The Price of Power - Part I

The following tutorial is the first part of a two part series demonstrating several portrait photography situations. As you read through this lesson you will learn not only about the advantages of having more power in your studio, but also about how to make the extra investment in your lighting equipment without going broke. In this lesson we begin with a basic head shot using two lights. As you read, pay close attention to the changes in the quality of light as well as the changes in power output as we move from one setup to the next.

The StarFlash 300 with Umbrella
We began our shoot by setting up two StarFlash 300Ws umbrella kits. First, we positioned the main light on the right of the subject about 45 degrees from the camera and pointed the light down at the model at an angle of about 45 degrees to the floor. After a few trial exposures, we arrived at an aperture of f/11 with the StarFlash set to almost full power (figure 1).

This type of lighting (when one light source is positioned at 45 degrees from the camera) works beautifully to create a dramatic look with deep shadows and a distinctive triangle of light under the eye (figure 2). With an aperture of f/11 we were able to ensure good depth of field from the tip of the model's nose to the back of her head.

However, with the power on our strobe unit set to almost full there is already reason for some concern. We could see right away that using a 300Ws strobe was just enough power for a head shot, but if we wanted to shoot something larger (e.g. a full length portrait or a group shot) we would probably have to max out the power as well as open the aperture, thereby sacrificing depth of field. Later in this tutorial we will revisit this question and discuss the disadvantages of always using your strobes at full power.

Keep in mind that an umbrella tends to absorb more light than a soft box. Therefore, in this situation, 300Ws is definitely plenty of power even with the extra light lost to the umbrella.

Adding a Fill Light
Next, we positioned an identical StarFlash umbrella kit just to the left of the camera with the concentration of light pointing directly at the left side of the model's face (figure 3). This second light acted as a fill light. The power output on the fill light was set to approximately 1/2 power in order to produce a 3:1 (main light to fill light) lighting ratio. Keep in mind that the light to subject distance was greater for the fill light, which would account for the ratio being 3:1 not 2:1.

The image on the right (figure 4) is the result of our 3:1 main light to fill light ratio setting.

Then, we experimented by turning the power setting on the fill light up to full power in order to produce almost a 1:1 ratio. Actually, we would call this a 1.5:1 ratio. Once again the fill light to subject distance will account for the extra light loss as compared to the main light (figure 5).

In a true 1:1 ratio the light output of the fill light would be identical to the output of the main light, thereby making an evenly lit, flat image. This image (figure 5) still has some signs of modeling or shadows on the left side of the face, which helps to maintain a sense of depth in the face.

Shown below (figure 6) is a comparison of our three shots taken using a pair of StarFlash 300Ws umbrella kits. First, we positioned the main light (left). Next, we added a fill light and measured its output to create a 3:1 ratio (middle). Then, we increase the power on the fill light to full in order to create almost a 1:1 ratio (right).

Using the StarFlash 300 as a Background Light
As previously mentioned, all three of these shots were taken with the main light set to just shy of full power, which enabled us to use a comfortable aperture of about f/11. Based on this, it is easy to see where the power limit is for the 300Ws strobe. Nevertheless, where this low wattage unit really shines is on the other end of the extreme, the low power settings. We could already see how easy it is to turn down the power on this unit to create very subtle ratios (e.g. 3:1, 4:1, or even 5:1), or to use this unit as a low power background light.

For the next setup, we took down our fill light, took off the umbrella, and mounted it on a Photoflex 2200 floor stand. We positioned this new configuration behind the model to use it as a background light (figure 7).

With the power on the background light set to its minimum setting, we were able to independently light the backdrop without overpowering the main light (figure 8). If our background light had been more powerful than 300Ws, we would not have been able to turn the power down enough to maintain a good balance between the two lights.

Using the MultiDisc Reflector
Of course, using the second light as a background light meant sacrificing the fill light. If we wanted to keep a high degree of drama and contrast in this portrait we could have stayed with this setup and simply adjusted the position of the main light to achieve the desired effect.

For the next shot we decided to pull out a 42-inch MultiDisc reflector and use it to fill in the shadows a little bit (figure 9). In this example we used the white fabric included in this 5-in-1 reflector system.

The white reflector provided enough fill for about a 2:1 ratio (figure 10). Moving the reflector closer or farther from the model would alter the amount of light being reflected and would allow some control over the lighting ratio.

Then, we switched the fabric on the MultiDisc to the soft gold and positioned the reflector exactly the same as in the previous shot (figure 11).

In this result (figure 12) we can see the effect of using the soft gold surface included with the MultiDisc, which adds subtle warmth to the shadow areas. Also notice that in this shot, the reflected fill light is a bit brighter due to the higher reflectance quality of the soft gold fabric as compared to the white fabric.

Shown below (figure 13) is a comparison of our last 3 shots using the same main light set to full power, a background light set to its minimum power setting, and two different reflector surfaces included with the 5-in-1 MultiDisc.

• The first shot (left) in this set was taken with the main light set the same as in all of the previous shots taken so far. A second light was positioned behind the model to illuminate the background. The background light was set down to its minimum power setting.
• In the second shot (middle) we added a white reflector to fill in the shadows.
• In the third shot (right) we switched to a soft gold reflector surface in order to warm up the shadows.

Considering Light Output
Based on these results using two 300Ws strobes with umbrellas, we can deduce the following. As a main light, the StarFlash 300 modified with a 43-inch umbrella gave us just enough power to comfortably light a head and shoulders portrait. We shot most of these images with an aperture setting of around f/11, which ensured good depth of field. Many think of depth of field as being more related to landscape photography, however, even in portraiture it is necessary to use small apertures in order maintain focus from front to back.

Nevertheless, the only way we were able to maximize depth of field in this portrait was to turn the power to full. Herein lies the dilemma. If we were to move our main light farther back or use a larger light modification accessory, we would soon find ourselves maxing out the power setting on the StarFlash 300 and using wider and wider apertures. Very quickly, f/11 would turn into f/4. This is where we can simply forget about depth of field. More importantly, the idea of always using a studio strobe at full power is never good. In a sense, it is the same as driving a car at maximum RPM. Having the power dial at full will cause the flash tube to burn out much sooner, and worse yet, it will cause the capacitor to burn out faster as well. These are costly repairs, which will definitely undermine the life and value of your investment. In the next part of this lesson we will demonstrate why having a little bit more power than you think you need will go a long way towards making you a lot more versatile in the studio.

The StarFlash 1000 with 5-foot OctoDome
For the next shot, we switched to a completely different main light. This time, we setup a StarFlash 1000Ws with a 5-foot OctoDome using the same 45-degree lighting principle (figure 14). This time, with our 1000Ws strobe unit set to about 1/4 power, we got a light meter reading of f/11.

Not only were we able to shoot at an aperture of f/11, but just look at how much softer and prettier the light looks using the 5-foot OctoDome (figure 15). Remember that the larger the light source is in relation to the subject, the softer the light. In this case, our OctoDome is gigantic in relation to the model. This enabled a great deal of light to wrap around her face, which effectively opened up the shadows and lowered the contrast of the entire shot. And, with 1000Ws behind our huge soft box, we were now able to fire the strobe at 1/4 power thereby saving the life of the flash tube and capacitor.

With our main light in position, we decided to bring back our trustworthy StarFlash 300 to use it as a background light (figure 16). We positioned the light on a floor stand in much the same way as we did in the previous example. We set the power on the background light down to almost minimum, and took the next shot.

The image on the right is the result using a StarFlash 1000 as the main light and the StarFlash 300 as a background light (figure 17).

Next, we took out the background light and setup the same 300Ws strobe with a 3-foot OctoDome nxt to use as a fill light. We positioned the fill light in front of the model, just to the left of the camera (figure 18).

Here is the result with the fill light set to almost full power (figure 19).

We still had our 42-inch MultiDisc setup from the previous shot, so we decided to employ the soft gold surface to reflect a little bit of warm light on to the model's hair. We positioned the MultiDisc to the left and behind the model being careful to angle it just right to catch the most light coming from both strobes (figure 20).

The result (figure 21) shows a nice improvement over the last shot. The reflector added just enough light to give shape to the model's head and separate her from the background.

Shown below (figure 22) is a comparison of our last four shots taken using the StarFlash 1000 and 5-foot OctoDome as the main light.

• The first shot (far left) was taken with the main light (1000Ws strobe with a 5-foot OctoDome) set to 1/4 power.
• In the second shot (middle left) we added a Starflash 300 on a floor stand as the background light.
• In the third shot (middle right) we used the StarFlash 300 with a 3-foot OctoDome NXT as a fill light.
• In the fourth shot (far right) we added the 42-inch MultiDisc with soft gold fabric to reflect some warm light to the left side of the hair.

As you can probably tell, using the 1000Ws strobe as the main light has clear advantages over the 300Ws unit. Due to the extra power output of the 1000Ws strobe we were able to use a large soft box like the 5-foot OctoDome and have plenty of power left over. This enabled us to achieve a much softer quality of light than we could ever hope for using umbrellas.

Using the OctoDome's Gold Inserts
There is another hidden advantage to this setup. The 5-foot OctoDome is designed with detachable panels that are gold on one side and silver on the other. To add the final touch to our headshot, we decided to insert two of the gold panels into the OctoDome. Doing this would add a touch of warmth to the skin tones, which we felt would really compliment our model (figures 23 and 24).

In the final result (figure 25), you can see how the extra warmth added by the internal gold panels on the 5-foot OctoDome works to accentuate the model's red hair and freckled face. Also note that by using the gold panels, we were able to control the color of the main light individually while keeping the background and fill light relatively unaffected by the change. Many people would claim that altering the color could be done in the post-production stage. As far as we are concerned, the best way to get the shot you want is to shoot it right to begin with. Of course, if you enjoy sitting in front of a computer more than being behind the camera, then by all means feel free to rely on Photoshop to solve your lighting problems. For those who enjoy shooting, we assure you that lighting is the solution, not Photoshop.

Now back to the original question: How much power is enough?

Well, as you can see, both the 300Ws and the 1000Ws strobes were able to handle a head and shoulders portrait. However, based on the information presented in this tutorial, we can see that the 1000Ws strobe is by far more versatile and leaves plenty of room to grow. Some might say, "But, I only want to do head shots anyways. So, why not save money?" Our answer to this is that even if you only do head shots, you will be limiting yourself with less power and you will be forcing yourself to turn the power to full capacity more often. This will cause the capacitor to burn out faster, making your investment cost much more than you expected in the long run. Moreover, when the time comes to shoot a full length portrait, there will not be that extra kick of light output that you would have with a 1000Ws unit.

In part II of this Price of Power series, we will demonstrate how this same lighting setup, the StarFlash 1000 with 5-foot OctoDome and the StarFlash 300 can be used to photograph a full length portrait.