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Power pack or power supplies

From: Up and Running with Studio Strobes

Video: Power pack or power supplies

Our lights are on stands. >> So, you've got this light plugged in, we

Power pack or power supplies

Our lights are on stands. They've got some of the basic shaping tools or modifiers attached. They probably need some power. >> Absolutely. What's a light without power? >> a very heavy paperweight. >> Yes. >> So, you've got this light plugged in, we know it's working because you've turned on the modelling light. This is really simple, right? All you need is a power cord. >> Absolutely. And I'm going to go ahead and turn it off and as you can see it's a standard power cord. It would be one of the ones that you could find a replacement for usually at a hardware store or a Radio Shack. >> Even Target, yeah.

>> And it's good to keep in mind that. You know, this is rated for this light, and if you ever need to replace this or even use an extension cord, make sure you get a beefy one because it's pulling a lot of current. >> Yeah. >> And if you get a really cheap one, that could be a fire hazard. >> Right. And you want to be safe. Remember, you're not going to leave your lights plugged in and unattended. Because essentially, they are large devices that put off a lot of heat and suck electricity. Generally speaking, unless you are looking to start a fire you don't want to leave these things unattended.

And you did bring up a very good point. We'll sometimes call extension cords, stingers. Related to when you build your kit make sure you pick up some extra extension cords. We're not talking about the cheap ones. We mean the heavy duty ones that you would get at a real hardware store. You might want some gaffer's tape so you can go ahead and tack that down. This is going to be simple stuff, but remember, keep it safe. So you want to have enough cords, because Abba, the worst thing that I've seen happen lots of times. Is that people are lazy and they don't plug in an extension cord and. They've got this cord under some tension, and what's going to happen? >> it's going to knock the light over.

Somebody's going to trip over it. It doesn't need a lot of pull to either knock the light over. And even if you don't knock it over, if it's tight, it pulls a little bit, you're aim's going to be off. So you spend all this time focusing your light. And then somebody pulls the cord. So extension cords are great, as a matter of fact, ones that I like, actually have a, a reel that I can reel it in. Because the other thing you don't want is a lot of slack around. Because again, more safety. >> Now if you don't have a type of light, the mono light that has everything built in, you may have the power pack. We've mentioned the power pack before.

These are generally fairly proprietary. So it's going to come with your kit. Or you're going to need to stick with one from generally the same manufacturer. So it's just going to vary by what's out there. But pretty straightforward. Notice on this end we've got the power cord. Looks exactly like same one you were using. You see there are certain things that are industry standards. Here's one that is a little bit tricky, it actually has a fuse. You may want to pick up some spare fuses. Because if your onset and you blow a fuse, the last thing you want to do is say oh, oh, everybody just wait while I run to the store to buy a fuse.

>> As a matter of fact, even these lights have fuses on the inside. And you should take a minute, read the manual and find out what type of fuse it is, and keep those on set. >> So pretty straight forward, but just figure out how are you going to power your lights and make sure you have adequate cords. In this case with the external power pack, I've got the ability to power four cords. Well, I'm going to need four cords if I want to hook up four lights. I also may need multiple cords or different lengths so that I have adequate reach. And this is just all going to depend upon the subjects.

If you're shooting individual portraits, you probably don't need as much reach as if you're being called out to shoot the entire football team and you want to spread the lights out to get, you know, all those linebackers with the broad shoulders. So you really have to figure out what type of shooting you're doing. And translate to that, to the gear that you need, but generally speaking the good news that this is not terribly expensive, right? >> No and the nice thing is it comes fairly turnkey and as you grow in experience and in need, you can get longer cords, you can get beefier power packs, if you're going to be using your flash more frequently.

>> Yeah. >> Every half second instead of every three seconds, you can always modify from your base kit. >> Yeah, you will typically have to stay within the same manufacture, most likely. But many of those parts will translate up, and as you grow and expand, remember there's always a tremendous market out there for used gear. So you should be able to sell off some of your used equipment. As you expand up, or keep it as spare equipment in case you have any gear failure. >> Yeah, I'm a big fan of keeping spare equipment, especially if you start off with something rather inexpensive or rather reasonable.

there's always a case where something goes down. You have a shoot to do, you can always pull this out. It's good gear. >> Yeah. >> And you'll know how to use it. >> Absolutely.

Show transcript

This video is part of

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

62 video lessons · 5288 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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