| Lights are some of the most important tools | | | | but not everyone cares for them. They spread |
| photographers use in the creation of their final | | | | relatively soft light over a large area, but have poor |
| products. Here's a look at some of the most basic | | | | control. An alternative is a soft box, which creates a |
| photography lighting equipment, as it relates to studio | | | | square catch light. If you do prefer an umbrella, make |
| strobe lighting. Choose the right tools, and you'll get a | | | | sure you get the biggest one you can. After all, a |
| better result, every time. While you may occasionally | | | | large umbrella can be positioned closer to the subject |
| be able to get good results with the wrong | | | | to give the effect of a smaller one, but a small one |
| equipment, most of the time you won't. There's a | | | | can't act like a large one. |
| slim chance that a photo taken with a bare flash | | | | Another piece of basic photography lighting |
| head will work out. However, rather than take that | | | | equipment is the grid spot. Shaped a bit like a metal |
| chance, it's a better idea to find the equipment to | | | | honeycomb that goes over the reflector, it keeps |
| help you do a really professional job. | | | | the light from spreading, making multiple columns of |
| Bare bulbs are just a strobe head with no reflector, | | | | light close together. This creates a spot light. Larger |
| allowing the light to go wherever it wants to. They're | | | | grid spots are more efficient, but they also take up |
| only really effective as a portrait background light in a | | | | more space. They work well for background lighting, |
| small space. They can also be used inside light boxes. | | | | however. You'll also want to look at light boxes. |
| However, for pretty much every other use, you'll | | | | These are a simple frame holding open a five sided |
| want a reflector or diffuser of some sort. Small | | | | box (some are also round). They offer a lot of |
| reflectors are sometimes built into the light head, and | | | | control, and can work well for fill lighting. |
| work well with umbrellas, as well as for bouncing off | | | | We shouldn't forget about strip lights, either. These |
| of walls and ceilings. Stick with a neutral colored wall if | | | | long, thin light boxes can help you do some |
| you'll be bouncing light off of it, however. | | | | interesting experimental effects. Another very |
| Larger reflectors are a kind of photography lighting | | | | important and key component in a pro photography |
| equipment that doesn't work as well with umbrellas, | | | | lighting equipment setup is a backdrop. From product |
| since they block part of them. However, they're | | | | photographs to glamour shoots, a dependable |
| much better for bouncing light onto ceilings and walls. | | | | background support and backdrop is always needed. |
| They project more light, using fewer watt seconds. | | | | Utilizing a high quality, all cotton muslin backdrop to |
| For commercial photography, this will save you | | | | shoot against will assist photographers in creating |
| money on photography lighting equipment. | | | | stunning images on a consistent basis. |
| Umbrellas are used by most portrait photographers, | | | | |