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Umbrellas are generally chosen for their wrap, spread, and softness, not their controllability. One exception is soft grids that Photo ex supplies for their 3-foot and 5-foot units. Generally, however, if the light needs
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130 Part III In the Field with Your Canon EOS-1Ds Mark III
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Molo 28 Soft Molo 33.5 Euro Einchrom 28 MaxiSoft
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7.6 Just part of the re ector collection transport, but are wonderful in the studio and often worth the e ort. You can also now buy soft egg crates for the Molas, available from Lighttools (www.lightttools.com). You need to separately purchase and install the appropriate speed rings onto each Mola to match the strobes you re planning to use with it.
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Using 7-inch re ectors, you can typically place a round honeycomb grid in front of the light to narrow its spread. These grids are normally available in 10-degree, 20degree, 30-degree, and 40-degree sizes.
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Following is an interesting test of two strobe re ectors as well as available light. Comparison testing is an important practice to learn just how di erent light modi ers compare to each other, in terms of ease of setup, quality and controllability. The initial image, 7.7, is shot with the Elinchrom Maxisoft; notice the gentle quality of the light and fallo . The second image, 7.8, is the exact same setup, except now lighting with a 22-inch beauty dish with a honeycomb grid attached. The nal image uses available light only, the source being a large sliding glass door. 7.8 Summer girl, lit with a beauty dish. ISO 100, 1/125 second at f/9.
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7.7 Summer girl, lit by a Maxisoft re ector. ISO 100, 1/125 second at f/5.6.
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7.9 Summer girl, lit by window light. ISO 200, 1/125 second at f/2.2.
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132 Part III In the Field with Your Canon EOS-1Ds Mark III Special units
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Special lighting units refer to equipment not used as much as the main gear mentioned, but invaluable for certain situations. This list is endless, but includes the following: beam, crisp shadows, and specular re ections.
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Ring lights. Ring lights are circular
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ash tubes that t around the camera lens and produce a somewhat shadowless light with bright highlights. Their look as key lights goes in and out of style, but they have one great quality: they allow anyone to look good using one light. It s a complementary look for people both young and old. I currently use a Ranger ring ash along with the Ranger RX-AS battery pack, both manufactured by Elinchrom. In addition, I often place a Hensel Octa Haze di user in front of the ring ash. This unit takes the ring ash s light and bounces it backwards and then forwards through di usion, creating a double-bounce ring ash. I nd the combination of these items very useful in many situations, particularly where time is a concern.
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Lanterns. Chimera makes lanternlike units that strobes or hot lights can attach to. These are particularly useful for lighting in the round, such as above a round table where people are seated.
Fresnel adaptors. Fresnel lights are
typically hot lights used in theatrical and lm production. They have a directional, even quality that is easily controlled. They re excellent for throwing shadows, patterns, and so on. Many of the manufacturers make Fresnel housings in which their strobes can be mounted.
Profoto hardbox. This is a unit
that the strobe ts into, creating a sun-shaft quality, with a narrow
7.10 Canon EOS-1Ds Mark III with a Ranger ring ash attached
7.11 Hensel Octa Haze mounted on a ring ash
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7.12 Young family lit by a single ring ash with Octa Haze and available light
7.13 Bride and best boy, lit by a ring ash and Octa Haze in a deeply shaded environment
134 Part III In the Field with Your Canon EOS-1Ds Mark III
Fluorescent and HMI Systems
Primarily aimed at the lighting needs of the video and lm industries, uorescent units and HMIs (constant source or hot lights whose color temperature matches daylight) o er some wonderful lighting opportunities for still photography as well. Particularly with the greater sensitivity of the EOS-1Ds Mark III sensor, as well as other current models, these systems have become a more viable option in certain situations. Both systems are constant-light sources, allowing you to see the e ect of the light on the subject before you shoot. Both systems also allow the use of daylight color temperature xtures, which are essential to lm and video shoots, as strobes are not an option for motion picture or video productions. Each has its advantages and drawbacks, as explained in the following sections.
7.14 Photo of two 200-watt Diva-Lites least. These units can have a beautiful quality, but they are just not bright enough to be very functional in an exterior daylight environment. Inside, though, is another story. Particularly in an interior with daylight color temperature, these units can work very well. Several companies manufacture and market uorescent units and systems, but I personally prefer Kino Flo (www.kino o.com). Some other sources are www.coollights.biz, www.videssence.tv, and Mole-Richardson Co. (www.mole.com). Although more expensive than most of the competition, Kino Flo products are designed by lighting people for lighting people, and at least for me, the research and design is always appreciated. They come in an enormous range of sizes, from the 9-inch Mini-Flo (a favorite of cinematographers to hide inside tight spaces