slave-Flash-Trigger-x-3-Receivers-Radio-16-Channel_W0QQitemZ350290908899QQcmdZViewItemQQptZLH_DefaultDomain_0?hash=item518ef716e3
I wouldn't double back on my decision, I use my strobes in full manual and enjoy every moment of it... Recently I purchased another 580EXII and use the wireless functions of the 580's to do my transmitter work.
It's true that in full sunlight my strobes lack, so most of the time I try and stay out of the full beams of the sun... To be honest with you at 1/250 high speed sync, you won't be shooting in direct light... at least not if you're shooting at f2.0... I use HONL snoots and gels, between that and the softboxes, it can't be beat for its price... Obviously the pictures wont be as soft as with $250 octagons and big big 70" boxes, but it will be enough to get you started in light experimenting and the portability is always a plus... In one backpack I can fit all my gear and more.. with tripods in hand and no wires anywhere...
I recommend you start off with 2 vivitars and the strobe you currently have, pick up 4 Flash triggers you'll be at around $350... Spend another $150 on craigslist for some used tripods and umbrellas (in LA they're everywhere) and youll be off to a good start... A few years down the road, after youve worked with light setups, angles, diffusers, snoots... Then go all out and grab a nice $2000-$3000 studio kit, but know that the list will never end... There will always be a new umbrella, technique or softbox trying to take your money...
Just my 2 cents... I was in his predicament about a year ago...
Well, I "tested" them a little more now, and they're still amazing...
Here's one I took of my dad. Hopefully I will have a better subject soon... one that will stay in front of the camera for more than 2 seconds. This sorry excuse of a model left because "he wanted to go to bed"... psshhh who needs sleep?
Anyways... I had one b800 up front to camera left, and the other one was camera right, behind him, acting as a hair light and I had it spill into the background to light it up some. Both were set at 1/8th power.
Keep in mind I'm a total noob when it comes to studio lighting. I don't have a light meter... yet! (one of the next items on my "need to buy" list) Also notice I'm using the worlds greatest white balance card! A piece of scrap paper!!! yay!! again, one of those fancy 18% gray cards, etc... is also on my list of things to buy...
Also notice I'm using the worlds greatest white balance card! A piece of scrap paper!!! yay!! again, one of those fancy 18% gray cards, etc... is also on my list of things to buy...g[/IMG]
Great start on your lighting, but here's a quick tip for you.
Believe it or not, a white "colored" card is not what you want to be using for white balance. White paper is bleached and colored with a tint of blue to give it it's brightness. This causes an orange/magenta shift in your white balance readings(as seen in your photo). A paper 18% grey card is decent, but I'd suggest looking for one of the plastic/resin white balance cards.
For now, just eyeball it. I make a living off my work and 90% of the time I do not use a white balance card. This is of course, assuming that you always shoot RAW.
If you're not shooting raw for a professional shoot then you should be re-evaluating your situation in the first place.... With that said, if youre shooting raw, white balance should not be a problem... Furthermore a white balance card is always nice to have but not at all necessary IMHO... unless youre in a very dark shoot or an outdoors shoot with many types of light...
Great start on your lighting, but here's a quick tip for you.
Believe it or not, a white "colored" card is not what you want to be using for white balance. White paper is bleached and colored with a tint of blue to give it it's brightness. This causes an orange/magenta shift in your white balance readings(as seen in your photo). A paper 18% grey card is decent, but I'd suggest looking for one of the plastic/resin white balance cards.
For now, just eyeball it. I make a living off my work and 90% of the time I do not use a white balance card. This is of course, assuming that you always shoot RAW.
Believe it or not, a white "colored" card is not what you want to be using for white balance. White paper is bleached and colored with a tint of blue to give it it's brightness. This causes an orange/magenta shift in your white balance readings(as seen in your photo). A paper 18% grey card is decent, but I'd suggest looking for one of the plastic/resin white balance cards.
18% grey cards are designed for metering rather than white balance and, in most cases, are nowhere near neutral. As you suggest a dedicated white balance card is the way to go. I have one which is white on one side and gray on the other.
Just checked ebay...no alienbee 800 units for sale...which I think is amazing, either no one trusts anyone who puts them up for auction/sale, or no one wants to get rid of them once they get them...
I use Flashpoint II monolights from Adorama and I can recommend them.
For an entry level kit you might even look at a Strobist kit.
Funny thing is that a Strobist 2 light kit costs around $400USD and you only get 2 battery powered speedlights, so no modelling lights and limited control over power settings.
A much better choice for $500 would be a Flashpoint 2 light kit with fan cooled monolights with modeling lights that follow the flash output and stepless power control and the combination of stands with 2 umbrellas plus barndoors and a grid plus filters.
For about $330 you can also get 1/2 the power of the above kit, but otherwise similar. It's enough for a 2 light kit in a basement or garage with the ability to control ambient light.
I'd stick to heads with at leasts 400w or greater. For anything but head shots you will benefit from more light. And again, let me stress the importance of picking out your modifiers first...then select the best head to drive them. Analogy: Light head = Gasoline, Modifier = Engine
Like the the title of this thread suggests, I say stick with quality brands such as Chimera, Elinchrom, Broncolor, Profoto, or Creative Light. In my case, I knew I had to have the new Deep Throat Rotalux by Elinchrom. This meant I needed to go with an Elinchrom head or hassle with adapters. I also wanted digital controls...it is 2010 after all, .
Another analogy: Quality modifiers are like a lens on your camera. They make or break your final product.
Comments
Boy, are those softboxes big, and HEAVY... Alot heavier than what I was expecting, but not too bad. Its kindof a pain to take them off and put them back on if they're assembled. but then again... thats not how you're supposed to do it anyways.
I have used the White Lightnings before. The studio at my work uses white lightnings for the front work, and alien bees for background lighting and hair lighting... The White Lightings (also by paul c buff) are pretty sweet. If I had extra dough I would've opted for them instead of alien bees. But I do not regret my purchase!
I'm not sure if someone answered this or not... But someone mentioned, why the need for an AB800 or 1600? Because when you're on location, you sometimes have to overpower the sun, and a tiny AB400 wont do the job very well. You can always lower the power on the strobe, you can never add more to it!
The best uses for a single light involve augmenting ambient light when shooting on location. All the studio setups I use require at least two lights.
But I feel I should share my experiences, I am a fairly new photographer
and just recently (2 years) started doing alot of portrait work.
I was in the same situation as yours, low budget, high quality stuff...
I shoot Canon but I really don't think it matters.
I had a 580EXII and a 40d to start off with, after a few months I needed more lights... I went the Vivitar route and purchased 2 of them, along with softboxes, umbrellas, a Lumiquest 80-20 some cheapo tripods from circuit city (at the time were 16.99 to use as light stands). I used these triggers and they did the trick up to about 50ft:
http://cgi.ebay.com/Slave-Flash-Trigger-x-3-Receivers-Radio-16-Channel_W0QQitemZ350290908899QQcmdZViewItemQQptZLH_DefaultDomain_0?hash=item518ef716e3
I wouldn't double back on my decision, I use my strobes in full manual and enjoy every moment of it... Recently I purchased another 580EXII and use the wireless functions of the 580's to do my transmitter work.
It's true that in full sunlight my strobes lack, so most of the time I try and stay out of the full beams of the sun... To be honest with you at 1/250 high speed sync, you won't be shooting in direct light... at least not if you're shooting at f2.0... I use HONL snoots and gels, between that and the softboxes, it can't be beat for its price... Obviously the pictures wont be as soft as with $250 octagons and big big 70" boxes, but it will be enough to get you started in light experimenting and the portability is always a plus... In one backpack I can fit all my gear and more.. with tripods in hand and no wires anywhere...
I recommend you start off with 2 vivitars and the strobe you currently have, pick up 4 Flash triggers you'll be at around $350... Spend another $150 on craigslist for some used tripods and umbrellas (in LA they're everywhere) and youll be off to a good start... A few years down the road, after youve worked with light setups, angles, diffusers, snoots... Then go all out and grab a nice $2000-$3000 studio kit, but know that the list will never end... There will always be a new umbrella, technique or softbox trying to take your money...
Just my 2 cents... I was in his predicament about a year ago...
-Roy Ruff
Here's one I took of my dad. Hopefully I will have a better subject soon... one that will stay in front of the camera for more than 2 seconds. This sorry excuse of a model left because "he wanted to go to bed"... psshhh who needs sleep?
Anyways... I had one b800 up front to camera left, and the other one was camera right, behind him, acting as a hair light and I had it spill into the background to light it up some. Both were set at 1/8th power.
Keep in mind I'm a total noob when it comes to studio lighting. I don't have a light meter... yet! (one of the next items on my "need to buy" list) Also notice I'm using the worlds greatest white balance card! A piece of scrap paper!!! yay!! again, one of those fancy 18% gray cards, etc... is also on my list of things to buy...
Great start on your lighting, but here's a quick tip for you.
Believe it or not, a white "colored" card is not what you want to be using for white balance. White paper is bleached and colored with a tint of blue to give it it's brightness. This causes an orange/magenta shift in your white balance readings(as seen in your photo). A paper 18% grey card is decent, but I'd suggest looking for one of the plastic/resin white balance cards.
For now, just eyeball it. I make a living off my work and 90% of the time I do not use a white balance card. This is of course, assuming that you always shoot RAW.
18% grey cards are designed for metering rather than white balance and, in most cases, are nowhere near neutral. As you suggest a dedicated white balance card is the way to go. I have one which is white on one side and gray on the other.
"Don't worry when you are not recognized, but strive to be worthy of recognition."
-- Abraham Lincoln
For an entry level kit you might even look at a Strobist kit.
Funny thing is that a Strobist 2 light kit costs around $400USD and you only get 2 battery powered speedlights, so no modelling lights and limited control over power settings.
http://www.mpex.com/page.htm?PG=Strobist%20Kits
A much better choice for $500 would be a Flashpoint 2 light kit with fan cooled monolights with modeling lights that follow the flash output and stepless power control and the combination of stands with 2 umbrellas plus barndoors and a grid plus filters.
http://www.adorama.com/FP620APWK.html
For about $330 you can also get 1/2 the power of the above kit, but otherwise similar. It's enough for a 2 light kit in a basement or garage with the ability to control ambient light.
http://www.adorama.com/FP320PWK.html
Moderator of the Cameras and Accessories forums
Like the the title of this thread suggests, I say stick with quality brands such as Chimera, Elinchrom, Broncolor, Profoto, or Creative Light. In my case, I knew I had to have the new Deep Throat Rotalux by Elinchrom. This meant I needed to go with an Elinchrom head or hassle with adapters. I also wanted digital controls...it is 2010 after all,