What are the best light bulb for continuous light shots?

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marciofs

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baachitraka

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http://www.fredparker.com/ultexp1.htm

Please scroll down to Appendix B to find out the table for EV, Footcandles and LUX.

To get a decent shutter speed you may need atleast 20000 LUX at the subject. So may need much brighter light 41000 - 160000 LUX if you consider the light modifiers and distance between subject and the light source.

Inverse square law holds. :-(

I may invest in very nice studio flash with good modelling light(>=150W)
 
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marciofs

marciofs

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I have being using as test a 28w bulb woth light bounced on a silver umbrela.
With (digital) camera configured at ISO 400 - f1.8 - 1/15 which is just fine.

Here 2 example:

5572804.jpg


3522166_orig.jpg


So I can assume I will have enough light with 85w or more. :smile:
With the daylight bulb in the link I get +600w output.

My purpose are posed portraits with medium and large format negatives.

Even for pinhole f233 I only need 4 stop to be able to do 3m exposure in studio with fomapan 400. But I could use Tmax with shorter reciprocity failure or Fuji 400 (if it is still in the market).
 

baachitraka

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You may need atleast two-four bulbs to get a decent aperture/shutter settings in medium/large format. Those bulbs are rather very expensive.

Is continuous light a requirement? A soft-box(rectangular/octogonal) will do a perfect job.
 
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marciofs

marciofs

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You may need atleast two-four bulbs to get a decent aperture/shutter settings in medium/large format. Those bulbs are rather very expensive.

Is continuous light a requirement? A soft-box(rectangular/octogonal) will do a perfect job.

What you mean by "decent aperture/shutter settings"?

The one in the link is not expensive.

And I can use use continuous light with any modifier. I have played a bit with softbox but as single light surce I prefer the bounced light from umbrella.

For pinhole continuous lite is a requirement. I don't want have to pop +15x the flash per photo.
But also because I have being enjoying the feel and work flow of continuous light.
 

baachitraka

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With that I meant, to have a good DoF. Nevertheless its €50 for experiment. Good luck with it.
 

M Carter

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I went through a spiral fluorescent phase, but at the time, I couldn't get anything with decent clean color. Too many yellow or green casts.

If you find a spiral that works for you, you can always screw several bases to a board and blast 'em through a sheet if diffusion… or buy one of those softbox kits with multiple bulb bases.

I finally switched to 5500 and 6500k 400 watt mogul HID lights - they put out about 1.2k watts tungsten equivalent, but clean daylight. I use aquarium ballasts with them, and they work in Photoflex Starlite fixtures, so I can use pro softboxes and grids with them. I do corporate video stuff so I try to avoid plywood and duct tape gear.

I still use my tungsten lights a lot though. Fresnels and open-faced. I usually shoot the open faced lights through diffusion or bounce them.

I recently bought a used auto-show style fixture - a Source 4 575 par converted to HMI. It's a pretty killer light and it can fight daylight windows on indoor shoots. They're showing up on the used market a lot (mine was $175 with lenses and barn doors). That's the only light in this shot, bounced off a white popup reflector.

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M Carter

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I went through a spiral fluorescent phase, but at the time, I couldn't get anything with decent clean color. Too many yellow or green casts.

If you find a spiral that works for you, you can always screw several bases to a board and blast 'em through a sheet if diffusion… or buy one of those softbox kits with multiple bulb bases.

I finally switched to 5500 and 6500k 400 watt mogul HID lights - they put out about 1.2k watts tungsten equivalent, but clean daylight. I use aquarium ballasts with them, and they work in Photoflex Starlite fixtures, so I can use pro softboxes and grids with them. I do corporate video stuff so I try to avoid plywood and duct tape gear.

I still use my tungsten lights a lot though. Fresnels and open-faced. I usually shoot the open faced lights through diffusion or bounce them.

I recently bought a used auto-show style fixture - a Source 4 575 par converted to HMI. It's a pretty killer light and it can fight daylight windows on indoor shoots. They're showing up on the used market a lot (mine was $175 with lenses and barn doors). That's the only light in this shot, bounced off a white popup reflector.

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baachitraka

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Color Rendering Index is one that I have forgotten to bring up.
 

Bill Burk

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I found a pair of similar but half the wattage/lumens. I am a little scared when using them because of all that glass, I worry the light stand will fall over and everything will shatter.

At least I don't have to worry about the house catching fire though...

Looking forward to your results... I'd be using black and white, so I'm not so concerned for the color balance.
 
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marciofs

marciofs

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I found a pair of similar but half the wattage/lumens. I am a little scared when using them because of all that glass, I worry the light stand will fall over and everything will shatter.

At least I don't have to worry about the house catching fire though...

Looking forward to your results... I'd be using black and white, so I'm not so concerned for the color balance.

I shoot 99% black and white too. The light colour has its influences in black and white as well. These bulbs are about 50000k pure white which I assume is just the right spot for general shoot pourpose. Farther special ajustment effect can be done with colour gel. The bulb does't heat too much so not much to worry I guess. Or lens filters... Or gold/silver/white reflectors.
 

M Carter

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I found a pair of similar but half the wattage/lumens. I am a little scared when using them because of all that glass, I worry the light stand will fall over and everything will shatter.

Sandbags are your friend.
 

M Carter

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Nice M Carter!

I am very excited to start shoot my sitters with my new set of continuous light.

It has something different than flash that attracts me.

I'm a very big fan of flash on the subject and tungsten on the BG, shoot at like 1/2 second and give a little blur to the background (or give the focus a twist after the flash pops).
 

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MattKrull

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I went through a spiral fluorescent phase, but at the time, I couldn't get anything with decent clean color.
Finding a good spiral bulb is definitely hard. Hard enough that I've basically given up. I still keep a pair in my kit so that I can use them when the stars align.
This image was shot using a single 60w CFL screwed into a normal household lamp (actually, antique drafting lamp). The shot was, if I recall, F4 at 1/30 or 1/15 (tripod mounted). (there was a url link here which no longer exists)
I tried using four of these 60w CFLs in a dual-holder behind an umbrella. Even at 1m from the subject, I'm shooting very narrow (F2.8 - F4, as fast as my zooms will go) and slow (1/60). The ones I have, despite being daylight balanced, have holes in the spectrum, and it really brings out weird colors in people's lips and highlights acne. This shows up in B&W film as well as colour.
Definitely make sure you are getting high CRI bulbs.
 

baachitraka

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f/4 is rather very narrow in MF. I still biased to good studio flash and light modifiers.
 

M Carter

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I much prefer strobes myself - but doing video got me trying out all sorts of daylight stuff.

And back in the film days, I got very good at balancing my strobes to tungsten and using tungsten lights to do things like blurred backgrounds while the strobes froze the subject. So I get it that there are various reasons to be intrigued by testing this stuff.

I finally gave up on spiral flos and the bigger 100 watt screw-ins. There are lots of Kino knockoffs out there (55 watt biax tubes in banks of 2, 4 and 6). a 4-bank is equivalent to about a 1k tungsten light, but it's 5500k, can be found for $200 or so. But that's just big soft light (which can be modified, but will never be focused and hard).

If you really want an HMI-type fresnel, here are two threads to a DIY ballasted 150 watt light that can be made for around $100, depending on the fresnel fixture you find to modify. I'm not much of an engineer, but I came up with these and they can be made with a cheap drill press (or even a hand drill) and soldering iron - no electronics knowledge really needed, you just have to wire an on-off switch and a ballast cable - really easy. It's about a 500 watt tungsten equivalent, but daylight, and pulls only 150 watts of power and has heat equivalent to a 150 tungsten.

It's a great daylight fresnel in two versions:

The first is more suited to a 6" or 8" fresnel (like a 650 or 1k) and is very close to pure awesome 5500k - a little bit of pink in the color. The other is more for a 3" (300 watt style) fresnel, and is perfect, gorgeous daylight. BOTH OF THESE BULBS PUT OUT A LOT OF UV and should be used in a housing with a glass lens (and maybe add a sheet of cheap UV gel??). Also, the first version, I used Speakon connectors which work fine and are over-rated for the voltages… but powercon connectors cost the same and are more of a standard.

6" Fresnel - read this first, even if you want the 3"

3" Fresnel - this is a badass little light.

These links have detailed instructions, parts lists, parts links and color tests, and suggestions on donor fresnel fixtures. A very very easy build for you or a handy friend. The main thing is that what little wiring is done is properly soldered and grounded, but anyone who's done a little wiring should be able to do it.

And best of all? They don't look at all DIY - the ballast is housed in a nice metal enclosure with power switch, handle, and head cable jack. You can take it to client gigs and look like an adult!
 

hack02

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First, you need a good light meter.
Second, you need a window with light coming through it. (Free!)
Third, you need a chair for the person to sit down.
Pose the person, then click the shutter.


From a quick perusal of your other posts, you are using B&W film. This is good, as you don't need to balance the light for color. Fluorescent = soft light, tungsten = hard light. You can get as fancy as you like with what you can build for yourself, and that will save you a lot of money. Also, scouting around on Craig's List, eBay, or wherever will yield commercially-made systems for not much money. You will need quite a bit of light for LF, but I can't give an exact wattage recommendation because it also depends on the light modifiers, film speed, aperture, and all that other stuff. You can use tungsten work lights from a hardware store, and build your own light modifiers (barn doors, etc.) for them, but a cheap commercial outfit won't cost too much.
 

MattKrull

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First, you need a good light meter.Second, you need a window with light coming through it. (Free!)Third, you need a chair for the person to sit down.Pose the person, then click the shutter.
Hack, not to pick on you, but this recommendation (which I've seen a number of times in similar discussions on this forum and others) is, frankly, useless.
It only works if you have are shooting when there is sufficient light outside, and you are shooting someplace that has sufficient natural light.
I work a day job, and in the winter the sun sets before I get home. How can I light my subjects during the work week? What if I want to shoot in a bar (as some of the examples posted here show)? Can I only pose the person right beside the window (odd place to photograph a bar tender)? What if the bar is in a basement and has no windows at all?
As fantastic as natural light is, it is too limiting be our only tool. While I love my little speed lights, they too have limits and sometimes a daylight balanced continuous light source is the best tool for the job.
 

M Carter

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Hey, I love me some window light, if the time of day is right and so on (and I'll likely augment or tweak with more lights).

I've got a PILE of lighting gear. Speedotron packs and heads with plenty of reflectors and softboxes… open faced tungsten and tungsten fresnels of various sizes and outputs… spiral flos, biax flos, HID and HMI in open-faced and par and fresnel… and then panels and flags and cards, and stands from little folders to beefy babies.

There's no one-size-fits-all though. It's much more a case of finding what suits the images you want to make. Having the kind of variety I do means that I can choose the lights for what I envision. But I have the luxury doing this for a living - it's much harder for the advanced amateur or hobbyist or even master photog that's never sold his stuff. Then you have to research and test as much as possible and hunt down good deals or go DIY. I've been there and I certainly feel for people in that spot.

But to say "all you need is a window and a chair" strikes me as very wrong unless that's truly all you need.

And at the risk of seeming a little myopic myself… for anyone interested in strobes, I'd say "try a used pack & head setup". There's a Speedo 805 and two heads on eBay today for $3-$400 or so. Speedo Brown Line is good stuff too. Novatron - hmmm, wouldn't want to hang a large softbox on one of them heads!
 

Sirius Glass

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Incandescent light bulbs, flash bulbs and strobes.
 
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marciofs

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I am using my two bulb holder, one for the sunlight bulb 125w input (+600w output) with softbox. The other as hair ou side light with a low watts haus bulb with a reflecto and banner, and some times with softbox too. Or as fill light with reflector umbrela.

It works great for me. :smile:

With my lensed camera I get ISO 200, 1/60 e f/2.8.
But I use it for pinhole portraits and still.

Here a self portrait I made with single light (with pinhole camera).

3321354_orig.jpg
 

M Carter

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Hey, Jan Saudek used a single photoflood, bounced off the ceiling.

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