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Lighting stands and booms

From: Up and Running with Studio Strobes

Video: Lighting stands and booms

My understanding is that these lights kind of get hot

Lighting stands and booms

My understanding is that these lights kind of get hot as we're shooting and we don't want to have to stand around holding them or convincing our friends to put on the leather gloves and stand there holding lights. >> No, you can't buy that much piece to make people hold hot lights. >> Yeah so you're going to need some stands and your kit probably came with stands. The good news is, is that these are fairly standard. And you see that the top of the stand here, very consistent across. You're going to see all sorts of stands like this. This is a fairly wide use connection. And it just connects from the bottom of the light here.

Now, make sure you tighten this down. Don't over crank it. Right? >> Right. I mean, a lot of times people think it has to be super tight. And they end up stripping it. >> Yeah. >> And you just need it to be finger tight. And you want to make sure that if I picked up the light by the unit. Which, by the way, you shouldn't do. But if I did. >> It didn't fall off. >> It doesn't fall off. Exactly. >> Yeah. So, pretty straightforward. We've got this one on a stand. Your kit may come with something like this. And a lot of people are unsure how to open this up. I want to walk you through the basics here. If I just thread that open and begin to pull this apart here, you see that there's legs.

And what's important is that you don't take it too far, that's not stable. Neither is having it like this, where it's really, really tall and skinny. You really have to get it so it's about a clean angle here. I usually go about a hand length. You know, right about there is pretty good. Tighten that down. And that's the most stable. You know, what do you think? Does that work? >> I think that's pretty good and it's important to note that this is not used to give you height. It's these sections here, and if your stand is not high enough.

>> Yeah. >> Get a higher stand. They come everywhere from ones that go four feet, to ten feet and, as beefy as you need them. >> Right. Behind us, since we are in a studio, we have some really robust stands. You actually see we have a heavy duty stand back here that's on wheels. That makes it really easy to just roll the light into position, roll it closer, roll it out. In a studio environment that's a piece of cake and I might go for a beefier stand. With a stand like this, you're probably going to want to pick up some sand bags to weight them down.

because while this is sturdy, it could be sturdier. >> Absolutely. As a matter of fact, this is a safety first issue, and beefy stands are good, and you don't the stand, if it gets bumped into to very easily fall over and, and that's where sand bags come in. >> Yeah. >> You set the stand where you want, and then you put these sandbags which you can get. They probably won't come with your kit, but it's definitely something worth investing in. >> And if you find yourself flying a lot or needing to travel, you can actually get compact stands. So, go ahead and fold that one back up for a second.

You're going to see that these are a bit smaller, and what happened here is, instead of the legs just sort of folding and the head. You notice that it's actually about 40% smaller and that's because it, the legs folded back up towards the tip rather then having it go back down. >> So that' great if you need to carry something on a plane and you have like that 22 inch issue. >> Yeah, so there we just do the same thing and it opens back up,same general idea we get that stability we turn it down. And at this point, they look pretty much the same.

This type of light stand is not designed to hold as much weight, but here's the good news. If your kit came with light stands, the manufacturer probably didn't put cheap light stands in. They said, oh, these are the ones you need to hold this much weight. >> Absolutely. And that's something you need to be careful of, that, don't switch out for an ultralight stand, if you have heavy duty lights. Because it's going to make it top heavy. >> Yeah. >> And that's going to be a problem. >> This is the insurance policy that keeps your light from falling over. Combine it with sand bags for extra safety. Make sure that when you're running around on set, you're not doing it in the dark or blindly.

You don't want to knock things over. Safety first. Both for you, your subject and, of course, the investment in your equipment.

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This video is part of

Image for Up and Running with Studio Strobes
Up and Running with Studio Strobes

62 video lessons · 5371 viewers

Richard Harrington and Abba Shapiro
Author

 
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  1. 4m 6s
    1. Welcome
      2m 4s
    2. What you should know to get the most from this course
      2m 2s
  2. 6m 26s
    1. Shooting with strobes
      1m 23s
    2. Strobe lighting allows you to shoot with an increased depth of field
      58s
    3. Strobe lighting has faster recharge times than flashes
      1m 39s
    4. Strobe lighting is good at freezing action
      48s
    5. Strobe lighting offers many modifiers to shape light
      1m 38s
  3. 7m 34s
    1. Continuous lighting is easier for a beginner to understand
      1m 47s
    2. Continuous lighting makes it easier to achieve soft-light looks
      2m 57s
    3. Continuous lighting is useful if mixing video into the shoot
      2m 50s
  4. 20m 47s
    1. Buying piecemeal vs. buying a kit
      2m 29s
    2. Criteria for selecting lights
      5m 57s
    3. How many lights do you need?
      3m 0s
    4. How much power do you need
      5m 37s
    5. Mixing brands
      3m 44s
  5. 16m 40s
    1. Monolights and flash heads
      2m 22s
    2. Reflectors and diffusers
      3m 54s
    3. Lighting stands and booms
      3m 49s
    4. Power pack or power supplies
      4m 29s
    5. Sync cable
      2m 6s
  6. 19m 7s
    1. Handling the lamp or bulb
      2m 52s
    2. The role of the modeling light
      4m 36s
    3. Keeping lights cool
      1m 46s
    4. The master and slave relationship for lighting
      4m 5s
    5. Essential controls
      5m 48s
  7. 14m 59s
    1. Connecting the sync cable
      3m 16s
    2. Using a wireless transmitter
      7m 7s
    3. Slaving with a speedlight
      4m 36s
  8. 34m 6s
    1. Setting shutter sync speed
      4m 56s
    2. Setting an initial aperture and ISO
      2m 28s
    3. Controlling power output
      3m 1s
    4. Moving lights (the inverse-square rule)
      2m 8s
    5. Using a light meter in camera
      4m 4s
    6. Using an external light meter
      1m 45s
    7. Test shooting with one light at a time
      2m 5s
    8. Putting it all together
      1m 39s
    9. Controlling exposure with power or aperture
      1m 6s
    10. Refining exposure with ISO
      1m 39s
    11. Tethering to a laptop
      5m 22s
    12. Checking the shots on a computer
      3m 53s
  9. 31m 38s
    1. Modifying strobe lights
      1m 9s
    2. Bouncing the light with a reflector
      4m 26s
    3. Bouncing the light with a bounce card
      1m 12s
    4. Shaping the light with a beauty dish
      3m 5s
    5. Diffusing the light with an umbrella
      5m 50s
    6. Diffusing the light with a softbox
      4m 49s
    7. Focusing the light with a snoot
      6m 58s
    8. Modeling the light with grids and honeycombs
      2m 2s
    9. Using flags to restrict the light
      2m 7s
  10. 14m 50s
    1. Three-light setup
      6m 52s
    2. Three-light dramatic portrait
      4m 59s
    3. Four-light setup
      2m 59s
  11. 46m 56s
    1. Take the challenge
      55s
    2. Solution
      29s
    3. Portrait challenge 1
      8m 6s
    4. Portrait challenge 2
      3m 10s
    5. Portrait challenge 3
      12m 55s
    6. Portrait challenge 4
      3m 19s
    7. Portrait challenge 5
      4m 28s
    8. Portrait challenge 6
      9m 5s
    9. Portrait challenge 7
      4m 29s
  12. 39s
    1. Next steps
      39s

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