Setting Up a Studio for Your New Nikon D7100

Setting Up a Studio for Your New Nikon D7100

With the new Nikon D7100 digital camera, you would expect to be able to turn your hand to almost anything. This versatile and flexible camera is designed to excel in all areas of photography. So, once it is out of the box, many new owners will be rushing to take portraits and nevertheless-life images in studio conditions. clearly, if you can, you should always try to shoot in natural light – particularly if you are shooting portraits. If that isn’t possible, the pop up flash can usually provide the necessary fill-in, or you could use you flash gun, carefully placed and fired remotely. In most circumstances these tools will help you to get a decent consequence. But a time will come when you decide you need more control and at that point you will want a studio set up.

If you are setting up your studio at home, the ideal scenario is to have a room specifically put aside for your photography. It should have plenty of space, a high ceiling and be at the minimum 5 meters long. Paint the walls a color that doesn’t mirror too much – black is ideal, but if you have to proportion the room, then gray would be OK. Cover the windows with blackout material to ensure that the light can’t get in and also cover the doors to prevent further contamination. Ideally you only want to have the light that is under your control to be effecting your images. You will also need a good supply of electrical sockets.

Having closed out all external light supplies, you can decide what lighting you want to have in your studio. Lighting falls into two categories – continuous or strobe. Continuous also has two options, either tungsten or fluorescent. Tungsten is very popular for portraiture because it gives good skin tones. It is naturally a ‘warm’ light, both in light and temperature (this can be a problem, if you make your subject sit under them for a long time). You would also want to use tungstens if you were shooting video.

Fluorescent lights have a more sterile white light with a blueish color. They are often used for stock shots ad nevertheless-live photography, because it is felt that the colors are more accurate. Of course, it is up to the photographer to choose which he prefers. White balance, in the D7100’s settings will be able to rectify most light settings, but, as you are responsible for your lighting, it would be better to set the lights so that the subject appears as you want to see it. Relying on in-camera correctives is just another think to try to remember and sooner or later you will be cursing your memory and catching up in Photoshop.

The one great advantage of continuous lighting is that you can truly see how the subject will appear in the picture in real-time. This method that you get the lighting right and can then confidently address other variables like content and composition. With the strobe, you are sometimes not sure if the flash fired or not. In many ways continuous lighting is a lot easier, and I would recommend that you start with this. However, when you need to photograph something or someone and give the impression of movement, or freeze them in action, you will have to use strobe lighting.

Although strobes are more difficult to set up, they give the photographer bit more flexibility. The strength of the flash can be increased or reduced to suit the photographer’s needs. This method that the photographer can design his lighting around his shutter speed requirement. clearly, if the subject is moving and you don’t want blur, you will need a fairly fast shutter speed. Once mastered, strobe lights are a great way to get the images you want. However, because they function on a burst, they sometimes take a while to recharge.

If you start off with a associate of lights, the easiest way to set them up is with the soft box at the front and the identify at the back. The soft box emits a softer more already light that is easier to meter against. The soft box should be 6 feet away from the subject, near the camera. The other light should be at the minimum 3 feet away from the back drop so that it gives an already background. I would advise getting some barn doors for the back light, so that the light doesn’t spread where it isn’t wanted. always set your cause up to the front light and ensure that both lights fire at the same time. Most lighting systems have slaves built into them these days.

I usually begin a shoot on a standard 1/125 at f8 with an ISO set at 200. This gives me enough flexibility to change things around little by little if I need to. Most studio lenses function comfortably at f8 and the shutter speed will catch most fluid movement. If you find the lighting a bit flat, move the soft box out wide to get some more definition and shadow, but always be aware that more shadow can be very unflattering, particularly if the subject has an angular confront or large nose. I always start by getting the standard shots done – the complete length, half-length and then move in tighter for head and shoulders or portrait. By the time you want to try something more interesting your form will have relaxed and you will have become more confident in the equipment and you abilities.

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