Photographer
TBJ Imaging
Posts: 2416
Harrisburg, Pennsylvania, US
If you had a $7500 budget to spend on a new lighting system, what would you purchase? what accessories? Would love to hear some different opinions.
Thanks
Thomas
Photographer
Imajin Studios
Posts: 2163
so what are you saying, that you have 7500.00 to spend on a lighting system
Photographer
EL Perdido
Posts: 9401
TERLINGUA, Texas, US
I would buy 3 White Lightnings, soft boxes, and some stands and spend the other $6000 on film and chemicals...
Photographer
ChristerArt
Posts: 2861
Cambridge, England, United Kingdom
Thomas B wrote:
If you had a $7500 budget to spend on a new lighting system, what would you purchase? what accessories? Would love to hear some different opinions.
Thanks
Thomas I certainly would not spend it all in one buying bonanza...
I would think for a week - or more - really think about my needs - then I would look for vendors where I could get the stuff I would buy to *start* - check their reputations - and then get the basics...
And I would leave the rest of the money in a separate account - and only use that account when I *really* needed something absolutely...
90% of the time you don't really need all that expensive stuff you *think* you need... Use your imagination instead and see how you can make very good do with only part of what you *thought* you absolutely *had* to have...=*^)
Buy one or two pieces of a system and start with that...
Christer
Photographer
Trent Chau Photography
Posts: 611
Alpharetta, Georgia, US
really only thing I want is the 8 foot octogon softbox from chimera.
Photographer
c d embrey
Posts: 193
Huntington Beach, California, US
B Alan Smith wrote:
I would buy 3 White Lightnings, soft boxes, and some stands and spend the other $6000 on film and chemicals... I know it's hard to understand, but you can't use ABs on a top dollar commercial shoot! When you work in the real world the client expects a certain level of professionalism. And that includes equipment.
Photographer
Duckee
Posts: 243
Brooklyn, New York, US
7500 can disappear like a wallet in a room full of gypsies in my possession. but if i could spend it before they got to it, i'd probably grab a 2400R Acute kit and as many modifiers as i could afford...ot I could just drop it all on a pro-7 or d4 pack.
Photographer
c d embrey
Posts: 193
Huntington Beach, California, US
Profoto of course. You can rent whatever you need anywhere.
A Profoto 7 foot reflector, with sock, would be nice for your kind of work.
A couple of Profoto beauty dishes with grids and socks
A Mola Euro or Mantti beauty dish.
Photographer
Know Idea
Posts: 3000
Los Angeles, California, US
I'd spend it on trip to Europe and bribe my way into an intern slot with someone who's lighting I admire.
Photographer
Mortonovich
Posts: 6209
San Diego, California, US
Know Idea wrote:
I'd spend it on trip to Europe and bribe my way into an intern slot with someone who's lighting I admire. I like this approach!
Photographer
A Traveler
Posts: 5506
San Francisco, California, US
profoto or broncolor. If you like location work, I'd go with profoto, although either would be excellent. Don't rush into a store and buy the first thing you see though, Do your research and decide what is best for you. Rent before you buy to see if you like it.
Photographer
photosbydmp
Posts: 3808
Shepparton-Mooroopna, Victoria, Australia
four visatec heads, four stands, 2 large softboxes,2 silver brollies, 2 translucent brollies,a flash meter,asst light modifiers, and you will get a little change as well.
Photographer
A Traveler
Posts: 5506
San Francisco, California, US
c d embrey wrote:
I know it's hard to understand, but you can't use ABs on a top dollar commercial shoot! When you work in the real world the client expects a certain level of professionalism. And that includes equipment. I know it's hard to understand, but when you work in the real world, the client hires you for your end result, not what you use to achieve that result.
Do you think Marc Jacobs would question what sort of equipment Juergen Teller was using?
Do you think any of Terry Richardson's clients take issue with what equipment he uses?
Equipment worship is pointless. Certain brands are designed for ease of use and build quality - you pay for this added convenience and durability. This does not mean that less expensive products could not achieve the identical result.
To counter your original statement and leave no doubts, I know of many photographers who have shot covers of major magazines, fashion editorials, and campaigns using AB and WL lights.
Photographer
Mgaphoto
Posts: 4982
San Diego, California, US
B Alan Smith wrote:
I would buy 3 White Lightnings, soft boxes, and some stands and spend the other $6000 on film and chemicals... lol
Photographer
Jay Esposito
Posts: 215
Denver, Colorado, US
Digital Soup wrote:
Profoto with wireless and porto packs. I 2nd this
Photographer
Vector 38
Posts: 8296
Austin, Texas, US
Thomas B wrote:
If you had a $X budget to spend on a new lighting system, what would you purchase? what accessories? Would love to hear some different opinions. i remember reading one photographer respond to this; try to paraphrase how he wrote it: 'everytime i read one of these threads i say i'd spend the minimum on [equipment] but more on marketing ...'.
~ f
Photographer
A Traveler
Posts: 5506
San Francisco, California, US
Vector 38 wrote:
i remember reading one photographer respond to this; try to paraphrase how he wrote it: 'everytime i read one of these threads i say i'd spend the minimum on [equipment] but more on marketing ...'.
~ f best advice yet.
Photographer
Stephen Brisendine
Posts: 13
Tulsa, Oklahoma, US
c d embrey wrote:
I know it's hard to understand, but you can't use ABs on a top dollar commercial shoot! When you work in the real world the client expects a certain level of professionalism. And that includes equipment. Sorry, this is total BS. If your client values your gear over the final product, they're elitist morons.
But the white lightnings might be a bit dated. Get some AlienBees gear, and spend the other $5500 on some new lenses and a backup body.
Actually, more and more photogs are going with small flashes for location shooting now anyways. Start reading strobist.com.
Photographer
c d embrey
Posts: 193
Huntington Beach, California, US
Stephen Brisendine wrote:
c d embrey wrote:
I know it's hard to understand, but you can't use ABs on a top dollar
Sorry, this is total BS. If your client values your gear over the final product, they're elitist morons. I started out working on TV commercials in the 1970s ... and I've met a lot of elitist morons.
All I can talk about is my own experiences. And from what I've seen my statement is true!
Your mileage may differ.
Photographer
richard boswell
Posts: 1790
New York, New York, US
2 pro accute 2400 sets with the ring-light and reflector
Photographer
FootNote Fotography
Posts: 18809
Gainesville, Florida, US
B Alan Smith wrote:
I would buy 3 White Lightnings, soft boxes, and some stands and spend the other $6000 on film and chemicals... I will take some of those too.
Photographer
DaveJacksonPhotography
Posts: 113
San Diego, California, US
For starters get yourself a few Plumes.
Photographer
Lee K
Posts: 2411
Palatine, Illinois, US
I'd just buy a bunch of porn.
Photographer
A Traveler
Posts: 5506
San Francisco, California, US
Lee K wrote:
I'd just buy a bunch of porn. people actually buy that stuff still? when they give it away for free?
Photographer
DaveJacksonPhotography
Posts: 113
San Diego, California, US
DaveJacksonPhotography wrote:
For starters get yourself a few Plumes. Please bring back the edit button sirs.
I meant the Jumbrellas. Also, while you are at it, get some freakin real lights. Not the ABs but some real big ass high power lights that allow you to skip the gels and just toast your model for the desired skin tones.
Oh Yeah
Photographer
Lee K
Posts: 2411
Palatine, Illinois, US
Nick Zantop wrote:
people actually buy that stuff still? when they give it away for free? As long as people are taking jokes seriously, they will continue to buy porn.
Photographer
Kurt Lindner
Posts: 214
Hermosa Beach, California, US
It'd all go towards Broncolor or Elinchrome, or heck maybe maybe Hensel cause I love monos, + modifiers of course.
Photographer
Kurt Lindner
Posts: 214
Hermosa Beach, California, US
c d embrey wrote:
I know it's hard to understand, but you can't use ABs on a top dollar commercial shoot! When you work in the real world the client expects a certain level of professionalism. And that includes equipment. I've seen and assisted many people who've circumvented this (truly unfortunate) fact by putting on a better show when a client attends.
Photographer
190608
Posts: 2383
Los Angeles, California, US
Come on now, don't forget the Speedotrons! 
Photographer
Philipe
Posts: 5302
Pomona, California, US
Broncolor. I wouldn't be able to buy too much though. There umbrella para reflectors are pricey.
Pro Photo is a good choice. You can get a lot with that amount of money.
Photographer
GDS Photos
Posts: 3399
London, England, United Kingdom
My advice is don't get hung up on brand names. Do though look for one that is versatile and can grow as you need it (acessories etc).
I use Bowens, 750 geminis for location and studio but a 1500 for studio only. I wish they did a ringflash for the geminis though.
It used to be that packs and heads were the only way to get power but monoblocs are getting powerful too.
Lastly, I was advised to get the most power you can. You can always shoot at below maximum but never above. That said, I never get to maximum with my set up.
By as you need not as you want.
Photographer
Caradoc
Posts: 19900
Scottsdale, Arizona, US
Stephen Brisendine wrote:
Sorry, this is total BS. If your client values your gear over the final product, they're elitist morons. I've done a lot of different kinds of "work" over the years, and if there is one thing that I have learned it is that the "elitist morons" can generally *afford* to be "elitist morons."
Catering to them gets you paid - and paid well - while getting their work done.
Both sides can be made happy. In one case that I can recall, one party was very, very, very happy with the paycheck. (That'd be the one I deposited and went back to school on.)
Photographer
Bryan Regan Photography
Posts: 137
Raleigh, North Carolina, US
Depends on what and where you shoot ........
Photographer
Imagenes
Posts: 1040
Baltimore, Maryland, US
Caradoc wrote:
I've done a lot of different kinds of "work" over the years, and if there is one thing that I have learned it is that the "elitist morons" can generally *afford* to be "elitist morons."
Catering to them gets you paid - and paid well - while getting their work done.
Both sides can be made happy. In one case that I can recall, one party was very, very, very happy with the paycheck. (That'd be the one I deposited and went back to school on.) I sense a career opportunity here. Making "Profoto" slip on sleeves to cover White Lightning strobes...
Photographer
David M Russell
Posts: 1301
New York, New York, US
Profoto.
Two Acute packs and four heads. Used if you can find it.
Grids. Boxes. Stands. Umbrellas. Spare bulbs/tubes.
Photographer
Jeffrey Engel
Posts: 22327
Waltham, Massachusetts, US
Nick Zantop wrote:
best advice yet. The truth is very few do.
I'm a photographer with a background in graphic design and have had a career in design, branding and creative direction. Every single time I've been approached by photographers (and it's been like 10 times) who wanted me to work on their web design, print collateral and overall branding strategy, I quote them just a couple Gs and they all are like "oh... wow, I thought i would be a couple hundred".
I've worked on $200K projects that involved ONLY web front-end design and branding, mind you.
Photographers are no different in undervaluing the creative fields. They consider marketing and advertising "pork", just like anybody else.
We SAY it's important, but people are still not willing to spend the cash.
Photographer
Gurmej Badesha
Posts: 1392
Birmingham, England, United Kingdom
Broncolor with strip lights and hazylight.
Broncolor's the mutts nuts1
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