# If you could only choose a few things...



## lisameowrie (Mar 19, 2015)

If you had to choose one or a few things to go towards your new business: 

1. Joining the PPA
2. Upgrading your computer 
3. Using towards some CreativeLive classes
4. Purchasing some lighting equipment 
5. Prime lenses

Or none of the above, a few of the above? Other suggestions?


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## AceCo55 (Mar 19, 2015)

I guess it would depend on what aspect was limiting you the most at the present?
For me, learning the business of selling and the business of running a business would be up there.


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## Designer (Mar 19, 2015)

lisameowrie; you've got the artistic side, the technical side, and the business side that all need to come together in a cohesive package that somehow makes what you do profitable.  

I guess you just do it all and more.  Do whatever you can do today, and make plans for doing the rest of it tomorrow.  I couldn't say what is the first on your list, as I don't know you.


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## Braineack (Mar 19, 2015)

I'd wanna bring in sales.


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## pgriz (Mar 19, 2015)

For a business to be a business, you need a defined market from which you can generate revenue (sales), and do it in a way that leaves you with adequate profit.

"defined market" is a niche which is large enough to support a volume of work, and yet unique enough that you don't have much competition and sufficient demand to allow you to price adequately.

"sales" is the whole process by which you convince enough people in that defined market to give you the money NOW, and which you can collect with relatively minimal effort on your part.

"profit" is what's left after you pay all your expenses (and yourself), and the government, etc.  The mistake many businesses make is thinking that they should pay themselves out of the profits.  But your time is a cost to the business, and should be paid for before you think you've "made money".

Of your list, 


lisameowrie said:


> 1. Joining the PPA
> 2. Upgrading your computer
> 3. Using towards some CreativeLive classes
> 4. Purchasing some lighting equipment
> 5. Prime lenses



there is nothing that helps you define the market or address it directly.  Nor is there anything in that list that will help you generate sales and collect revenue.  Items #2-5 address the production side, but again do not clearly affect the productivity (quantity/quality of results per time spent).

At this point, I think that what you really need to get your business going, is to put together a business plan.  Every business is an engine to generate money.  So you need to put together some numbers.  Here's a hypothetical scenario:

my defined niche market has about 10,000 people in it.  About 1 % would need my services on a monthly/weekly basis (100 potential prospects).  Given the competition, and my marketing efforts, I can probably reach 20% of these (20 potential prospects).  I can expect to convince 25% of these to buy my services/products (about 5 sales prospects).  To cover the costs of my business (salary, business costs, depreciation of equipment, production costs), I need to charge these customers $X (total overhead for a time period divided by the number of customers) to break even.  I will add a 10% premium for profit and risk.  

Now, by doing these numbers, you can see whether the prices you need to charge can be borne by the market you are targetting.  If not, the business is not going to work.   This process also forces your attention to the process by which you identify the target market, develop marketing to reach that target market, prepare the sales approach and methods to convert those potential clients to actual clients, and the collection process by which you efficiently collect on the services provided.  It's easy to focus on the production side, but it's not what will make the business work.


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## tirediron (Mar 19, 2015)

The number one recommendation I make, and IMO, the best thing you can do to help your business is learn about business!  Paul's post above is outstanding; my list would look like this:

1.  Get local adult ed facility catalogue and take every possible course I could about small business management, entrepreneurship, small business accounting, and MARKETING, etc, etc, etc.  Learn how to draft and follow a business plan, how much $$ you need for what.

2.  Buy insurance.

3.  Buy necessary licenses

4.  Consult with IP/Contract attorney to review all releases, contracts, agreements, etc

5.  Consult with local CPA to discuss tax and accounting specifics for your area.


Remember, the business of your business is no different than the guy who sells cars, grows flowers, or drives his own truck.  It's all business...  photography businesses don't fail (usually) because the photographer couldn't take a good picture, they fail because the photographer doesn't know beans about business!


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## Mr. Innuendo (Mar 19, 2015)

I'm getting into shooting more portraits (which I never thought I'd do but, hey, it pays), so I recently picked up some lighting equipment, a couple of backdrops, etc.

I've been working at getting established here (I only moved here in 2013), so I also put money into marketing, advertising and the like.

Within the last year I've picked up a new computer, bought some software, etc. I also picked up a Canon 6D, a 17-40mm L and, recently, my new favorite toy, a Canon 100-400mm L to help me with my motorsports jones. I'm lovin' that lens right now.

Aside from all of that, I finally put on my big boy pants and got insurance, which is helping to open a few doors which weren't open to me without it.


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## Derrel (Mar 19, 2015)

A person can spend tens of thousands of dollars on setting up a photography business, pretty easily. Cameras,computers,lenses,space to work in, cards, forms,contracts, etc,etc. But consider this: Photography is writing with light. Light is what makes pictures. One of the things that makes a person appear to be "a professional" is professional type lighting equipment. To the average person, a light stand, and a softbox or umbrella, or a big reflector positioned with a stand and grip arm...those few tools set apart a session that is done with artificial light that the photographer is controlling, from having somebody with a nice camera stop by to snap a few shots. These days, a TON of people "own a nice camera", and a ton of people "like to take pictures". If you want to charge more money, buy yourself a light stand, a recessed face grid-equipped softbox, a 43 inch umbrella, and a single, decent monolight of from 150 Watt-seconds or thereabouts.

The gridded softbox creates a nice pool of light that falls off rather rapidly, to keep backgrounds dark, and subdued. The umbrella creates nice, soft light that spreads over a fairly wide area. You don't need or want a lot of light blasting small animals frame after frame. The stand,modifier, and monolight separates you from all of the _natural light photographers_, who are, I think, viewed by the public as people who take pictures. If you own decent studio and location lighting, it's easy to shoot good images, which have the needed depth of field, and the control over the lighting that makes professional-looking images. And your clients will refer friends and family, and they will say, "Oh, she brings in lights and everything."

If you look the part, and use one of the real tools of a professional shooter, which is professional-type lighting gear,people will tend to view you as a professional shooter, rather than just some gal who "likes to take pictures". Your lighting gear is one of the very few things clients actually get to SEE. You could be processing on an outdated Dell PC and running Lightroom 3.6....they will never know, nor care.


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## lisameowrie (Mar 19, 2015)

You made a lot of great points. You are referring to portrait, studio/backdrop photography though, right?

Would you happen to know where I can find photos of the set-ups you described?




Derrel said:


> A person can spend tens of thousands of dollars on setting up a photography business, pretty easily. Cameras,computers,lenses,space to work in, cards, forms,contracts, etc,etc. But consider this: Photography is writing with light. Light is what makes pictures. One of the things that makes a person appear to be "a professional" is professional type lighting equipment. To the average person, a light stand, and a softbox or umbrella, or a big reflector positioned with a stand and grip arm...those few tools set apart a session that is done with artificial light that the photographer is controlling, from having somebody with a nice camera stop by to snap a few shots. These days, a TON of people "own a nice camera", and a ton of people "like to take pictures". If you want to charge more money, buy yourself a light stand, a recessed face grid-equipped softbox, a 43 inch umbrella, and a single, decent monolight of from 150 Watt-seconds or thereabouts.
> 
> The gridded softbox creates a nice pool of light that falls off rather rapidly, to keep backgrounds dark, and subdued. The umbrella creates nice, soft light that spreads over a fairly wide area. You don't need or want a lot of light blasting small animals frame after frame. The stand,modifier, and monolight separates you from all of the _natural light photographers_, who are, I think, viewed by the public as people who take pictures. If you own decent studio and location lighting, it's easy to shoot good images, which have the needed depth of field, and the control over the lighting that makes professional-looking images. And your clients will refer friends and family, and they will say, "Oh, she brings in lights and everything."
> 
> If you look the part, and use one of the real tools of a professional shooter, which is professional-type lighting gear,people will tend to view you as a professional shooter, rather than just some gal who "likes to take pictures". Your lighting gear is one of the very few things clients actually get to SEE. You could be processing on an outdated Dell PC and running Lightroom 3.6....they will never know, nor care.


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## Derrel (Mar 19, 2015)

No, I am referring to almost any, almost all, instances where one is hired to shoot photographs in exchange for money.  Professional photography equipment, the kind that 99% of people do not have, and have never seen used in the real world, except by professionals, makes a statement in two ways. First, stuff shot with the right lighting almost always looks *different* than stuff shot by a "a natural light photographer". And second, bringing in lighting equipment and setting it up and using it tells the client that the photographer has specialized tools, and specialized knowledge, that "people who like to take pictures" probably do not have. It's a matter of results and also conveying an image.

Adorama's YouTube pages are great. He's an example about how to create a simple, broadly-lighted shooting area using three affordable light/softbox/stands:  




Instead of a cute child...imagine a beautiful Irish setter, or an adorable golden retriever...


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## Austin Greene (Mar 19, 2015)

lisameowrie said:


> If you had to choose one or a few things to go towards your new business:
> 
> 1. Joining the PPA
> 2. Upgrading your computer
> ...



Upgrading my computer (5 years old, small macbook) and prime lenses. Most of the rest comes with experience and a basic understanding of business.


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## fjrabon (Mar 19, 2015)

What is your goal in starting a photography business?  To make a good living?  To produce self-satisfying work that pays the bills.  To have a hobby that breaks even (not counting your time)?


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## lisameowrie (Mar 19, 2015)

To make a good living! I want to be proud of my work and go far with it. I lost touch with photo for a while going to school as a vet tech, but I am all in now and ready to give it my all. 



fjrabon said:


> What is your goal in starting a photography business?  To make a good living?  To produce self-satisfying work that pays the bills.  To have a hobby that breaks even (not counting your time)?


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## fjrabon (Mar 19, 2015)

lisameowrie said:


> To make a good living! I want to be proud of my work and go far with it. I lost touch with photo for a while going to school as a vet tech, but I am all in now and ready to give it my all.
> 
> 
> 
> ...


If you want to make a good living, the number one thing is market research.  Knowing where the most bang for your buck (and time) demographics and genres are.  Knowing where those demographics look, and how to get your brand in front of them.


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## lisameowrie (Mar 19, 2015)

Does the gridded softbox go behind a backdrop?

I want to create studio portraits that are vibrant and pop. I have purchased savage seamless in banana color and plan to purchase more. In that case would I benefit from the types of lights shown in the video you posted?





Derrel said:


> a light stand, a recessed face grid-equipped softbox, a 43 inch umbrella, and a single, decent monolight of from 150 Watt-seconds or thereabouts.
> 
> The gridded softbox creates a nice pool of light that falls off rather rapidly, to keep backgrounds dark, and subdued. The umbrella creates nice, soft light that spreads over a fairly wide area. You don't need or want a lot of light blasting small animals frame after frame. The stand,modifier, and monolight separates you from all of the _natural light photographers_, who are, I think, viewed by the public as people who take pictures.


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## fjrabon (Mar 19, 2015)

lisameowrie said:


> Does the gridded softbox go behind a backdrop?
> 
> I want to create studio portraits that are vibrant and pop. I have purchased savage seamless in banana color and plan to purchase more. In that case would I benefit from the types of lights shown in the video you posted?
> 
> ...


gridded softbox is a lighting modifier.  It goes where you want your light source to be.  The effect is that it creates a light that is both directional and soft.


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## Derrel (Mar 19, 2015)

I think studio flash (either monolights, or box-and-cable system models) is easier to work with than continuous lights. I linked to that one Adorama Learning Center video just so you could see how three inexpensive lights and softboxes can be used to light up a shooting area in a "broadly-lighted" way that allows a squirrelly subject that doesn't take directions very well, so that there's a lot of posing flexibility. Flash freezes subject motion, and eliminates camera shake, and it gives a LOT of exposure power, with each flash. Continuous lighting the way Ms Lackey does it is these days, with a D800 or D810 and often times, pretty high ISO levels and wider f/stops than one might use for pets. She has Nikon's best cameras, and their best lenses; for a D800 user, ISO 2,500 at f/2.8 is not a worrisome issue; with a couple of 150 Watt-second monolights, you could shoot at f/8 at ISO 250, and get plenty of depth of field.

Pets and people are different things too...with people, we focus on the EYES, very strongly...with pets, they are usually covered in fur, and so if there is not plenty of depth of field, the animal looks, well, simply out of focus in many poses...that looks bad, in my opinion. Studio flash units that have 150 Watt quartz-halogen modeling lights give plenty of light to see by and to focus by. I have lights that use 250 watt quartz, 150 Watt quartz, 100-Watt quartz, and 3 x 25 Watt incandescent modeling lights. Many other brands are going to use moderate-power bulbs, like 100 Watt incandescent modeling lights. Those are mainly to help see, to focus, and to guide you in placing and adjusting the lights. Flash gives a LOT more "power", for a LOT less money. A lot,lot less. With less heat as well.

I have some ideas on how pet photos would most efficiently be shot using two, or three, studio flashes and some simple modifiers. You do not need the highest-grade lights, but you do need a minimum of a few simple things to do decent studio lighting. Not "a lot", but "some" stuff. A lot of videos show continuous lights because so,so many beginners are afraid of flash, and therefore, the retailers SELL loads of continuous lighting kits like those in the video. My impression is that very frequently, later on, when the buyers get more serious, they end up replacing the continuous lights with flash systems.


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## KmH (Mar 20, 2015)

#1. Join PPA.

#2. Join KelbyOne.


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## tirediron (Mar 20, 2015)

KmH said:


> #1. Join PPA.....


 Really Keith?  Why?  I was heavily involved with my local PPOC branch for a couple of years a while, and had my portraiture portfolio, accrediation, etc, etc and thought it was pretty darn cool.  Two events put me off; one, which occurred while I was still working on my portfolio was over a workshop.  There was a two-level, all weekend workshop with some fairly big-name western Canadian photographers (Yes, there is such a thing!  ).  One level was basic lighting, I mean basic... single OC speedlight stuff, the other was an advanced (In my opinion intermediate at best) workshop working with a multi-light system, multiple models, etc.  When I applied for the second level course I was told I was not eligible because as I was not yet an accredited member, I wasn't a professional, and this would be too advanced.  

The second, and final straw occurred at a weeklong PPOC(BC) symposium I attended.  I was at a critique salon where four of the "Big kids" (You know the type, a hundred little pins all over their shirt/hat/whatever) were providing critique on member's images.  They came to one image of a young lady in a forest, very dark, and IMO, quite well done for the most part. They loved it and were raving about the great background outstanding use of light, wonderful posing, etc, etc..  After several minutes of this, they paused to breathe and asked if there were any questions.  I stuck my mitt in the air and asked when it became compositionally appropriate to have a tree "growing" out of someone's head.  It was too; perfectly centered, somewhat unfocused, but sharp enough to look like a barbed unicorn horn.  There was a pause for a moment <insert cricket chirps> and then they began to fall all over themselves justifying why in this case it wasn't a bad thing, when it was absolutely clear to me that none of them had noticed it.  I gave up.

Now, I'm not saying that professional organizations are bad, not at all, but my experience has been that for the most part what you get for $3-400 a year is the chance to mingle with some great photographers and even more mediocre photographers who think they're great because they have a collection of pins.  The only tangible benefit is a reduced rate on insurance, which is offset by membership dues.  John and Jane Q. Customer have NO idea of what the PPA is, and could care less.  They want to see nice phtographs.

In short, IMO, it's a waste of time, effort and money.


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## lisameowrie (Mar 20, 2015)

So, if I am serious about it should I skip the continuous lights and go right for the flashes? 

I'm just afraid I am not ready to deal with flashes off of my camera yet and the transceiver. I was just under the impression that flashes w/ stands, transceivers and soft boxes can get pretty expensive and I'm afraid I won't be able to operate it all. 



Derrel said:


> I think studio flash (either monolights, or box-and-cable system models) is easier to work with than continuous lights. I linked to that one Adorama Learning Center video just so you could see how three inexpensive lights and softboxes can be used to light up a shooting area in a "broadly-lighted" way that allows a squirrelly subject that doesn't take directions very well, so that there's a lot of posing flexibility. Flash freezes subject motion, and eliminates camera shake, and it gives a LOT of exposure power, with each flash. Continuous lighting the way Ms Lackey does it is these days, with a D800 or D810 and often times, pretty high ISO levels and wider f/stops than one might use for pets. She has Nikon's best cameras, and their best lenses; for a D800 user, ISO 2,500 at f/2.8 is not a worrisome issue; with a couple of 150 Watt-second monolights, you could shoot at f/8 at ISO 250, and get plenty of depth of field.
> 
> Pets and people are different things too...with people, we focus on the EYES, very strongly...with pets, they are usually covered in fur, and so if there is not plenty of depth of field, the animal looks, well, simply out of focus in many poses...that looks bad, in my opinion. Studio flash units that have 150 Watt quartz-halogen modeling lights give plenty of light to see by and to focus by. I have lights that use 250 watt quartz, 150 Watt quartz, 100-Watt quartz, and 3 x 25 Watt incandescent modeling lights. Many other brands are going to use moderate-power bulbs, like 100 Watt incandescent modeling lights. Those are mainly to help see, to focus, and to guide you in placing and adjusting the lights. Flash gives a LOT more "power", for a LOT less money. A lot,lot less. With less heat as well.
> 
> I have some ideas on how pet photos would most efficiently be shot using two, or three, studio flashes and some simple modifiers. You do not need the highest-grade lights, but you do need a minimum of a few simple things to do decent studio lighting. Not "a lot", but "some" stuff. A lot of videos show continuous lights because so,so many beginners are afraid of flash, and therefore, the retailers SELL loads of continuous lighting kits like those in the video. My impression is that very frequently, later on, when the buyers get more serious, they end up replacing the continuous lights with flash systems.


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## Designer (Mar 20, 2015)

lisameowrie said:


> So, if I am serious about it should I skip the continuous lights and go right for the flashes?
> 
> I'm just afraid I am not ready to deal with flashes off of my camera yet and the transceiver. I was just under the impression that flashes w/ stands, transceivers and soft boxes can get pretty expensive and I'm afraid I won't be able to operate it all.


Yes, flash.  You will get up to speed with strobes as quickly as you could learn the continuous lights.  

Some mono lights are expensive, but some are affordable.  Get one to start with, and then a second, and eventually a third, etc.  Have a look at Adorama for studio strobes, stands, and modifiers.  The folks there are very helpful so call them.  

Another place for excellent customer service is Paul C. Buff.

If you cannot swing the cost of RF transceivers just now, get a cable, which will not break the bank.


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## Derrel (Mar 20, 2015)

There's no need for any transceiver or transmitter/receiver triggering. The old standby, the *PC connecting cord* from camera to flash is still the simplest way to trigger a studio flash. I recommend the Adorama Flashpoint 320M to beginners...the price is fair for what you get. $99 for the monolight itself; flash +simple stand + umbrella or flash+stand + softbox kits are like $159.

Triggering a single monolight with an umbrella is EASY. With a PC cord, there is nothing to it. Most triggers will work great, with no issues. The problems associated with off-camera flash are almost always from people trying to use "smart" TTL-controlled flash units with cheap, made in China units that may, or may not, actually be compatible with "smart" speedlights. Studio monolights are dumb, low-tech flashes, so remote triggering is dead-easy. With the PC connecting cord, it's as simple as plugging the cord into the flash, and then connecting the cord to the camera's PC outlet. If the camera does not have a PC outlet, then a small connecting block like the *Nikon AS-15* is slid into the camera's hotshoe, and a PC outlet is then created.

I would say yes, avoid continuous lights. Flash is easy to work with. If you can work a smart phone, you can work a monolight + umbrella + light stand. It's reallllly NOT that difficult.


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## Designer (Mar 20, 2015)

ps; I bought my Pocket Wizards used from a TPF-er here on the For Sale forum.  I bought a mono light for only $49.95 from Adorama.  Over the past few years I have acquired three light stands, 5 umbrellas, a speedlight and one mono light.  I have also purchased and made other pieces of equipment.


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## tirediron (Mar 20, 2015)

While I agree that a sync cord is cheap and easy, radio triggers aren't terribly expensive, and when you're shooting manual flash, theirs nothing more difficult to their operation than 'plug in, switch on'.  Really, that's it!  You can buy transceiver sets for <$50, and if you're shooting multiple lights, you can actually usually get away with one and use the built in optical/flash sync of the other monolights to trigger themselves.  If it's speedlights, optical triggers for them can be had for <$10/each.

My main issue with PC cords is that I find them annoying; I move around in the studio.  A LOT!  I hate dragging that stupid cable around, tripping over...  etc, etc, etc.  For a compartivley modest outlay, you have a neater, safer shooting environment.


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## waday (Mar 20, 2015)

I'm not trying to push Yongnuo, but their set of triggers/receivers is ~$30. Yeah, Yongnuo may not be the best option out there, but they work good enough for someone learning on a budget (like me).


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## imagemaker46 (Mar 20, 2015)

Another 1Dx and a new 400 2.8, or possibly a 200-400mm.


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## tirediron (Mar 20, 2015)

imagemaker46 said:


> *A winning lottery ticket*, and then another 1Dx and a new 400 2.8, or possibly a 200-400mm.


 FTFY Scott!


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## lisameowrie (Mar 20, 2015)

Holy crap, this one is amazing. Westcott 48 Rapid Box Octa XXL for AlienBees and Balcar 2041B


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## tirediron (Mar 20, 2015)

Amazing in what way?  Wescott makes some really nice modifiers....


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## lisameowrie (Mar 20, 2015)

I love the dramatic lighting. It just really struck me. Could be his photography too which is awesome.


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## Designer (Mar 20, 2015)

lisameowrie said:


> I love the dramatic lighting. It just really struck me. Could be his photography too which is awesome.


No doubt about it; someone who knows how.  

That gizmo is also known as a "brolly box"  (umbrella = "brolly" and box because the back is opaque)

The big advantage there is that it's very portable and sets up in a flash.  (hyuk, hyuk he said "flash") 

Wescott is a quality make of modifiers.


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## Derrel (Mar 20, 2015)

lisameowrie said:
			
		

> I love the dramatic lighting. It just really struck me. Could be his photography too which is awesome.



And now you can see what off-camera flash can look like, as opposed to what "a natural light shooter" would have been able to get at 6:30 in the evening, with the sunset at 7:00 PM...this is what I meant by professional lighting gear making things look *different.
*
Westcott does make some fine modifiers, no doubt about it. As to the "beauty dish" with no diffusion look he did...a person will get about the same look with this beaded, silvered-interior umbrella. Throwing the term "beauty dish" around is an almost guaranteed sales-making phrase these days. Both modifiers have a silvered interior. Impact Umbrella - Beaded Silver - 43 S3543 B H Photo Video

Here is another type of modifier that I like, and which a lot of people like. Annie Liebowitz uses these extensively. Photek Umbrella - Softlighter II - 46 SL-5000 B H Photo


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## lisameowrie (Mar 20, 2015)

I absolutely love it. Just from that video I may have to buy it or something similar. They sold me.


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## kdthomas (Mar 23, 2015)

Derrel said:


> There's no need for any transceiver or transmitter/receiver triggering. The old standby, the *PC connecting cord* from camera to flash is still the simplest way to trigger a studio flash. I recommend the Adorama Flashpoint 320M to beginners...the price is fair for what you get. $99 for the monolight itself; flash +simple stand + umbrella or flash+stand + softbox kits are like $159.
> 
> Triggering a single monolight with an umbrella is EASY. With a PC cord, there is nothing to it. Most triggers will work great, with no issues. The problems associated with off-camera flash are almost always from people trying to use "smart" TTL-controlled flash units with cheap, made in China units that may, or may not, actually be compatible with "smart" speedlights. Studio monolights are dumb, low-tech flashes, so remote triggering is dead-easy. With the PC connecting cord, it's as simple as plugging the cord into the flash, and then connecting the cord to the camera's PC outlet. If the camera does not have a PC outlet, then a small connecting block like the *Nikon AS-15* is slid into the camera's hotshoe, and a PC outlet is then created.
> 
> I would say yes, avoid continuous lights. Flash is easy to work with. If you can work a smart phone, you can work a monolight + umbrella + light stand. It's reallllly NOT that difficult.



One thing I have found interesting with my Nikon SB-700 speedlights (when I need/want them in addition to the Speedotron pack-n-head system I own), is to use SU-4 mode on the speedlights. This will trigger the speedlights to go off when it senses the spike of light from the strobes. That way I don't have to have a separate trigger.


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