I’ve purchased a second SB800 to use with my D2H and other SB800. I’ve been experimenting, and I think the system is great. I’ve seen a number of good examples (including those at Dave Black’s site), but no one seems to say, I set the exposure compensation values to X because… All the set-ups appear to be done via trial and error. Am I missing something? Seems to me there should be some more mathematical way for figure this out other then trial and error. Any thoughts?
CLS Question
- Thread starter jklofft
- Start date
Well, I think that's because if it were always possible to set exposure compensation to x, then that would indicate that the exposure system is off by that amount.
i.e., if one setting works for everything, then there would be no need for any compensation, would there?
I personally set compensation according to the scene being photographed. Yes, trial and error - take a test shot, check the histogram, highlights, etc., and make the appropriate ajustments, and shoot the exposure shot.
i.e., if one setting works for everything, then there would be no need for any compensation, would there?
I personally set compensation according to the scene being photographed. Yes, trial and error - take a test shot, check the histogram, highlights, etc., and make the appropriate ajustments, and shoot the exposure shot.
- Thread Starter Thread Starter
- #3
Perhaps I didn't word my original question well. It is not so much the values on the various flash groups, I understand the blending of light. It is more the EC on the camera itself. If several of the flash groups are set to + EC then they will obviously overexpose the subject, is there some way (based on the EC set on the flash groups) to determine the EC to set on the camera body? Thanks.
my method
Jeff,
I use 3 SB-800's, one on camera (of course) usually dialed down by -.7 or -1
On camera left if have it mounted on a shoot through umbrella, camera right a reflective umpbrella. For individual and family portraits I find that dialing up camera left and putting camera right in between often works well. But, as others have said, the ability to fine tune rather quickly based on current lighting conditions allows you to get the look you want.
Tom
Jeff,
I use 3 SB-800's, one on camera (of course) usually dialed down by -.7 or -1
On camera left if have it mounted on a shoot through umbrella, camera right a reflective umpbrella. For individual and family portraits I find that dialing up camera left and putting camera right in between often works well. But, as others have said, the ability to fine tune rather quickly based on current lighting conditions allows you to get the look you want.
Tom
I too will be facing this Jeff as I am set to take delivery of my second SB800 today. I also have an SB80 to fit into the mix if I can. Then again I might just sell that and buy another SB800.
Hi Jeff:
I'm sort of following Tom here... as he has (forgotten more) than I will know about these things....
But I also find that setting the master gun back to -.7 and then running the second gun at 0.00 seems to work well. Once you take your first test, just adjust the guns so you are getting the look you want.
I also find shooting my main gun through a translucent disk help big time at creating a softer light.
As a side note.... It would be good if someone like Tom would create a couple drawings with gun settings attached so everyone can see how he is doing it. He has gotten some good results with this system and I'm sure it would speed up the leaning curve for the rest.
I'm sort of following Tom here... as he has (forgotten more) than I will know about these things....
But I also find that setting the master gun back to -.7 and then running the second gun at 0.00 seems to work well. Once you take your first test, just adjust the guns so you are getting the look you want.
I also find shooting my main gun through a translucent disk help big time at creating a softer light.
As a side note.... It would be good if someone like Tom would create a couple drawings with gun settings attached so everyone can see how he is doing it. He has gotten some good results with this system and I'm sure it would speed up the leaning curve for the rest.
Doug :Doug Barber said:
Speaking solely for myself, I'd quite appreciate some clear diagrams for this sort of thing. I've been poring over books I find, looking for some introductory diagrams (as well as more complex ones), and most of the lighting books I've encountered simply show a photo and explain (badly) what the arrangement was.
It's frustrating to look for this material and find so little that's arranged in a logical manner.
Any such help would be gladly received !
John P.
Doug, you're hired!
as my new publicist. ;-)
But I must say you're overstating my expertise. I basically set my lightstands at about 45 degrees on either side. For one or two people, they're about 3 to 5 feet from the subjects. You can increase the angle a bit for more definition.
I hope that helps.
Tom
as my new publicist. ;-)
But I must say you're overstating my expertise. I basically set my lightstands at about 45 degrees on either side. For one or two people, they're about 3 to 5 feet from the subjects. You can increase the angle a bit for more definition.
I hope that helps.
Tom
Does this new job have an $$ attached to it..... 
Art is about creativity and I don't think math applies to it;-)
For your question, the solution is light meter IMO. It will speed up your process. If you don't have one, Sekonic L-358 is great one.
For your question, the solution is light meter IMO. It will speed up your process. If you don't have one, Sekonic L-358 is great one.
jklofft said:
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