Environmental Portraits - Portable lighting

Canaryboy

Canaryboy

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Steve
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I am thinking of undertaking a project shooting environmental portraits of local tradespeople in my community. I think I may need to get something more professional than my Godox TT685N flashgun but I am not experienced in using studio lighting and i wondered what recommendations everyone has for a nice portable lighting setup. I was thinking about the Godox AD200. What does everyone think/recommend?
 
You mean portraits of people working?
If so, then two flashes will be the starting point, your existing flashgun will be ideal as the second light (normally used as fill from the camera position) and the AD200, fitted with a small-ish softbox of maybe 60x60cm, will be your main (key) light.

You will also need 2x lighting stands and a radio trigger.

However, in very large working spaces you will need extra lighting, and if you take outdoor portraits in bright sunlight then the AD200 may have just enough power to make a useful contribution (depending on distance from flash to subject) but you will need a lot more power if you want to do more than just lighten shadows in bright sunlight. The AD200 will be fine in dull outdoor lighting conditions.

Hope this helps
 
You want the SMALLER of two sources to be your Main, while the LARGER of two sources serves as Fill.

In shooting 'portrait' shots on location in circumstances in which setting up studio lights is not feasible (not enough time, nor the ability to usurp an area to set up something for even a few minutes) I have used two 'speedlight' units, with the larger softbox on the flash at camera position and the smaller softbox flash on a stand off to one side.

Simple concept to remember: Mimic what happens naturally in that setting...'Main' comes in thru the window, and the walls and floor bounce back the 'fill', and your supplemental lighting merely intensifies that light. After all, you are doing 'environmental' portrait which captures the character of their profession, not a 'studio portrait', and the contrast ratio you set (not simply source size) has a part.
 
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wiltw said:
You want the SMALLER of two sources to be your Main, while the LARGER of two sources serves as Fill.

In shooting 'portrait' shots on location in circumstances in which setting up studio lights is not feasible (not enough time, nor the ability to usurp an area to set up something for even a few minutes) I have used two 'speedlight' units, with the larger softbox on the flash at camera position and the smaller softbox flash on a stand off to one side.

Simple concept to remember: Mimic what happens naturally in that setting...'Main' comes in thru the window, and the walls and floor bounce back the 'fill', and your supplemental lighting merely intensifies that light.
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Sorry, but that simply isn't right.

Smaller (or more distant) = harder, similar to direct sunlight on a cloudless day.
Larger (or closer) = softer, similar to cloudy conditions where the sun isn't visible.

Neither is either right or wrong, whatever is right depends on the required effect.
 
Garry Edwards said:
Sorry, but that simply isn't right.

Smaller (or more distant) = harder, similar to direct sunlight on a cloudless day.
Larger (or closer) = softer, similar to cloudy conditions where the sun isn't visible.

Neither is either right or wrong, whatever is right depends on the required effect.
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While I wouldn't do it that way (smaller as main), it makes sense in the context presented... mimicking natural (open) light

The sun is farther and smaller and primary/main. Reflected light from surrounding surfaces is larger/weaker/softer and adds fill.
 
I would highly recommend taking a look at Markus Pix on YouTube - https://www.youtube.com/@MarkusPix

He does a lot of outdoor portraits with his wife and loves to travel light as possible. He's always got suggestions for flash, strobe, and compact setups that you can set up easily and quickly.
 
Garry Edwards said:
Sorry, but that simply isn't right.

Smaller (or more distant) = harder, similar to direct sunlight on a cloudless day.
Larger (or closer) = softer, similar to cloudy conditions where the sun isn't visible.

Neither is either right or wrong, whatever is right depends on the required effect.
Click to expand...
sk66 already provided the logic behind 'smaller=Main'. Look at it from another point of view: shooting with ONE light source with a reflective panel as fill...same thing, Main is smaller than panel.
 
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AD200's are an excellent choice Steve. If I could only have one type of light it would be those. The Fresnel (speedlight type) head is very efficient and can produce very useful light outside even on brighter days. In really bright sun, you may want to double up. Don't bother with that rather bizarre B2 contraption (which only exists to get two AD200's through the S2 bracket which isn't wide enough to take two lights). If you're after more light, you'll be wanting the Fresnel heads, rather than a softbox anyway, and it's quicker and cheaper to just gaffer tape another AD200 to the one on the stand.

Inside - you'll have plenty of light to play with from some AD200's, and your speedlight. Joe McNally is an absolute master of lighting stuff with small light - here's a lovely little video of him lighting a garage, the subject, the walls, under the cars through fog, engine bays etc mixing in the car headlamps, and window light. Note that Joe is a Nikon ambassador though and Nikon were really keen to promote the TTL aspects of the lights back then and Joe is using it on this set (which is just masochistic in this multi-light scenario tbh). Also note an SB910 is about 70J so where Joe has 3 lights strapped to a stand, you just need one AD200 :) And of course, you can safely ignore all the 7-year-old waffle about slave cells, and optically driven controllers - you can just use the Godox radio system. Complicated for sure and I'm not suggesting you go out and do this right away but shot two is just one light through a window and some diffusion, and the daylight). More to get you excited for what's possible!

View: https://www.youtube.com/watch?v=u3JQ8nkgF20


PixPete said:
I would highly recommend taking a look at Markus Pix on YouTube - https://www.youtube.com/@MarkusPix
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Love Markus - he only ever shoots one lighting style, and one model :p but he's got it down to a fine art in terms of what you can get away with carrying in terms of lights and stands.
 
Wow! thank you all for the comments and advice it's really useful. To answer a few of the questions:
  • By environmental portraits i mean people in their workplace either doing their job or surrounded by their work and tools. I want the portraits to be ABOUT the people and not just OF them.
  • I already have the Godox X1T-N transmitter to use with my TT685 which is why i was thinking of the AD200. I also have a couple of lightstands that a friend gave me.
  • I don't have a modifier at the moment but was condisering a softbox but not sure what size to go for as it needs to be easily portable and not take up too much space as some of the studios and workshops i will be working in are quite small
  • If i can work with available light i will but i know some locations will need some additional lighting and where i use artificial light I want it to look as natural as possible
 
Blackdog67 said:
Wow! thank you all for the comments and advice it's really useful. To answer a few of the questions:
  • By environmental portraits i mean people in their workplace either doing their job or surrounded by their work and tools. I want the portraits to be ABOUT the people and not just OF them.
  • I already have the Godox X1T-N transmitter to use with my TT685 which is why i was thinking of the AD200. I also have a couple of lightstands that a friend gave me.
  • I don't have a modifier at the moment but was condisering a softbox but not sure what size to go for as it needs to be easily portable and not take up too much space as some of the studios and workshops i will be working in are quite small
  • If i can work with available light i will but i know some locations will need some additional lighting and where i use artificial light I want it to look as natural as possible
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As I suggested, something like 60x60cm for the softbox - anything much larger will be awkward to use in small spaces but, more to the point, will produce soft lighting, which will make your results look bland.

Large softboxes, used close, can be flattering for some types of portrait photography, but you'll want more dramatic lighting, with stronger shadows.
 
for mounting a softbox to a 200 you’ll need an S type bracket might as well get one with a softbox.

One of these versatile buggers will give a variety of lighting options. (If Lencarta have stock there’s are probably a bit better) Ignore they call it a beauty dish
And maybe a strip box
 
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Oh
And if you think you might be moving a light stand in awkward spaces, an auto folding light stand will come in handy.
If you don’t need that, a couple of Lencarta stands are probably the best bang for your buck
 
I find the AD S7 incredibly flexible. A little smaller than Garry suggested but it can produce various lighting effects.

godoxstore.co.uk

Godox AD-S7 48cm Silver Folding Beauty Dish | AD Barebulb Fitting

Godox AD-S7 Folding Silver Beauty Dish This Octa softbox is 48cm across flats which makes it easily portable, and comes complete with a free honeycomb grid, diffuser and carry bag. Use it without the honeycomb grid for the softest light, or fit the grid to produce a directional light and...
godoxstore.co.uk godoxstore.co.uk
 
Phil V said:
Oh
And if you think you might be moving a light stand in awkward spaces, an auto folding light stand will come in handy.
If you don’t need that, a couple of Lencarta stands are probably the best bang for your buck
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I do have an adapter like this one which a friend gave me.
 
Canaryboy said:
I am thinking of undertaking a project shooting environmental portraits of local tradespeople in my community. I think I may need to get something more professional than my Godox TT685N flashgun but I am not experienced in using studio lighting and i wondered what recommendations everyone has for a nice portable lighting setup. I was thinking about the Godox AD200. What does everyone think/recommend?
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I did a project almost exactly like this in the 1990s.

I was using a Mamiya C330 or a Fuji 645W as seemed appropriate, along with HP5 and nothing else. The ambient lighting in most workplaces is entirely adequate and the less of a fuss, the happier the subjects seemed to be.
 
AndrewFlannigan said:
I did a project almost exactly like this in the 1990s.

I was using a Mamiya C330 or a Fuji 645W as seemed appropriate, along with HP5 and nothing else. The ambient lighting in most workplaces is entirely adequate and the less of a fuss, the happier the subjects seemed to be.
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In my experience, ambient lighting is usually the best for this type of shot, but what this thread is about is the situations where artificial lighting is necessary, and when it is, the trick is usually to use it well, so that it looks like ambient lighting . . .

It's similar to those frequent threads about all sorts of lighting situations where ther's always someone who says "Use window light". Window light will sometimes work and can, very occasionally, even be the best, but it depends on the weather, the time of day and the direction of the light, so artificial lighting (which can easily emulate window light anyway) is always the way forward.
 
Garry Edwards said:
In my experience, ambient lighting is usually the best for this type of shot, but what this thread is about is the situations where artificial lighting is necessary, and when it is, the trick is usually to use it well, so that it looks like ambient lighting .
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I take your point.

I didn't get the impression that Steve had considered this. It seemed to me that it needed to be mentioned.
 
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Thank you all again for the help. This forum really is amazing and so helpful. I am about to start reaching out to local craftspeople and traders and the information here has given me the confidence to go for it. I am hoping to work with available light as much as possible but it depends on the quantity, quality and direction of light available. Flash/Strobes will be a last resort
 
Phil V said:
Bugger, they were from the Amazon app, I’ll edit later.
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Thanks for the help Phil, are you able to add working hyperlinks as I'd be very interested to see the gear you recommended
 
Canaryboy said:
Thanks for the help Phil, are you able to add working hyperlinks as I'd be very interested to see the gear you recommended
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The first was an S type bracket which you have (the one I pointed to had a softbox but whilst theyre cheap, it's unnecessary).

The 2nd was a folding beauty dish. Brilliant cos it can create a variety of different looks

3rdly a stripbox which would come in handy for all kinds of things
 
Phil V said:
The first was an S type bracket which you have (the one I pointed to had a softbox but whilst theyre cheap, it's unnecessary).

The 2nd was a folding beauty dish. Brilliant cos it can create a variety of different looks

3rdly a stripbox which would come in handy for all kinds of things
Click to expand...
Perfect! Thank you.
 
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