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In this course, Rich Harrington and Abba Shapiro give beginning photographers a brisk look at using strobe lights in a studio setting—lessons that easily translate to the field and locations, inside and out. Learn why shooting with strobes and continuous lighting makes such a big impact on your photographs, and how to buy a good, affordable starter kit. Rich and Abba also show how to set your gear up, trigger your lights, and make modifications with accessories like reflectors, umbrellas, and soft boxes. Finally, learn how to make the most of what you have in a series of lighting challenges.
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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