fill light source size vs main light size

JC Dill wrote:
wrote:
when using studio strobes does it matter that the fill light source is
a larger one than the main light source as long as it is at less
power ?.
a larger softbox as fill vs a smaller softbox as main .

im know the end result is that matters but what is the correct way ?

oleuncleted

The size of the softbox doesn't change the amount of the light, it
changes how "soft" the light is (how soft or harsh the shadow is). The
choice of no softbox (e.g. reflector), beauty dish, small softbox, large
softbox, strip light, reflector, etc. is made to create the type of
light - hard light or soft light, crisp shadows or soft shadows, and
this choice depends on what you are shooting - people, objects, glass,
objects with shiny reflections (jewelery, polished metal items), etc.

I'm assuming you are talking about using studio strobes to shoot
portraits. If you want hard shadow lines for a more dramatic effect,
your key light would be a harder light - the sun, a light with a small
reflector dish, a beauty dish, or very small softbox set far back from
the subject. You would typically then use a softer light (large(r)
softbox or reflector) for the fill light. This way you get a "natural"
sun-light type of shadow from the main light (key light or sun) but the
shadows are filled in with some light so you can see details in the
shadow areas on the person's face. If you want to minimize shadows then
you would use a larger softbox (closer to your subject) on your key
light. As a rule you wouldn't use a hard light as a fill light, because
you don't want shadows from the fill to create a cross shadow on your
subject. But you may use a hard light on a hair light or kicker.

The light also becomes harder or softer depending on how close it is to
the subject. A small softbox placed 2 feet from the subject is going to
produce softer light than if you move it back so that it is 15-20 feet
from the subject. This is how a "large" light source like the sun acts
as a "hard light" and produces sharp shadows - it is a long way back
from your subject. :-)

One of the best ways to learn studio lighting is to take a class where
the lights and modifiers are provided as part of the class. Yesterday I
just finished printing my final project for an Advanced Lighting class
at CCSF (City College of San Francisco, one of the largest community
college system in the US). This allowed me to play with all these
lighting modifiers and learn how they work without having to buy them
first. I'm *much* more confident with studio lighting now, and have a
much better idea what types of lights and modifiers I want to have on
hand for my own photography.

Photography classes at CCSF are an *amazing* value. They have an
amazingly well stocked issue room with cameras (up to 4x5), studio
strobes, softboxes, etc. and a studio with 4 studio bays with light
stands, shooting table, backdrops, etc. All for ~$100 per class.

If you don't have access to a community college with an excellent studio
lighting class like this, look for workshops at your nearest pro-level
camera store. Calumet has workshops at most of their locations. IMHO
camera store workshops are not as good of a value as a semester-long
class - usually they are just 1 day for 2-6 hours, and you have limited
time to play with the lights to learn how light modifier choices and
placement affect the quality of the light and shadows on your subjects.

I second JC's points, and can recommend Berkeley City Colleges'
offerings in Photoshop and printmaking. The intro to PS, which I took a
few years ago, was outstanding.

--
john mcwilliams