noel Salcedo wrote:
hmmm thats very tru, i should rent them sukas, and try them all out..
but im broke

everytime i assist photographer (eric johnson) he always gets the lowel omni lights, i love his results, but jus wanted to know if those are good, or are there better systems more flexible lights, anything i can dim? so its not always as strong?

does it show i dont know jack about lights
lol

It's always better to know, but trust me, as odd as it sounds, that is NOT the worst thing to not know jack about.

noel Salcedo wrote:
does it show i dont know jack about lights
lol

J n X Photography wrote:
I have a question about buying a multi-head monolight kit...How is the best way to trigger them?  How do the IR/wireless/flash sensors compare?

Are monos better than packs?

to fire my strobes wirelessly i use the 'MicroSync',  as it's name implies the selling point
is the size.  The transmitter is tiny compared to something like a Pocket Wizard.

Monos are not better than packs...there are advantages to both.
For my work pack/heads work well....i'm usually working in a small space, so i'm not going to find the 14' length of my cable confining.  The pack stays near me so i can tweak the power settings.

Who makes Calumet's stuff?

Bogen/Manfrotto--at least some of it.

noel Salcedo wrote:
does it show i dont know jack about lights
lol

it's ok.  most strobes do essentially the same thing, give or take a few details.  the strategy in purchasing a system has to do with personal preferences, finances, rental needs, etc.  for example, i am recently unwilling to carry anything heavier than an on-camera flash.  there is no way i'd carry a freakin' profoto or speedo battery pack without a damn sherpa.  but that's me...

J n X Photography wrote:
I have a question about buying a multi-head monolight kit...How is the best way to trigger them?  How do the IR/wireless/flash sensors compare?

Wein makes some good optical slaves, and some cheapies. Their peanut slaves (about $10 each) work well in darkish areas--interior light), and suck horribly in daylight. Their deluxe units ($60) work decently in light areas. Some powered optical slaves work very well even in daylight, but they're even more expensive (Perfected Photo's Super Slave, around $90).

I have no experience with the coded IR slaves.

J n X Photography wrote:
Are monos better than packs?

Yes and no. Depending on how you'll be using your lights, all packs, all monolights, or a mix of both may be more effective.

See this photo.net article for a brief overview. I own a mix of packs and monolights, and have used studios where only monolights or only pack-and-head systems are in use, and a mix is much more flexible overall for me. I needed a pack to run a focusing spotlight or a fresnel, and the lighter heads worked better on a Mola Euro than a monolight head would. The complete independence of the monolights is handy in other situations. So I use whichever makes more sense for that situation.

Francis Moran wrote:
Who makes Calumet's stuff?

Their lights are made by Bowens, a UK-based company.

Francis Moran wrote:
If you buy AB strobes, will different manufacturer's softbox fit on it?

Yes. Most manufacturers make adapters (Speedrings) for most brands of lights.

Christopher Bush wrote:
for example, i am recently unwilling to carry anything heavier than an on-camera flash.  there is no way i'd carry a freakin' profoto or speedo battery pack without a damn sherpa.  but that's me...

Wheels aren't as good as a good sherpa, but they're a lot cheaper. Almost everything I have is in wheeled cases, with 5"-8" wheels which don't bog down on grass. I'd prefer a free assistant, but...

I'll also echo what Hope Parr said about a class: it'll save you a lot of frustration to take even a 1 day class in using studio lights. Leo's book recommendations are also my general lighting suggestions, but neither discuss the mechanics of how the lighting system's hardware works (controls), merely how light operates. To control the light, you'll need to know how to control your light units, too.

LarryB wrote:
From what I've been told, unless you're using at least a Broncolor grafit, you shouldn't be allowed to own a camera.  So you should consider starting with one of those.

I shoot ABs, so I'm probably just a hack.  I'm enjoying the results though, so FTW. 

They (Broncolor, especially Grafit packs) are fantastic for table-top work. Not my preferred gear at all for people. Profoto is so much easier to work with for people work (by my method), and it's hard to explain.

The thing is, it's not in the WS, or the WS/$, people. It's in all the little details of how things work, and with what, and what you have to do and how you have to work with the stuff that makes all the difference in your work. There is NO way of knowing what works how and what meshes best with the way you work until you try it. Trust me on this if nothing else.

Z_Photo wrote:
there are lots of suggestions for alien bees.  i assume that is because they are a good value and are pretty good lights.  that suggests to me that the beefier white lightning products are better lights.  anyone have insight into this?  i also assume all the modifers- grids, snoots, etc from the company work on either set of heads (AB or WL)?

i have also been looking at hensel.  i am sure there is a substantial cost difference.  where i have a problem is in comparison of features, reproduciilty, quality, etc.  anyone have comments on that?

an example of a hensel feature (do ABs or WLs have this?)that sounds great:
proportional feature that gives a reliable preview of lighting ratios.

What Hensel gear are you looking at? I've been a Hensel Porty user for 3 years. BTW, proportional modelling lights are generally pretty bunk, and Hensel modelling lamps are for shit. I love my Hensel stuff, but this is where Profoto really excels. And it's not so much in the proportionality of the modelling lamps, but the look of the lamps and how closely they reflect the look of the strobe. With Hensel, you're pretty much guesstimating by meter/polaroid/experience, and with Profoto I find you can use your eye more.

In people situations, Broncolor's even worse in that regard, but in the limited scope of table top, they're nearly perfect, and oh-so controllable and repeatable, with a huge array of appropriate modifiers  and specialty heads and so forth....

This stuff (and a whooooole lotta other stuff that only becomes obvious after use) means a lot more in the way it affects your work than "features." The most important aspects of a lighting system and how they will affect your work are not to be found in any product literature or online or anecdotally. It's not in the features, it's not in the specs. It all must be experienced. You'll find what works best for you when you get your hands on it. Lighting gear has a way of imposing its own working method on you more than anything else, and so it's best to find something that meshes with you more than forcing you to mesh with it.

Z_Photo wrote:
here in the woods the opportunity to rent and try various systems is non existent or at best very limited.  i may have to make a choice based upon inputs from experience of others.  i was looking at hensel integra pro plus vs white lightning or...etc

thuy, what's the buzz, tell me what's a buggin' ya

Ok, the Integra line is Hensel's mono line which I have very limited experience with. I've used them once in a studio in Germany I'd rented that was equipped with them. I wasn't wild about them, but that's due to my distaste for mono heads. In comparison to other mono heads, the "quality" is excellent, very likely the best-made, much higher standard than the Paul Buff stuff, but whether or not they're the best for the way you like to work is not a question that I or anyone else can answer, apart from maybe those who know you. It's more expensive, and so are the accessories (which are critical... you'll find that quality, availability, price, functionality, and convenience of accessories is a major, major deal).

Oh, and everything, EVERYTHING has its quirks. In some cases unnoticeable or totally immaterial, in some cases minor annoyances, and in some cases major issues. You'll find out how they relate to you as you use them. Best of luck.

Its All Good Photogra wrote:
I use the Norman lighting system.

Specifically the 2400 because I can dial up or down my power.  I also use the old Norman workhorse (P-2000) however it does not let me reduce power.

Two of the first pack systems I ever used. I even bought the P24/24 as a student (stupid, I could've had a great deal on a Profoto at the time, argh!). Hated those heavy-ass 1950's electric-chair-powering P2000s but those were serious workhorse packs that worked and lasted forever and I shot a lot of pictures with those at  school.

Seville Media wrote:
To anyone who ever doubted Alien Bees and their plastic construction. I recently had one that was mounted on a 12 foot stand take a dive on concrete. You know whathappened? My aluminum 7 inch dish needed to be hammered out. The light works just fine so let me speak from experience when I say the construction is rugged. I can bring down their power up and down, it's stepless, and with a four channel wired remote control, I can controll up to four lights from one location. There is a battery pack available so shooting on location is no problem and with their new ring flash for ....... $399, I'm all set. Their discharge time is at around 1/2000 of a second, fast enough for most work. Hope this helps.

Yes, but this is more "WS + features/$$" of the sort that you can compare on product brochures. How do you like working with that set-up? How do you like the light? How well or how poorly does that correspond to the way you prefer to work? How does it help, and how does it get in the way?

Nobody ever talks about this stuff. Partly because it's hard to talk about. But that's what's really important.

Its All Good Photogra wrote:
Marko  I feel you.  I bought my Norman systems when in school and the deal was to good to pass up.  I don't regret purchasing them.  Wish I were going back to Venice in Feb for Carnivale in San Marcos Square.

Yeah, the nicest thing about Norman, I think, is that it's a California-based company. Local. Very popular in all respects on the west coast, everybody knows them, has them, knows how to work on them, stocks stuff for them. And it's nice to support the local industry... I bought a couple of 400B packs/heads 2nd hand and those were my location staple for, oh, 4 years or so.

Thuy Anh wrote:
I hear buzzing...

Bees?

Francis Moran wrote:
One day, I'm going to buy some lights.... but I'm still in the "trying to figure it out" mode... mostly trying to figure out what my functionality requirments are. There's also budget concerns.

I'm on the Dyna-lite web-site, trying to educate myself about their product line. Seems like they're mostly a power-pack company - with very powerful & versatile flash heads.  They have some nice 2 & 3 head power pack combos.  Dyna-lite is not cheap.

The AB units are afforable, but not as powerful. (Maybe a budget-wise entry level way to go)

Then there's the whole world of other brands to compare!

More importantly, before I buy anything, I need some hands-on time with strobes to experiement with lighting, and learn how the equipment works and the effects that can be achieved with one light and a softbox and reflectors, and then with 2 lights, etc and go from there.

I've just started to get some studio lighting experience in the past couple of months.

And today I'm going to go assist at a shoot and get some lighting experience.

Meanwhile, I'm going to kep saving my nickles and dimes! (There's also a wide-angkle zoom on my shopping list)

Thanks for answers to previous questions

I will tell you one thing about the AB, Paul doesn't fudge on the power (guide numbers) of these units.  I use an AB800 head on my 5ft umbrella at about 8 feet
at 200 ISO at F-11.....is that enough power for you ?  if not he makes a AB1600.  They are also light (3lbs or less @)
The great thing about AB they have a 30 day return policy, you don't like em
you can send them back....and let's talk about resale value, check out Ebay,
I have seen the get between 80%-85% of retail....I can't say any more about
AB's I love them to death....I don't work for them.....hey Paul got a job opening
I will say this there stands could be a little better though....

Francis Moran wrote:
I've just started to get some studio lighting experience in the past couple of months.

And today I'm going to go assist at a shoot and get some lighting experience.

Get as much "hands on" time with the lighting equipment as you can.  There's nothing like actually working with equipment to learn it's pros and cons.