We have done a number of articles with different flash heads but we have never gone into the detail of how to set them up and make them work, this results in emails that we sit and explain all the details to people. So today I am going to go through how to setup these studio flashes and connect them to your camera to get the results you want.

One thing that seems to baffle a lot of new photographers is understanding the term “stop” as it pertains to a measurement of light. We see this word used over and over with regards to shutter speed, aperture, film speed, filters, lighting, and other ways that light is used. You may hear a phrase like “you should expose one side of face 1-2 stops under the lit side of the face and expose the background 1 stop under the main subject”. For many people that’s about like asking them to solve a complex calculus problem.

If you have ever shopped for a flash or read a review, you may have noticed a section of the spec called the guide number or GN. While this value is a measurement of power that the flash has and allows you to compare flash models, is this number useful to you at all? In this article we dig into the guide number and see how we can use this number help us dial in our flash and camera settings using some math instead of just guessing and retrying until you get what you want.

Today is one of those days that I wanted to take a step back to some basics again. This time I want to talk about the three primary properties of light, and since what we are doing as photographers is recording light, it is important to know how these properties play into getting a good image. While I had studied this before, attending a recent seminar from Ed Pierce made me realize that many reader may never have seen these concepts before.

If you want to progress in your art you should really consider taking a workshop once in a while. Since I haven’t been able to attend one in a while I was thrilled that Ed Piece’s Captivated by the Light workshop was coming to my town. Be sure and check it out if it is coming to your area. Ed is a master of light and technique. He shows you have to light a subject properly for the most flattering angles.

The home studio has been making amazing progress lately and we did some major work on it today to get it ready for it’s first test shoot. The final width comes in at twelve feet and the shooting area is fifteen feet from the main shooting wall. The back wall was painted with gloss white for high key background that will mostly be used during product shots.

The transformation of the garage is nearing completion and the L7 Studio is coming together nicely. Unfortunately its not going to be as nice as this shot of 8443 Warner, but hay, someday right? So where are we and what have we had to do so far? Besides tons of trash, lots of craiglist sales, and multiple car loads of stuff to Goodwill, there is only one pile of trash left.

Long time readers will note that I have been using a room in the house as my photo studio, alas I feel I have outgrown my humble beginnings, but what to do? My wife won’t let me kick any of the kids out of their bedrooms and she won’t let me take over the larger living room. This left two options, 1) Rent a space somewhere, 2) Build a new studio in the garage.

In the first of our Mythbusting series we are going to look at a common myth that you should always use the lowest ISO number possible to get the best results This is based on the knowledge that the higher the ISO number you use, the more noise (digital artifacts) will be created in your image While this is certainly true, what we are going to examine in this article is wether or not you should always shoot in the lowest ISO number your camera can handle in order to get the best images Will this myth be confirmed or busted?

Along with dissecting different photo shoots like we have done in the past, we are now beginning a new “Lighting Basics” series that will start with a single light source and work up through multiple lights and advanced lighting techniques. Today we will start with a single flash and show how to make the most of an on-camera flash, an off-camera light, and how reflectors can make it appear as if you have more light sources.