# What one light setup to buy?



## redbourn (Sep 25, 2015)

I only started with photography a few months ago and am doing photos for my cookbook.

I bought a Nikon D3300 with a Nikkor 1.8G lens.

Right now I have very good natural light and am pretty pleased with my recent pictures and have uploaded one.

But winter is coming and the light will be going.






I would like to try the one light setup that's at goo.gl/m2biVJ  but he doesn't give any equipment details.

He's doesn't even suggest equipment.

If anyone would tell me in some detail, what to buy, based on his post, I'd very much appreciate it.

Thanks,

Michael


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## Designer (Sep 25, 2015)

The light in this shot is quite even, which might not be your favorite for long. 

Get a speedlight and a white "shoot-through" umbrella to see what you could come up with.


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## redbourn (Sep 26, 2015)

Designer said:


> The light in this shot is quite even, which might not be your favorite for long.
> 
> Get a speedlight and a white "shoot-through" umbrella to see what you could come up with.




What else is he using that I should buy?

goo.gl/m2biVJ

Thanks


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## Designer (Sep 26, 2015)

redbourn said:


> What else is he using that I should buy?


He is using a softbox, but since they cost more than a small umbrella, that is why I suggested an umbrella.  If you've got the money for a softbox, get one that will work with whichever light you intend to use, either rectangular as shown in one shot, or a "brollybox" which is a kind of sofbox built upon the umbrella concept.  Either one would give approximately the same results, with some light "spilling" from the ordinary white umbrella.

Did you notice his reflectors?  They are merely white foamcore or something similar, and you can find that stuff at most art supply stores.

So that's one light (either unmodified or modified) and one or two panels of white cardboard opposite.

BTW: Did you check the price for the 9 lessons?  I did not.


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## redbourn (Sep 26, 2015)

Designer said:


> redbourn said:
> 
> 
> > What else is he using that I should buy?
> ...





Designer said:


> redbourn said:
> 
> 
> > What else is he using that I should buy?
> ...




Thanks.

How about this for $32 and a stand for a white board?

goo.gl/ej1n90

I'm a real newbie at photography.

Michael


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## Designer (Sep 26, 2015)

redbourn said:


> How about this for $32 and a stand for a white board?


The item shown is what is called a "brollybox" with a continuous light.  (One that does not flash with the shutter).  This would be your "key" light, (the main light) and you then get a sheet of white foamcore for the opposite side.  You can cut the foamcore in half and make the "corner" reflector as shown in the pictures.

(edit) I hope you are planning to mount your camera on a tripod.  You might need to extend the shutter opening to something like 1/40 second which is too long to hold in your hand.


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## redbourn (Sep 26, 2015)

Designer said:


> redbourn said:
> 
> 
> > How about this for $32 and a stand for a white board?
> ...


I use a tripod and either the cameras timer or a remote switch. I don't know if there is much difference between the two.

What about this?

goo.gl/8Z98KJ

Many thanks for the feedback!


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## Designer (Sep 26, 2015)

That is nice, too, but the other one is less expensive.  Virtually no difference except for the shape of the light.  I doubt if that will make any difference at all in food photography.


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## Designer (Sep 26, 2015)

Incidentally, besides lighting, which you are working on now, you should begin to pay more attention as to how you pose your dishes. 

Look at more examples of good food photography to see how they do it.  Besides the light, you should consider the background (tablecloth and everything on the table), the other objects (serving utensils, drink containers, etc.).

Also; your example is cropped very tightly.


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## redbourn (Sep 26, 2015)

Designer said:


> That is nice, too, but the other one is less expensive.  Virtually no difference except for the shape of the light.  I doubt if that will make any difference at all in food photography.




Thanks, I will check shipping costs ..


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## redbourn (Sep 26, 2015)

Designer said:


> Incidentally, besides lighting, which you are working on now, you should begin to pay more attention as to how you pose your dishes.
> 
> Look at more examples of good food photography to see how they do it.  Besides the light, you should consider the background (tablecloth and everything on the table), the other objects (serving utensils, drink containers, etc.).
> 
> Also; your example is cropped very tightly.



Food photography is a minefield.

I check shutterstock before shooting a picture, but not many there excite me.

Here is another of mine.


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## Designer (Sep 26, 2015)

Shutterstock is not the best place.

Have a look at some of these images:

food photography - Google Search

for lighting help, look here:

food photography - Google Search


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## redbourn (Sep 26, 2015)

Will do it now!


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## Derrel (Sep 26, 2015)

You could do okay with a single flash, and a home-made 48 x 48 inch  frame, made from pieces of PVC pipe and elbow joints, and a couple of pieces of home-made diffusion material attached to the frame. Here is a link. Look down the page to the "download lo-rez" option....   Photoshop Training and Photography Training Tutorials - Software Cinema  - Tinkertubes

A flat-faced light source allows you to control the angle of incidence; instead of a curved umbrella or brolly box, a softbox or a diffusing screen creates a light source that has pretty much the same angle of incidence on shiny surfaces, and makes a broader highlight/reflection on many surfaces...it makes the highlights on say a wine bottle more linear, more regular.

Diffusion panels and reflectors made of fabric or of posterboard/foam core board are really pretty common things in the world of photographic lighting, and are very commonly used with both flash lighting, and with natural or ambient light from the sun, sky, or from bulbs of one type or another.

The original article you referenced was basically advocating that one have access to a large, diffused light source, and some type of fill light reflector capability. The diffusion material can be tracing paper,white rip-stop nylon, frosted shower curtain material, etc.. A diffusing panel can be used with any light source.


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## redbourn (Sep 26, 2015)

Designer said:


> Incidentally, besides lighting, which you are working on now, you should begin to pay more attention as to how you pose your dishes.
> 
> Look at more examples of good food photography to see how they do it.  Besides the light, you should consider the background (tablecloth and everything on the table), the other objects (serving utensils, drink containers, etc.).
> 
> Also; your example is cropped very tightly.



Actually it's not cropped at all and I have major concerns about my photos because the images in my book will have to be around  7.5 x 7.5" 

It's interesting how the public and photographers seem to see things very differently.

I have about 1,200 Facebook friends and get them to critique my photos just to get feedback.

They hate knives and forks in shots and in a recent photos 3 photographer friends prefered a napkin with blue in it whereas 100% on Facebook prefered one with green in it. Same photograph.

I worked in the film industry for 35 years and the question often comes up, "Who are we making the film for?".

I cook two meals,  so I only have two chances to get it right, otherwise I have to cook the meal again.

The book is a little different and is more about tips and tricks than about recipes, but I will also have around 20 photos.

And the  recipes will hopefully be about as foolproof as is possible.


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## redbourn (Sep 26, 2015)

Derrel said:


> You could do okay with a single flash, and a home-made 48 x 48 inch  frame, made from pieces of PVC pipe and elbow joints, and a couple of pieces of home-made diffusion material attached to the frame. Here is a link. Look down the page to the "download lo-rez" option....   Photoshop Training and Photography Training Tutorials - Software Cinema  - Tinkertubes
> 
> A flat-faced light source allows you to control the angle of incidence; instead of a curved umbrella or brolly box, a softbox or a diffusing screen creates a light source that has pretty much the same angle of incidence on shiny surfaces, and makes a broader highlight/reflection on many surfaces...it makes the highlights on say a wine bottle more linear, more regular.
> 
> ...



So you're saying to use a flash instead of a tungsten light?

I'm a real newbie and will check out th link.

Thanks for the reply.

P.S. I don't mind springing for maybe $200 on the lighting. Already bought the Nikon d3300 (which I'm pleased with) two lenses, a tripod and other bibs and bobs.


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## Designer (Sep 26, 2015)

If you only photograph still life, (food) then what light you use probably will not matter much.  Some of us use flash because that is what we have.  Whatever type of lighting you have, just be sure to get the correct white balance.  Using tungsten or fluorescent, or whatever you have, just use ONE type at a time.  Don't mix lighting types and colors.

BTW: my flash (a Nikon SB-910) cost more than your lighting budget, so if you get the compact fluorescent (CFL) that you linked to,  your investment will be substantially lower.


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## redbourn (Sep 27, 2015)

Designer said:


> If you only photograph still life, (food) then what light you use probably will not matter much.  Some of us use flash because that is what we have.  Whatever type of lighting you have, just be sure to get the correct white balance.  Using tungsten or fluorescent, or whatever you have, just use ONE type at a time.  Don't mix lighting types and colors.
> 
> BTW: my flash (a Nikon SB-910) cost more than your lighting budget, so if you get the compact fluorescent (CFL) that you linked to,  your investment will be substantially lower.




At the moment I only intend to do still life because I am focused on my book.

Good that you mentioned about not mixing light sources.

I have only seen very low wattage CFLs. How many watt would you suggest for a one light system.

I'm using a tripod and timer with a Nikon D3300

Thanks


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## Designer (Sep 27, 2015)

redbourn said:


> I have only seen very low wattage CFLs. How many watt would you suggest for a one light system.


I don't know.  How powerful your light needs to be will depend on how large of an area that you want to light, and yours and the camera's tolerance for long shutter openings. If you hold the shutter open too long, it can overheat the sensor and introduce "noise" in the photograph.  If all you can find are low-wattage CFLs, then use more of them.  Some commercial softboxes have up to six sockets for lightbulbs.


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## redbourn (Sep 27, 2015)

Thanks for the reply.

Not a very large area, maybe the size of 3-4 plates maximum.

Good you told me about the softboxes that hold more than one lamp.

I have no shop in this town where I can go and get help.

A very beautiful place to live but lacking in availability of many things that I used to take for granted.

Lovely people and weather too.

Very inexpensive and very low level of violence.

goo.gl/t1HJer

Michael


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## redbourn (Sep 27, 2015)

Designer said:


> redbourn said:
> 
> 
> > I have only seen very low wattage CFLs. How many watt would you suggest for a one light system.
> ...



I found this.


PhotoSEL LS21E51 Softbox Studio Lighting Kit - 1 x 85W 5000lm 5500K 90+ CRI Bulb 40x60cm Softbox

Dispatched from and sold by Amazon.
Want it delivered to Portugal by Wednesday, 30 Sep.?
5500K 85W 5000lm pure white daylight bulb
90+ general colour rendering index (CRI)
40 x 60cm softbox with removable inner and front diffuser
Flicker Free
For still photo or video

What do you think?

Sorry to be a nag  ;-)


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## Designer (Sep 27, 2015)

What was wrong with the first one you showed me yesterday?  I seem to remember you showed a "brollybox" that was less expensive than the two more recent finds.  

BTW: please make your links "hot links" by using the "link" tool in the header, thanks.  Makes it easier for us.


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## redbourn (Sep 27, 2015)

Designer said:


> What was wrong with the first one you showed me yesterday?  I seem to remember you showed a "brollybox" that was less expensive than the two more recent finds.
> 
> BTW: please make your links "hot links" by using the "link" tool in the header, thanks.  Makes it easier for us.



I will recheck the few that I've found and make a note to use hotlinks.

I thought links were most likely banned.

Michael


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## Designer (Sep 27, 2015)

No, links are not banned.  

One can become banned by linking the wrong kind of material, but we all use links.  Here's something from my wish list:  (in case you want to buy me a present) 

http://www.amazon.com/dp/B00K4N4C48...TF8&colid=2LHK8XUJN8MTY&coliid=I3CT7V7BSI1442


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## redbourn (Sep 27, 2015)

Designer said:


> No, links are not banned.
> 
> One can become banned by linking the wrong kind of material, but we all use links.  Here's something from my wish list:  (in case you want to buy me a present)
> 
> http://www.amazon.com/dp/B00K4N4C48...TF8&colid=2LHK8XUJN8MTY&coliid=I3CT7V7BSI1442



I knew about the reason for not allowing links, but what would the web be without them.

Just let me have your bank details. Normal stuff including number on bank of card etc.   ;-)

I'm actually very pleased with my tripod and can also shoot 180 degrees with it.

http://www.amazon.co.uk/dp/B00KNJ2QUA/ref=pe_385721_51767431_TE_dp_2

Not all Chinese stuff is junk and they are getting better.


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## Designer (Sep 27, 2015)

A number of members here like the Yongnuo flashes.


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## redbourn (Sep 27, 2015)

Designer said:


> A number of members here like the Yongnuo flashes.



I will check them out.

I thought the book would be easy  because I have the recipes.

I know Photoshop pretty well but have been learning LightRoom for 3 months.

Wonderful program but a steep learning curve!


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## Derrel (Sep 27, 2015)

I like flash simply because it is very close to daylight in color balance, and thus it's possible to mix flash and daylight in the same photo and not have a big "gap" between the color temperature of the light from the flash and the background light. Using flash makes it possible to control background brightness quite a bit, by slowing down the shutter, or speeding up the shutter, but keeping the exposure on the foreground (the food and tableware) the same. Using flash to light the foreground areas of the photos allows you to make backgrounds brighter or darker, while keeping the lighting on the food the same. Flash has a lot of light output, for very little money spent, which is not the same as continuous lighting.

I really think that if a person is not that familiar with lighting and the many nuances of lighting, that it helps to keep things simple, hence the idea of a flat-faced softbox, or a flat diffusion panel, and simple fill cards, and so on makes a lot of sense. The other thing though is that as a light is moved to different positions in relation to the subject and camera, the lighting effect changes. As a light is moved farther away or closer, the softness of the shadows changes, sometimes quite a bit.

How much the softness of the light changes depends on how big the light is in relation to the subject, and in how close or far the light is placed. That's why I suggested a 48x48 inch light source for working with tabletop sized subject matter for a cookbook...you don't want or need a huge, massive light source and probably do not have the right shooting area or the right light stands and clamps and such to handle a much bigger light source. I want to wish you the best of success with the project.


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## redbourn (Sep 28, 2015)

I read earlier in the thread not to mix light sources but assumed that I could mix any electrical one with natural light.

So if I use CFL or tungsten, I have to make the room as dark as possible?

Thanks for all the info and the encouragement.

I am a hobby chef and the book is really to help beginners or people that believe they will never learn how to cook. 

And it will have lots of tips and tricks to help them succeed.

I decided to do the book because so many online recipes have mistakes: wrong portion sizes and timings etc. and they don't have both American and metric measurements.

It's so sad to follow a recipe faithfully only to have some horrible failure and it puts many people off of cooking.


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## Village Idiot (Oct 13, 2015)

redbourn said:


> I read earlier in the thread not to mix light sources but assumed that I could mix any electrical one with natural light.
> 
> *So if I use CFL or tungsten, I have to make the room as dark as possible?*
> 
> ...



Well, as dark as you need it to be so that only the continuous light is lighting the food. Continuous is of course WYSIWYG so how you view the lighting through the lens is how it's going to look.

With a flash, you can change the settings so that even though the room is lit up with tungsten, fluorescent, and 5 different light with different colors, it can easily overpower those lights with the right settings. 

And then there's the other edge of that blade. If a flash is too bright, it can often be hard to use a wider aperture to get the DOF you're looking for. You may have to result to ND filters or other tricks. 

You can find a 200W adorama flash for about $200 IIRC. Also, a monolight like that won't require batteries.


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## redbourn (Oct 13, 2015)

Village Idiot said:


> redbourn said:
> 
> 
> > I read earlier in the thread not to mix light sources but assumed that I could mix any electrical one with natural light.
> ...



Thanks for the feedback.

Just posted this 

Mixing daylight and CFL | Photography Forum

Michael


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## Scatterbrained (Oct 13, 2015)

Derrels' advice earlier about making your own scrim and reflector is spot on.  Umbrellas and softboxes are fine for portraits, but not needed for still lifes (and actually undesirable).  I personally use a roll of vellum (tracing paper) and white poster board, coupled with the occasional mirror.   

Diffusion panels (scrims) are better than softboxes for this sort of thing because:  you can adjust the angle of the light relative to the panel, you don't have the black border of a softbox reflecting in your dishes, you don't have the ribs of an umbrella showing up in your highlight, you can place flags behind the diffusion panel to lower the light intensity in a specific area without creating a hard shadow from the flag, you can adjust the distance between the diffusion panel and the light to effect light falloff and intensity in the scene, diffusion panels are easy to store and set up, and they are cheap.  

   You can use white foamcore for reflector panels to provide soft fill on the shadow side, or you can use mirrors to create targeted highlights along edges.   These things are cheap, versatile, and usually available at a good craft store or art supply house.   

You can use halogen or LED worklights from a hardware store for "what you see is what you get" lighting.  They are cheap, and much brighter than any household bulb you're going to find.   Then it's a matter of blocking the light coming into the room and turning off the room lights.  

If you go to YouTube and check out "Learn My Shot" they have several videos dealing with continuous light shooting.   Granted they deal with cheap clamp lights in a darkened studio, but you can just as easily buy more powerful worklights from a hardware store, and they often come with their own stand too.


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## redbourn (Oct 13, 2015)

Scatterbrained said:


> Derrels' advice earlier about making your own scrim and reflector is spot on.  Umbrellas and softboxes are fine for portraits, but not needed for still lifes (and actually undesirable).  I personally use a roll of vellum (tracing paper) and white poster board, coupled with the occasional mirror.
> 
> Diffusion panels (scrims) are better than softboxes for this sort of thing because:  you can adjust the angle of the light relative to the panel, you don't have the black border of a softbox reflecting in your dishes, you don't have the ribs of an umbrella showing up in your highlight, you can place flags behind the diffusion panel to lower the light intensity in a specific area without creating a hard shadow from the flag, you can adjust the distance between the diffusion panel and the light to effect light falloff and intensity in the scene, diffusion panels are easy to store and set up, and they are cheap.
> 
> ...


Thanks for the feedback and I will check the Youtube link.


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## Punisher911 (Oct 22, 2015)

As far as "overpowering" your ambient light with your speedlight or whatever you end up with..   Higher shutter speeds will limit the ambient light in your exposure and using a large aperture with allow more of your flash/strobe into your exposure allowing you to "overpower" the less than satisfactory or non-matching light colors from the room lighting.  

Or if your budget allows, buy a nice Alien Bees or some other powerful strobe or continuous light source and turn off or dim the ambient/room lighting.


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## Village Idiot (Oct 23, 2015)

Punisher911 said:


> As far as "overpowering" your ambient light with your speedlight or whatever you end up with..   Higher shutter speeds will limit the ambient light in your exposure and using a large aperture with allow more of your flash/strobe into your exposure allowing you to "overpower" the less than satisfactory or non-matching light colors from the room lighting.
> 
> Or if your budget allows, buy a nice Alien Bees or some other powerful strobe or continuous light source and turn off or dim the ambient/room lighting.



Up until your x sync. If you're not able to block out all the ambient by 1/200 or 1/250, you're generally SOL on that front.


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## Punisher911 (Oct 23, 2015)

What about speedlights with high speed sync?


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