With the new Nikon D7100 digital camera, you would expect to be able to turn your hand to almost anything. This versatile and flexible camera is designed to excel in all areas of photography. So, once it is out of the box, many new owners will be rushing to take portraits and still-life images in studio conditions. obviously, if you can, you should always try to shoot in natural light - particularly if you are shooting portraits. If that isn't feasible, the pop up flash can usually provide the necessary fill-in, or you could use you flash gun, carefully placed and fired remotely. In most circumstances these tools will help you to get a decent result. But a time will come when you decide you need more control and at the point you will want a studio set up.
If you are setting up your studio at home, the ideal scenario is to have a room specifically put aside for your photography. It should have plenty of space, a high ceiling and be at least 5 meters long. Paint the walls a color that doesn't reflect too much - black is ideal, but if you have to share the room, then gray would be OK. Cover the windows with blackout material to ensure that the light can't get in and also cover the doors to prevent further contamination. Ideally you only want to have the light that is under your control to be effecting your images. You will also need a good supply of electrical sockets.
The reason photographers work so hard to exclude natural/variable light is so that they can control lighting conditions themselves. When buying lights you will first need to choose betweencontinuous or strobe (flash) lighting. Continuous lighting comes in two kinds - tungsten or fluorescent - and the choice is largely a matter of personal taste. Tungsten lights are sometimes referred to as "hot lights" because they emit heat (this can be a problem if your subject is going to be sitting underneath them for a long time). They also tend to glow with a warmer light and so give a 'reddish' result which can be great for skin tones and natural looking images.
Fluorescent lights have a more sterile white light with a blueish hue. They are often used for stock shots ad still-live photography, because it is felt that the colors are more accurate. Of course, it is up to the photographer to choose which he prefers. White balance, in the D7100's settings will be able to rectify most light settings, but, as you are in charge of your lighting, it would be better to set the lights so that the subject appears as you want to see it. Relying on in-camera correctives is just another think to try to remember and sooner or later you will be cursing your memory and catching up in Photoshop.
With continuous lighting, the photographer is able to judge how the light affects his subject in real time through the viewfinder or backscreen - which means fewer surprises and disappointments. It also means that the photographer can devote more attention to composition and content, rather than wondering if the flash just fired or not. However, if you want to catch something in motion, or even cleanly give the impression and motion, then you have need to shoot with strobe lights.
Strobe lights allow the photographer a much greater degree of flexibility. The intensity of the flash can be adjusted to suit requirement, and that means that the shutter speed can be controlled far more effectively. If the subject is moving, then your shutter speed needs to be as fast as possible. The only real downside (apart from not being able to see the lighting effect in real time), is that the lights take some time to recharge.
If you start off with a couple of lights, the easiest way to set them up is with the soft box at the front and the spot at the back. The soft box emits a softer more even light that is easier to meter against. The soft box should be 6 feet away from the subject, near the camera. The other light should be at least 3 feet away from the back drop so that it gives an even background. I would advise getting some barn doors for the back light, so that the light doesn't spread where it isn't wanted. always set your trigger up to the front light and ensure that both lights fire at the same time. Most lighting systems have slaves built into them these days.
I usually begin a shoot on a standard 1/125 at f8 with an ISO set at 200. This gives me enough flexibility to change things around gradually if I need to. Most studio lenses operate comfortably at f8 and the shutter speed will catch most fluid movement. If you find the lighting a bit flat, move the soft box out wide to get some more definition and shadow, but always be aware that more shadow can be very unflattering, particularly if the subject has an angular face or large nose. I always start by getting the standard shots done - the full length, half-length and then move in tighter for head and shoulders or portrait. By the time you want to try something more interesting your model will have relaxed and you will have become more confident in the equipment and you abilities.
If you are setting up your studio at home, the ideal scenario is to have a room specifically put aside for your photography. It should have plenty of space, a high ceiling and be at least 5 meters long. Paint the walls a color that doesn't reflect too much - black is ideal, but if you have to share the room, then gray would be OK. Cover the windows with blackout material to ensure that the light can't get in and also cover the doors to prevent further contamination. Ideally you only want to have the light that is under your control to be effecting your images. You will also need a good supply of electrical sockets.
The reason photographers work so hard to exclude natural/variable light is so that they can control lighting conditions themselves. When buying lights you will first need to choose betweencontinuous or strobe (flash) lighting. Continuous lighting comes in two kinds - tungsten or fluorescent - and the choice is largely a matter of personal taste. Tungsten lights are sometimes referred to as "hot lights" because they emit heat (this can be a problem if your subject is going to be sitting underneath them for a long time). They also tend to glow with a warmer light and so give a 'reddish' result which can be great for skin tones and natural looking images.
Fluorescent lights have a more sterile white light with a blueish hue. They are often used for stock shots ad still-live photography, because it is felt that the colors are more accurate. Of course, it is up to the photographer to choose which he prefers. White balance, in the D7100's settings will be able to rectify most light settings, but, as you are in charge of your lighting, it would be better to set the lights so that the subject appears as you want to see it. Relying on in-camera correctives is just another think to try to remember and sooner or later you will be cursing your memory and catching up in Photoshop.
With continuous lighting, the photographer is able to judge how the light affects his subject in real time through the viewfinder or backscreen - which means fewer surprises and disappointments. It also means that the photographer can devote more attention to composition and content, rather than wondering if the flash just fired or not. However, if you want to catch something in motion, or even cleanly give the impression and motion, then you have need to shoot with strobe lights.
Strobe lights allow the photographer a much greater degree of flexibility. The intensity of the flash can be adjusted to suit requirement, and that means that the shutter speed can be controlled far more effectively. If the subject is moving, then your shutter speed needs to be as fast as possible. The only real downside (apart from not being able to see the lighting effect in real time), is that the lights take some time to recharge.
If you start off with a couple of lights, the easiest way to set them up is with the soft box at the front and the spot at the back. The soft box emits a softer more even light that is easier to meter against. The soft box should be 6 feet away from the subject, near the camera. The other light should be at least 3 feet away from the back drop so that it gives an even background. I would advise getting some barn doors for the back light, so that the light doesn't spread where it isn't wanted. always set your trigger up to the front light and ensure that both lights fire at the same time. Most lighting systems have slaves built into them these days.
I usually begin a shoot on a standard 1/125 at f8 with an ISO set at 200. This gives me enough flexibility to change things around gradually if I need to. Most studio lenses operate comfortably at f8 and the shutter speed will catch most fluid movement. If you find the lighting a bit flat, move the soft box out wide to get some more definition and shadow, but always be aware that more shadow can be very unflattering, particularly if the subject has an angular face or large nose. I always start by getting the standard shots done - the full length, half-length and then move in tighter for head and shoulders or portrait. By the time you want to try something more interesting your model will have relaxed and you will have become more confident in the equipment and you abilities.
