Table Of ContentPHOTOGRAPHIC
LIGHTING EQUIPMENT
A Comprehensive Guide for
Digital Photographers
Kirk Tuck
Amherst Media®
PUBLISHER OF PHOTOGRAPHY BOOKS
Check out Amherst Media’s blogs at: http://portrait-photographer.blogspot.com/
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Copyright © 2010 by Kirk Tuck.
All photos by the author unless otherwise noted.
All rights reserved.
Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com
Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
Editorial assistance provided by John S. Loder and Sally Jarzab.
ISBN-13: 978-1-58428-993-7
Library of Congress Control Number: 2009911197
Printed in Korea.
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic,
mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.
Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The
author and publisher will not be held liable for the use or misuse of the information in this book.
CONTENTS
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 3. CONTINUOUS LIGHTS . . . . . . . . . . . . . . . . . . . .53
From Flashlights to Movie Lights . . . . . . . . . . .53
1. THE EVOLUTION OF PHOTOGRAPHIC LIGHTING . . .8 HMIs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
Flash Powder . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Bright, Cheap, and Easy to Use:
Photo Floods . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Meet the Tungstens . . . . . . . . . . . . . . . . .56
Flashbulbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Fluorescent Light Goes Mainstream . . . . . . . . .64
Tungsten-Halogen Bulbs . . . . . . . . . . . . . . . . .11 Light-Emitting Diodes (LEDs) . . . . . . . . . . . . .72
A Flash of Brilliance . . . . . . . . . . . . . . . . . . . . .11 Flashlights: Portable and Primitive . . . . . . . . . .72
Fluorescent Lights: A Different Kind
of “Flicker” . . . . . . . . . . . . . . . . . . . . . . .14 4. ACCESSORIES YOU’LL USE ON THE LIGHTS
Light-Emitting Diodes (LEDs) . . . . . . . . . . . . .14 THEMSELVES . . . . . . . . . . . . . . . . . . . . . . . . .76
Hydrargyrum Medium-Arc Iodide Metal Reflectors . . . . . . . . . . . . . . . . . . . . . . . .76
(HMI) Lights . . . . . . . . . . . . . . . . . . . . . . . .16 Umbrella Reflectors . . . . . . . . . . . . . . . . . . .76
Standard Reflectors . . . . . . . . . . . . . . . . . . . .77
2. ELECTRONIC FLASH: THE INDUSTRY STANDARD . .17 Magnum Reflectors . . . . . . . . . . . . . . . . . . . .78
On-Camera Flash . . . . . . . . . . . . . . . . . . . . . . .18 Beauty Dishes . . . . . . . . . . . . . . . . . . . . . . . .78
Monolights . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Telephoto Reflectors . . . . . . . . . . . . . . . . . . .80
Pack and Head Systems . . . . . . . . . . . . . . . . . . .30 Universal Modifiers . . . . . . . . . . . . . . . . . . . . . .80
The Hybrid Battery-Powered Studio Softboxes . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Flash Pack . . . . . . . . . . . . . . . . . . . . . . . .36 Umbrellas . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Flash Facts . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Synchronization Speed . . . . . . . . . . . . . . . . .37 5. OTHER LIGHTING ACCESSORIES . . . . . . . . . . . . .92
Synchronization . . . . . . . . . . . . . . . . . . . . . .38 Modifying, Movie Style: Scrims and Silks . . . . . .92
Flash Duration . . . . . . . . . . . . . . . . . . . . . . .40 Collapsible Round Modifiers . . . . . . . . . . . . . . .97
Color Temperature . . . . . . . . . . . . . . . . . . . .41 Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Safety Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 Muslins . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
Choosing a System for Your Style Canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
of Photography . . . . . . . . . . . . . . . . . . . .45 Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . .98
The Photojournalist/Magazine Editorial Background Paper . . . . . . . . . . . . . . . . . . . . .98
Photographer . . . . . . . . . . . . . . . . . . . . . .45
The Generalist . . . . . . . . . . . . . . . . . . . . . . .47
CONTENTS 3
6. THE SUPPORT STAFF . . . . . . . . . . . . . . . . . . . .99 The Ultimate Outfit . . . . . . . . . . . . . . . . . . . .113
Light Stands . . . . . . . . . . . . . . . . . . . . . . . . . . .99 A Buying Philosophy . . . . . . . . . . . . . . . . . . . .114
Booms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Buying Used . . . . . . . . . . . . . . . . . . . . . . . .115
Clamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Get a Good Light Meter . . . . . . . . . . . . . . . . .116
Attaching the Lights . . . . . . . . . . . . . . . . . . . .108 The Wrap-up . . . . . . . . . . . . . . . . . . . . . . . . .117
Extension Cables and Power Splitters . . . . . . .110 The Best and the Worst . . . . . . . . . . . . . . . . . .122
Transportation . . . . . . . . . . . . . . . . . . . . . . . .110
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
7. BUILDING YOUR PERFECT KIT . . . . . . . . . . . . .112
Location Work . . . . . . . . . . . . . . . . . . . . . . . .112
Fashion and Beauty Work . . . . . . . . . . . . . . . .113
ABOUT THE AUTHOR
irk Tuck is a corporate advertising photographer working in Austin, TX. His recent
Kclients have included IBM, AMD, Dell, Freescale Semiconductor, Cerilliant Systems,
Time Warner, Texas Gas Services, Tribeza magazine, SC magazine, Motorola, Salient Sys-
tems, and many others. Before diving into photography, Tuck was a creative director for
a regional advertising agency where he won numerous industry awards for writing, tele-
vision commercials, and print advertising. A former specialist lecturer at the University of
Texas at Austin, College of Fine Arts, he currently serves on the advisory board for the
Austin Community College photo department. Tuck teaches lighting and photography
classes across the country.
Kirk Tuck is the author of Minimalist Lighting: Professional Techniques for Location Photography, Minimalist Lighting:
Professional Techniques for Studio Photography, and, most recently, The Commercial Photography Handbook. He was also
the photographer for the bestselling cookbook, Creative Mexican Cooking, by Anne Lindsay Greer.
Tuck writes extensively on the subject of commercial photography at www.visualsciencelab.blogspot.com.
When he is not writing books or blogs or photographing, you can find him in the Rollingwood Pool with the competitive
swimmers on the Weiss and Weiss Aquatics Masters Team.
Acknowledgments. No book I’ve written comes together without the help and support of family and friends. I’d like to
say that my son, Ben, is a constant source of wisdom and rational thought. He is like a Buddha, teaching me patience and
focus. The following friends are a constant source of encouragement and are good “reality checkers”: Mike Hicks, Paul
Bardagjy, Greg Barton, Steve Benasso, Steve Matthews, Anne Butler, Jerry Sullivan, and David Rubin The crew at Precision
Camera indulges me like a spoiled child. The whole masters team at Weiss and Weiss aquatics keeps me disciplined and
happy.
Most of all, I would like to express my awe and wonder for my lifelong muse, Belinda. She is as constant as the North
Star, unimaginably kind and compassionate, and possessed of more grace and beauty than I ever thought possible in one
human being. I also want to acknowledge you, the gentle reader. Without you, these books would have no purpose.
4 PHOTOGRAPHIC LIGHTING EQUIPMENT
INTRODUCTION
f you boil photography down to
Iits essence, it’s all about the
interplay of visual content and light.
Most photographers use the light
they find when they come across a
scene or a person or an object that
they want to photograph, but there
is a separate breed of photographers
who crave control over the images
they create. We’re not above using
available light if it works, but we’re
equally ready to jump in and give
nature a hand with a toolbox full of
lighting devices, chosen to add a lit-
tle extra texture or sparkle to a pho-
tograph. If you are like me, you just
feel more comfortable knowing
that, with a well-placed light, you
can reduce a lighting ratio for better
reproduction, reduce the texture of
the skin on a woman’s face, or cre-
ate a lighting design that will give
your work its own unmistakable
signature. Above—When it comes right down to it, we spend a lot of time
and money on lighting equipment that is largely used to emulate
While there are many books in the marketplace that the light we see every day in the real world. In this image of Heidi,
offer you instruction in lighting, there are few, if any, I used a studio electronic flash softened by a very large, white
umbrella. It reminds me of the light that sometimes streams
that help you navigate through the vast array of gear through my windows.
available. There are fewer still that will help chart a
course in putting together your personal arsenal of
lighting equipment. This book attempts to cover every
kind of light, from flashlights to the top-of-the-line
studio electronic flashes, with suggestions for their
INTRODUCTION 5
Photo—Sometimes we just need to modify the sun a bit to get
the lighting that’s right for the subject. This shot was lit by a hazy
afternoon sun that was too contrasty to use directly. All it took
was one 4x4-foot piece of cloth, held in the right place, to master
the sunlight and make a flattering image. Diagram—(1) Building
1
downtown, /8 mile away. (2) Subject. (3) 300mm lens on a Nikon
D700. (4) 4x4-foot white diffusion material on a Chimera metal
frame, placed on a light stand. (5) Hazy mid-afternoon
sunlight.
most practical use. It also covers the “supporting cast”
of equipment such as light stands, battery/inverter
packs, light meters, backgrounds, and more.
My goal is to help you make intelligent decisions
when choosing and using the most appropriate gear
for your projects, your style, and your budget. You
might never need the incredible precision of a Swiss-
made Broncolor studio flash, but it’s good to know
why they exist, what they are used for, and perhaps ul-
timately why you don’t need one.
No matter what category of light you choose, you’ll
find that selecting a high-quality model from a rep-
utable manufacturer may be a bit more expensive up
front but will probably give you more reliable service
in the long run. You’ll also find that, in the case of stu-
dio lighting, the quality and availability of accessories
is at least as important as the specifications of the core
products.
In the past, I would have said that lights are “cam-
era neutral,” meaning that the lights work the same
way no matter which format camera you use. That was
1
true in the film days, but now the realities have
changed. Digital cameras have shifted the playing field
by delivering higher and higher ISOs with better and
better quality. That means you’ll need less power to
deliver the same quality. Ubiquitous Photoshop post-
2
production has reduced the need for studio lights to be
designed to deliver exactly the same amount and color
of light with each pop. In the days of film, the tighter
voltage regulation and the higher quality of the elec-
tronic pathway meant less variability in exposure. And
in color slide film what you shot was what you got.
3
Even though Profoto (the professional standard for
studio electronic flash, worldwide) has recently deliv-
4
ered a flash system to the market that claims to be ac-
5 curately repeatable within a 1/
20 stop, the reality is that
6 PHOTOGRAPHIC LIGHTING EQUIPMENT
1
the difference between /3 stop is the base level of our right tools. Where you end up will depend on the sub-
ability to discern change, and smaller variations are eas- ject matter you like to photograph and the style in
ily fixed in postproduction. The level of precision you which you like to photograph it. If you are committed
need will depend on how you use your lights and what to large format film cameras and large, soft light
sort of subject matter you photograph. But in most sources, you’ll migrate toward powerful studio units
cases, the relentless move to digital mitigates the need but you’ll be able to save a bit of money because recy-
for much expensive engineering in your lights. cle time will be less an issue to you. If you decide to
Most of us start our journey into photography as make a living photographing weddings, you’ll be able
available light amateurs and move progressively to to achieve most of your lighting goals with a small, ef-
battery-operated flashes and then to studio flashes. ficient trio of battery-operated flashes. As you’ll dis-
Those of us who decide to pursue photography as a cover, the sky is the limit, but your competence in
business move on to more and more expensive flash using the lights is part of the equation.
equipment. It’s largely a matter of being able to So, let’s get started and figure out where you need
achieve competence in the field you choose, with the to be to make the images you love.
1
2
6
5
4
3
Photo—Lights and lighting tools are the bread and butter of pho-
tography. When you understand how light works, it informs and
improves every shot you make. Diagram—(1) Black seamless
paper. (2) 40x50-inch softbox with 2000 watt-second strobe,
3 feet above subjects. (3) Electronic flash head with standard re-
flector. Blue gel over the top of a 40-degree spot grid. (4) Bread
and grapes on black deck plate surface. (5) Small white foam core
fill card. (6) Medium format camera with 150mm lens. ISO 64,
f/22.
INTRODUCTION 7
1. THE EVOLUTION OF PHOTOGRAPHIC LIGHTING
hotography predates electric lighting. Think about by unavoidable blinks and even body movements
Pthat for a minute. Early photographers never had caused by breathing!
the option of plugging in a lamp and shooting after
dark. It sure made for a shorter work day, but it made FLASH POWDER
life tough for photographers to get results under any Photographers developed two strategies for dealing
but the most optimal circumstances. Early films were with the lack of light. They found ways to cope with
so slow that they required exposures of up to a minute long exposures and looked to artificial light sources.
in full sunlight. Companies soon marketed chairs with One early light source was called “flash powder.” It
neck braces attached so that photographers could try was made of granulated potassium permanganate or
to make sure their clients didn’t move during the long ammonium nitrate and finely ground magnesium. It
exposures. Many hand-coated film plates were ruined seems that most early photographers developed their
own mixture, but one thing was true in every case: the
mixture was extremely flammable, could be explosive,
and the brighter it burned the more smoke it gave off.
Here’s the way photographers (brave souls) used
flash powder: First they would have to test the mix-
ture, the distance from the subject to the flash powder,
and the particular batch of hand-coated film they in-
tended to use. Once they got a good idea of the right
exposure based on their tests, they could move on to
real subjects. All the cameras of the era were basically
view cameras, so the photographer would evaluate the
scene through the lens onto the dark, ground glass of
the camera, focusing and composing on a very dim
image. He would then close the shutter, stop down
the aperture of the camera to his “pre-tested”
f-stop, and put in a film plate. He would then pull the
dark slide so that the film was open to the lens.
At this point, the photographer (or his unlucky as-
Above—A kids’ track meet. Late-afternoon sky. The sun was
modified by clouds low on the horizon, yielding beautiful light sistant) would measure out a very exact portion of
and just the right color temperature. I think most lit photographs flash powder onto an elevated platform. When every-
are an attempt to emulate what we see all the time in nature.
Cameras just need more help than our eyes. thing was set, the photographer and his assistant did a
8 PHOTOGRAPHIC LIGHTING EQUIPMENT
Left—Once you master the basic lighting concepts, you’ll be able
to light quickly and spend the bulk of your energy building rap-
port with your subject. Rob Williams for Zachary Scott Theater.
Right—Emotion in a shot trumps technical perfection. Doing both
well makes your work good. Espy for Zachary Scott Theater.
precise little dance. As the photographer opened the
shutter (generally a time exposure), the assistant would
strike a flint or sparking device that would set off the
flash powder. If everyone was lucky, all the people in
the room would be blinded for a few moments by the PHOTO FLOODS
flash. If they were unlucky, someone would be rushing But things got better. Edison got to work on electricity
to find water buckets with which to extinguish the fire. and lightbulbs, and in just a few decades the movie in-
1
The flash wasn’t the quick /1000 second that we’ve dustry got their hands on big, fat, high-output lights
come to expect from modern electronic flashes. It had that, when coupled with advances in the speed of film,
a burn time that, depending on the consistency of the were able to be used reliably in most situations. The
powder, could last for up to a full second. But the pur- first large bulbs were called “photo floods,” and if you
pose of these flashes was purely raw illumination. Early shop carefully, you may still be able to find them for
photographers didn’t have the luxury of flashes that sale today. A cottage industry soon grew up, designing
would freeze motion entirely. In fact, the 19th- and making reflectors and holders for the lights. They
century shutters were not even synchronized! were hot, did not last long (six to eight hours, at best),
Pity the photographer doing early flash photogra- and weren’t nearly as powerful as the newer genera-
phy, as he usually only got to make one shot. No one tions of continuous lights coming onto the market.
wanted to wait around for a second experience after Movie studios needed lights that were bright
the uncomfortable brightness and a room full of acrid enough to fill in or compete with sunlight in order to
smoke. tone down the high contrast of early movie film stock
THE EVOLUTION OF PHOTOGRAPHIC LIGHTING 9
