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Should I order Strobes (flash equipment)
or Digital/Video (continuous) lights?
Which type of lighting would be most suitable for your
needs? The answer is the same as in ALL questions in photography:
it depends. It depends upon what you want to achieve, and what
equipment you're using (regular film SLR cameras, digital cameras,
or video/movie cameras). The first thing to realize is that you
can use film cameras with continuous lighting equipment, and
you can use many digital cameras with strobe (flash) equipment.
SO, which way should you go? Read on....
For film cameras you can use either continuous lights or strobe
(flash) lighting; which will probably be best? If you're already
working with strobes, and are happy with them, fine - go with
strobes. However, if you don't already use strobes, I'd suggest
starting out with continuous lights - they are much easier for
the beginner, and can be used with all kinds of cameras, film,
digital, camcorders, and movie cameras. But if you're using mostly
digital cameras, then you should definately consider the digital
continuous lighting equipment. The continuous lighting equipment
(click here: HERE),
as I just explained, can be used with film cameras (35mm, medium
format, large format) as well as with digital cameras, video
cameras, and movie cameras. Why, you might be asking yourself,
did most still film photographers used to use strobes? Because,
when "regular" continuous lights first came on the
market (photographers used to call them "hot" lights
for a reason: they got hot). Really hot! And the special photographic
hot lights got twice as hot as household bulbs! This used to
make certain things, like flowers, foods, animals, and those
darn pesky models, wilt. Especially models. They got very, very,
unhappy when they wilt. Bitch, bitch, bitch; you'd think a little
melting makeup, and running mascara, limp hair, and sticky lipstick,
and beads of sweat running down their lovely curvaceous (umm,
let's say noses) was a big deal or something, the way they complain!
;-) But "hot lights" are not that "hot"
any more!
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As we all know, technology is fast-moving,
and for those of us who have digital cameras, video cameras,
or are movie makers, the new digital continuous lighting
equipment - the "hot lights" - are now much better
made and vented to substantially reduce the amount of heat they
throw off, and are also perfectly color-balanced for digital
still pictures as well as video and movies.Plus, the digital
continuous lighting equipment can also be successfully used for
regular still film photography (35mm, medium format, etc.) as
well. If we still shoot with a film camera, all we need to do
to use continuous lights is to use tungsten film OR use an 81A
filter on our film cameras, both of which are inexpensive and
easily acquired. In addition, to the heat reductions on the new
lights, the Digital Lamps I offer are so powerful that they can
be placed far enough away from our subjects to virtually eliminate
the heat problems which were so common with the older, standard
hot lights.
Basically, you can successfully use hot lights with film cameras,
or use strobes with many digital cameras. But depending upon
which types of equipment you're using for the majority
of your work, you'd be better off with the following lighting
equipment:
So, to (finally:) answer the question, here's
my advice: IF you're going to
be using mostly still film cameras (35mm, medium format,
large format, etc.), and you are already using - and happy with
- strobes then go for the strobe (flash) equipment. In many cases,
strobes can also be successfully used with digital cameras (click
here -> HERE
<- for more - and important - information on this subject,
because some digital cameras cannot work with strobes).
But IF you're going to be using mostly
digital cameras, then go for the digital continuous lighting
equipment; continuous lighting can be easily and successfully
used with still film cameras (by using tungsten film or a simple
81A filter) as well as with digital cameras, for which the light
is already perfectly balanced.Also, continuous lighting equipment
is easier for the beginner to use because we can see exactly
where our subjects will be illuminated before we make
an exposure. So the equipment you're going to be using the majority
of the time will dictate the type of lighting equipment you should
acquire. For example, if you're using digital cameras 80% of
the time and film cameras 20% of the time, you'll be better off
with continuous lighting equipment. If your work should be the
reverse (e.g., 80% film cameras and 20% digital cameras), then
you'd be better off with strobes.
HOWEVER, if you're going to be using
video cameras or movie cameras, your only
choice is the continuous lighting equipment. So, the lighting
equipment you should acquire is based upon your needs, and the
type of equipment you're going to be using (still film cameras,
digital cameras, video cameras, or movie cameras). Of course,
only you can make the proper decision regarding your needs. I
hope this helps; if not, feel free to contact me if I can be
of any further help in any way.
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What lighting equipment will you need? First, see the information
about deciding which type of lighting equipment will work best
for you; review the discussion just above,
then read this
important information, and then come back here if strobes are
your best choice..Although I'd be more than happy to help out,
with some specific suggestions, there are so many different photographic
needs and budgets, that's it's impossible to provide you with
any meaningful and appropriate suggestions - unless you
can tell me 1) what type of photography you're going to be doing,
and 2) an approximate budget which would be comfortable
for you. Please review this
discussion (read the information here), and then let me know
what kind of photography you'll be doing, and a budget range,
and if one of my current packages does not perfectly fill your
needs, we'll put together a custom package just for you.
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I have everything from a single strobe, to an entire top-level
photographic studio setup available. You might begin by reviewing
my auctions, HERE.
... and see all the current photographic packages in the "Systems
& Packages" section of my web site HERE.
...and then letting me know what interests you. The type of
photography you'd like to pursue will dictate the type of equipment
you'll need. For example, if you wanted to photograph just stamps
or coins (or similarly small items), you'd need one type of equipment;
for portraiture, you'd need another; and if you wanted to photograph
the entire interior of the Sistine Chapel, you'd need something
quite different.
Some Suggestions: If you haven't already
read it, review this discussion
first. Generally, though, for STROBE users, you might
find one my 3 to 5 light Packages would be a good start for general
and portrait photography, for example (see HERE and HERE). But if these packages are more than
you could comfortably afford, then you should check out my two
"bare bones" professional-level portrait (and product
photography as well) packages: See THIS for a 2 Strobe Kit, and THIS for the next step up in a 3 Strobe Kit.
If money is especially tight, you might consider the 2 Strobe or 3 Strobe setups. If your budget will stretch
to it, and you're serious about photography, I'd definitely consider
the 7
Strobe or 10 Strobe Professional Lighting & Background
Support Packages; and these packages are priced lower than what
you'd pay for just a couple of strobes from competing manufacturers.
But, to start, all you need is the will to DO it! You can do
it with or without lighting equipment; if you can afford one
single strobe, it will help. If you can't afford any strobes,
just use existing daylight until you can afford pro lighting.
But I haven't had time to update my web site in quite a
while, so for all of the lighting equipment, please see my eBay
auctions, HERE
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But always remember, if all it took
to make someone a "great photographer" was an expensive
set of strobes and fancy equipment, than everyone who could afford
a fully-outfitted photographic lighting studio would be a great
photographer! So don't let anyone promise you that "If you'll
buy MY lighting equipment, you'll become a great photographer!"
Sure, great images are much easier and more convenient
to make with studio lighting equipment than without
equipment, but it takes something inside YOU to become a great
photographer; and the only way you'll ever be able to find out
is if you try! There are no "tests" or projects
or classes that we can take to determine whether or not we have
what it takes to make a great image; you have to first learn
how to use your equipment, and then start making pictures. Those
of us who are lucky enough will one day - when we're least expecting
it, simply "flash" on an understanding (an Epiphany)
of just what it takes to make a wonderful image. This flash of
comprehension, this bolt of understanding, might come after we
make 10 pictures, or 100 pictures, or after we've made our 1,000th
picture. If you give up before you reach that point, you'll never
know that amazing joy - and what's even worse, is never even
trying! The world is full of folks who "woulda, coulda,
shoulda," but never even tried. Look, it really doesn't
matter to me who you buy your photographic equipment from (well,
I'd rather it be me, truth be told:), but regardless, if you've
ever looked at a picture and said "wow!" please don't
give up without at least giving it a shot! If you can't afford
a single strobe, make pictures with available light. Everyone
has a camera, and (deep down) every one of us wishes he or she
could make an image that tugs at the heart, or exposes an injustice,
or overwhelms us with beauty or color, or touches us with the
tears of a child. Maybe you have it within you to make an image
that can change the world - maybe not. But unless you give it
a chance and try, you'll never know, will you? (see how Edison
invented the lightbulb before you give up).
Next:
Once you get into photography, you'll find that you'll develop
an insatiable appetite for all the lights and gadgets and photographic
gizmos you can get your greedy little photographic hands on :)!
If you'd be kind enough to let me know the type of photography
you're interested in, and your general budget range, I'll be
happy to offer some more specific suggestions for you. You can
e-mail me here (but
please be aware that it might take a day or two to get back to
you - I receive tons of e-mail every day). And remember, if none
of my pre-designed packages are a perfect fit for you, we'll
put together a custom package just for you.
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 For portraiture (as well as general
and product photography), you might want to consider purchasing
strobes that come with modeling lights (which are a Godsend for
all photographers, and especially valuable for beginners),
and also come with variable power outputs, interchangeable reflectors,
and the ability to use additional light modifying accessories
(like softboxes, softcases, snoots, honeycombs, barndoors, etc.,
etc.). The least expensive strobes with all these capabilities
are the PS-300 Pro Strobes (see them HERE), and they're priced low enough for
almost all of us to afford. For the least expensive professional-level
starter portrait packages, see my two "bare bones"
pro portrait packages featuring the great PS-300 Pro Strobes
(these will work for product photography as well): See THIS for a 2 Strobe Kit, and THIS for the next step up 3 Strobe Kit. I
hope this helps; check out the different packages and let me
know what seems interesting to you. For a beginning portraiture
package, you might consider THIS fabulous package - on sale now for $100.00
LESS than the usual super-LOW price! Or, for a few dollars more,
add a great custom backdrop AND a great background support set
in THIS package. But even one or two strobes
will substantially improve your portraits, and you should consider
- if it's within your budget - one or two PS-300 Pro MonoLight
Strobes, at 150WS each; see them here.
Why, you may ask, should you buy the more expensive strobes
with modeling lights and variable power? Why not just buy the
2
or 3 Strobe Beginner's Kits I sell for only $200-350? Because,
as with many items, the greater the capabilities, the more creative
options we have.
Basically, why is a more expensive package (with strobes that
have modeling lights and greater power) better for you than one
of the other, less expensive, 2, 3 , or 4 strobe beginner's packages
I have listed?
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 Because MonoLight strobes, such as the PS-300
Pro Strobes (and all the strobe models above the PS-300s)
have greater capabilities, and they make life so much easier
for us! First, they pump out a full 150WS (or more) of power
(which is more than triple the power of the BB-50 units in the
beginner's kits), and they have variable power with the flip
of a switch, they have removable and interchangeable reflectors
(which allow for the use of an almost infinite variety or light
modifying accessories (such as many different reflectors - for
many different needs - as well as snoots, softboxes, softcases,
and many other light modifiers), and most important of all (for
all studio photographers and most especially for those
of us who are just beginning with studio photography), modeling
lights! See above for a picture of a modeling
light, and see just below for an explanation of why it's probably
the single most valuable item in the beginning photographer's
photographic tool chest!
Modeling lights: A "Modeling
Light" is a separate, additional, light bulb (in addition
to the strobe's "Flash Tube") that's built into some
strobes and when turned on (it stays on and lit for as long as
you want it to, just like our regular household bulbs) the modeling
light throws continuous light over the same area as the strobe's
flash tube will. Among pro photographers, "modeling"
doesn't mean the job beautiful people do when they pose for the
camera, but it is a term which means the interplay of light and
shadows which fall upon our subjects. Without modeling lights,
we won't know how our shots will turn out until after
taking the picture. Strobes with modeling lights allow us to
see exactly where the light and shadow will fall on our subjects
before we set off the strobe's flash, and this convenience
allows us to set our strobes exactly where we want them, quickly
and easily, before we make the exposure! This feature is a tremendous
help to all photographers, but especially for beginners. However,
if you can't afford the more expensive strobes with modeling
lights, then get those without modeling lights; any pro strobe
will substantially improve your pictures. Read a little more
about this below.
Of course, just like everything else in the world, the greater
the power and capabilities of any product, the more it
costs. Sure, we can make great pictures using less costly strobes
without modeling lights, and for such strobes, we use the "trial
and error" method; first, we try it "this way,"
and then see how we like the resulting picture; next, we'd try
setting up our strobes "that way," and seeing how we
like the result. We'd do this until we have it just right (and
once we had it perfectly set up, we'd know exactly how to set
up our lights for the next and future subjects). I assure you,
having one inexpensive pro strobe without a modeling
light will give you a phenomenal increase in creative options,
and allow you to make great images that would not be possible
without that one inexpensive strobe. And two or three inexpensive
pro strobes without modeling lights would allow you to make great
images that would not be possible with only one (or two) strobes
without modeling lights. But using strobes WITH modeling lights
will not only make beginning photographers lives easier, it will
make it easier to be more creative - and more profitable (in
less time)! It will also SAVE you money in wasted film and models'
frustration.
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Look at it like this (using a car to illustrate this situation):
we could certainly get to wherever we were going in a car without
an automatic transmission, without power steering, without power
brakes, without a radio, without air conditioning, and without
those irreplaceable electric rear window defrosters that we just
could not imagine living without :). Hey, if all we could possibly
afford was a basic automobile without any of the goodies (even
a Yugo:), then that would be a million times better than waiting
for a bus in the rain, sleet, or snow. That's why we buy the
less expensive strobes; it beats the hell out of walking or waiting
for a bus or train in the freezing rain. And owning that very
basic car without any of the amenities will allow us to
get to work, on time, wherever we had to go for our jobs. Then,
after a while, showing up on time (and bringing in that regular
paycheck), we'd then be able to buy ourselves a nice car with
all the goodies (like a Cadillac, Lincoln, Mercedes, or Beemer),
and impress all the girls (or guys, depending upon your outlook:).
But try asking someone out on a date when you don't have a car
at all, and see what happens.
My point? IF you can afford strobes with
modeling lights (without taking the baby's food money, or knocking
over the neighborhood convenience store:), then by all means,
get strobes with modeling lights! They'll make your photographic
life easier, your sittings faster, and everything photographic
more fun. If you CAN'T afford strobes with modeling lights, or
if you decide not to spend any more money than you absolutely
have to, then get the less expensive strobes without modeling
lights. In fact, if you've always wanted to get into photography,
but aren't sure you'll really like it, and don't want to get
stuck with equipment that you won't use, then buying one of the
inexpensive 2 or 3 strobe kits for a couple or three hundred
dollars isn't a bad idea at all! For a small outlay, you can
"test the waters," and see how you get along with the
equipment. If you love it, hey, you can add any new strobes and
equipment to your photographic arsenal at any time. Also, remember
that photographers of 25 and 50 years ago made stunning and fabulous
photographs with strobes that had none of our modern extras,
without modeling lights, without optical slave sensors, and used
cameras that were little more than a box with a pinhole for a
lens!
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And unlike most other items, every photographer can
use every strobe they can possibly get their greedy little
photographic hands on! If you start with an inexpensive 2 or
3 strobe package (at truly fabulous prices!), and then decide
you want more equipment and buy some more powerful strobes, you'll
still use the inexpensive strobes for darn near every
shot! Most of the top professional portrait photographers use
6 to 10 strobes - even for head shots! The powerful MonoLights
with modeling lights to light the victim (subject), and the other
strobes for hairlights, spots, highlights, catch lights, background
lights, etc., etc.
Be aware, though, that millions of photographers
around the world are successfully making great pictures using
strobes without modeling lights! It's exactly the same
as when you use your camera's flash or a dedicated flash on your
camera's hot shoe or bracket to take a picture; these flashes
never have modeling lights, but billions of successful flash
pictures are taken each and every year. It's just a trial and
error learning curve with strobes without modeling lights; after
a while, you'll get the technique down, and will know how to
set up your strobes - it's not as convenient as strobes with
modeling lights, but folks were driving cars without automatic
transmissions and without power steering for many decades - and
successfully getting to where they wanted to go. Sure, an automatic
transmission and power steering (and brakes) make the trip easier
and more convenient, but cars with the extra goodies cost more
than those without the goodies - just like strobes do, too. You
have to start somewhere, y'know. :) And one of the main advantages
of pro strobes (with or without modeling lights) is the ability
to position them for the best results! Strobes without modeling
lights are a phenomenal advantage over on-camera flashes, because
you're free to place your light sources (the strobes) where they'll
make your image look fabulous! See the Power fallacy discussion,
below, for more on this subject.
If you're photographing products or things
(as opposed to people), you'll want - at the very least - two
strobes, and preferably three or four. You'll want two strobes
to light your product, and a third to light the background (which
eliminates those ugly shadows). A third strobe can also help
to light your product, depending upon the size of your products
and the effect you're after, and a fourth will deal with the
backdrop. If you're in business, the reality of sales is the
more pictures you provide for your potential customers, the more
product you'll sell. The better your product looks in these pictures,
the more they'll sell. The more benefits you describe about your
products, the more you'll sell. That's just the way the world
of commerce works (and don't blame me - I didn't design the world,
y'know: - I just make pictures of it:). And nowadays, with the
web well on its way to becoming the greatest marketing tool in
the history of the world, posting great pictures of your products
is more important than it's ever been! If you want to succeed
online, you MUST provide good images of whatever it is you're
selling.
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 But if, in the unlikely event that you might find
that studio photography isn't your cup of tea, then you're not
out thousands of dollars (remember that super-duper muscle-building
workout machine you bought for quite a pretty penny? I'm willing
to bet that it's now in the same place MY super-duper $1,000.00
workout machine is: in the garage collecting dust)!
Sure I'm in business to sell equipment, but NOT
by taking advantage of decent folks like you (especially fellow
photographers:); so read over my suggestions, consider what's
best for YOUR particular needs, and just order what you
can afford (or nothing at all).
To recapitulate, ANY pro strobe is better than no strobes,
and any 2 (or 3) strobes without all the bells and whistles,
are better than only one strobe. If you can afford strobes with
modeling lights, by all means, that's the way to go. If you're
not able to afford the more powerful and capable units with modeling
lights, then go for whatever you can comfortably handle. I promise
you (and I personally guarantee) that - if you put in a little
time and effort - your photography will improve substantially
with ANY of my professional lighting kits! You already know what
your people pictures end up looking like when you use the flash
that's built into your camera, or an accessory flash on your
hot shoe: they turn out looking like doo-doo! Why? Because frontal
lighting makes faces look "flat" and pasty-faced, and
many of your people pix end up with your subjects staring at
you with "red-eyes!" Any decent portrait
requires off-camera strobes! And if all you can handle is one
inexpensive pro strobe, that one little light will dramatically
improve your pictures, simply because you can place it off to
the side of your subject, rather than full frontal lighting!
Add a $2.00 reflector (a piece of white poster board from any
art supply store), and your one pro strobe, and you can make
your portraits look as good as most professional portraits! The
important aspect is that you can dramatically improve your pictures
simply by acquiring a little lighting equipment, and putting
in a little time and effort to learn how to make light your friend
instead of your nemesis! It ain't rocket science, folks! You
CAN do it!
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Remember, I use all this same equipment myself, and it has
been a Godsend to my photographic creativity! Give it a chance,
and it'll do the same for you. Heck, I'd be just as happy no
matter where or from whom you choose to buy your professional
lighting equipment; as long as it helps make your pictures better,
I'll be satisfied (of course, I'd love to be your photographic
supplier, but if reading this encourages you to improve your
pix, it would be my pleasure to have been able to play a part
in your photographic future, even if you bought your goodies
somewhere else).
What kind of person am I? How reliable am I? How do I run
my business? Can I be entrusted to deal with you honestly, honorably,
fairly, and dependably? Well, if you ask any crook if he is trustworthy,
he'll assure you he is (thieves will do or say anything to get
your money)! So how can you be sure if you can trust me with
your hard-earned money? Fortunately, eBay provides us with a
way to be sure. So please check out my feedback and see what almost
1,000 of my beloved customers think of me, the quality of my
equipment, and my dedication to great customer service. As always,
feel free to contact me at any time, if I can be of any further
help in any way. E-mail me HERE!
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The Power fallacy: Wouldn't I be
better off buying one more powerful light instead of 2
or 3 less powerful lights (either strobes or continuous lightis)?
It's often common for beginners in studio photography to confuse
the value of power output (watt seconds with strobes and watts
with continuous lighting equipment) with efficacy. True, we should
buy the most powerful set of lights that will fit our needs,
but what's much more important than simple power is our ability
to position multiple lights to produce the best possible image.
If you can afford a set of two or three (or more) super-powerful
lights, then that's absolutely the way to go. But if money is
an object for you, then you should seriously consider the following
information before plunking down your hard-earned dollars. As
an example, if we're doing a portrait session, a couple or three
40-50WS lights will do the job just fine. It's more important
to have 2 less powerful lights to light our victims than it is
to have one much more more powerful light (because in portraiture,
we need at least 2 oppositely-placed light sources - and if we
can afford it, 3 - to give us the best results). With 2 lights,
we have the main light (to light the highlight side of our victim's
face), and the fill light (to light the shadow side of the face),
giving us the interplay of light and shadow which are necessary
for the depth and texture characteristic of professional portraiture
(or product photography). Ideally, with 3 lights (2 for lighting
the face or product), the third lights will be our background
light (to light the backdrop, which not only gives us the three
dimensional look and separation between our subject and the background,
but also to blow away all the ugly shadows! The backlight
is the "secret" of eliminating the shadows that plague
many of our amateur images.
Far more important than power, is having the ability
to appropriately light our subjects to get the best images. Sure,
3 or 4 powerful lights will eventually be more useful to us than
3 or 4 less powerful units (and if you can afford 2 or 3 or more
powerful lights, definitely go for it)! Ideally, at least
two MonoLight
strobes - with modeling lights - (or continuous lights)
and a third for a backlight, would be an ideal starter package.
If you can afford the MonoLight strobes with modeling
lights (they're a bit more expensive, though), absolutely go
that route! It will make your photographic life much easier.
But if you can only spend a certain amount of money, and can
afford either one powerful light, or 2 or 3 less powerful
lights (for portraiture, or small to medium product photography,
for example), you'll be better off with the 2 or 3 less powerful
lights, than you'd be with the one more powerful unit, for lighting
your subject. Look at it like this: Sure, a big 18-wheeler truck
is much, much, more powerful than a passenger car; and
it would be a necessity for hauling around 2 or 3 elephants;
but if all you need a vehicle for is to take you to work, the
kids to school, on vacations, and on your way around town, you're
much better off with the passenger car - ever try to park
an 18-wheeler on the street, or in the mall or supermarket parking
lot (or anywhere else, for that matter)? Do you really
need a gigantic, smoke-belching, 900 horsepower diesel engine
and a10-gear manual transmission? See? I hope I've been able
to shed some light on this for you (sorry, I just couldn't resist).
;-)
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So basically, if your budget will allow for it, get the most
powerful set of lights you can comfortably afford, and try to
get as many strobes that come with modeling lights as you can.
But there are lots of us who would love to get started in studio
photography, but just can't afford the more expensive units.
See above for more information on this.
Sure, I'm in business to sell professional lighting equipment;
but not by taking advantage of decent folks. Most other suppliers
would love to sell you the most expensive (and profitable) equipment
they possibly could (whether or not it would actually be what
you really needed). But I do business somewhat differently; I
realize that each and every one of my customers is a photographically-inclined
homo sapien, a decent person, just like I am (at least like I
hope I am:); every one of my customers would love to be
able to make great images (just like I would), and more importantly,
every customer is someone just like me: a human being struggling
with life and light and beauty and photographic creativity. Someone
who I'd be proud to have as a friend. When I started this business,
I promised myself I would treat everyone with all the honesty
and respect and decency I possibly could. I may not succeed all
the time, but I will do the very best I can to do so. Trying
our best is about all we can expect from each other, isn't it?
Thank you again for reading this far. May the Photographic Force
be with you! See my business philosophy, below,
for more on this subject.
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Question: What else do I need, in order
to be able to make the best possible photographic images?
Answer:
 After receiving our first set of strobes, the
very next item we should consider acquiring is a decent flash/ambient
exposure meter (no, I don't sell them, but see below for some
suggestions), and then, perhaps, a backdrop or two for our next photographic
purchases (perhaps like the "Stormy Weather" backdrop
to the left). This will allow us to make pictures which are fabulously
professional-looking, and the meter will tremendously improve
all our photography - not just our flash pictures - but
every one of our pictures! But out of all the possible
photographic purchases we could possibly make (after our lights,
of course) is a good handheld meter! That should be your
very next purchase (and unlike most other photo dealers, as you
can see, I'm not trying to push you to buy your next item from
me - I'm just being as honest and helpful as I can).
(Regarding meters, unfortunately I don't carry any at this
time, but I'll be glad to offer some suggestions. Read on).
If you're going to use pro strobes (at least if you're going
to use more than one strobe at a time), it's virtually impossible
for any camera's built-in meter to properly expose your shots.
That means you'll have to set your camera for manual exposure
(autofocus will be OK, though; in portraits, focus on the eyes).
Now, your next question will likely be: "if I'm using manual
exposure, how do I set it?" and although I hate to suggest
spending more money, there's only one answer: get a flash meter!
I know, I know, they cost a lot. But a good meter will improve
ALL your photography! In fact, after using a good hand-held exposure
meter for a while (like about an hour), you won't believe you
ever got by without one!
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You have to understand that your camera's TTL (Through-The-Lens)
exposure system (if it has one) is geared to control a dedicated
flash unit, not external strobes. With a built-in or dedicated
flash attached to your camera's flash shoe (or a specially-designed
remote shoe on a cord), your camera's TTL system will detect
when the film plane has received sufficient illumination, and
then shut off the dedicated flash unit (the new "auto-thyristor"
circuitry will then "save" any extra power not used,
and recycle it for the next flash - ain't technology great?).
External strobes are beyond the control of cameras, nor can their
reflected-light meters correctly set exposure. Consequently,
you will need a flash meter.
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Since no camera can properly expose shots using external strobes,
all pros, and many amateurs, own flash meters. While it's "possible"
for a mathematically-gifted photographer to calculate an exposure
using one strobe (using the GN, or guide number), it becomes
a virtual necessity to use a good flash meter with 2 or more
strobes. Such a meter will allow you to read the output of your
strobes for your subject, and then for your background, and then
calculate the correct exposure settings for you to set your camera
to properly expose everything (ain't technology great? Again?)!
 However,
while there are some "flash only" meters, nowadays
most flash meters are also ambient light meters
and reflected-light meters, as well as flash meters, so if you
do purchase a good flash meter, you'll have an invaluable aid
to use in all your photography. But whatever you
do, DON'T shell out any more than about $50-75.00
for a Flash Only meter! With all the great flash/ambient/reflected
combination meters on the market, I most emphatically recommend
buying one of these combination meters, which will help you get
perfect exposures for ALL your photography, not only flash
photography (and they're great for ALL types of photography,
black and white as well as color - and work with virtually all
film formats. I guarantee that a decent meter will drastically
improve your exposures in all aspects of your photography (no
one said it would be cheap, though!). I would suggest checking
around with any photographer friends and on eBay, too. You could
get a great deal. My recommendations would be to shoot for a
meter like the Minolta IVF; it should be available brand new
for around $200.00 to 225.00. A used one in good condition, will,
of course be less (don't get suckered into paying $200.00 for
a used one though). A less expensive meter is the Polaris flash
meter (which is also a flash/ambient/reflected combination meter),
which should sell for $25-$75 less than the Minolta. If you've
got the money, absolutely, positively, definitely spring for
the new Sekonic L-508 (or L-608)! In addition to being a flash
meter, and an ambient light meter, and a reflected-light
meter, it's also a 1º to 4º zoom spot meter!
It also remembers several readings, and automatically averages
them for you (ain't technology great? Again?). The bad news is
that it lists at $700 - but don't worry about that figure! In
real life, it actually costs around $400-450 (maybe less now).
The new Minolta V certainly looks wonderful, too (but I haven't
had a chance to play with one yet)! Of course, you probably don't
need that expensive and sophisticated kind of meter YET, but
it's something to keep in mind for the future, if you can't afford
it now.
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 Here's
some links for these meters: Polaris- Minolta IVF -New Minolta V-- Sekonic
L-508 ---
NOTE: Please understand that there are many, many, more excellent
exposure meters available, and you should definitely consider
all the fine brands and models available on the market. The reason
I list the three brands (and their links) above is because those
are the only 3 meters I've owned and can therefore recommend
to you; but you should feel free to consider all the possibilities
when choosing a meter for your own use.
When using multiple strobes, always take readings (with your
new meter) of both the subject's lighting AND the background's
lighting separately. Depending upon the effect you're after,
your background light reading should come out (for example) about
one to two stops less than the light falling on your subject
(to have the background appear clearly in the print, but not
so bright as to compete with, or detract from your subject).
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