I bought some new lighting gear on Monday. I picked up a studio boom arm and a 55cm beauty dish + grid and sock. I asked the store manager if he accepted lunch tokens. He said no, and then we both laughed at how ridiculous that notion was.
Khema kindly assisted me in testing the new gear. A TFP shoot with primary me trying to figure out how to use the beauty dish and what to do around the boom arm/stand.
"Punk Kawaii Girl"
Featuring Khema's "punk-kawaii-girl" and "badassery" as a League of Legends character of her own imagination.
Light output from Elinchrom 400Ws head with 55cm BD+grid. Power supply from Godox LP800x. Small kicker with magenta gel behind subject on the stairs for the separation. Shot in a cramped void space in the house. The "sweet spot" on a beauty dish (or a cooking "wok") will take a little practice but i think I'm getting the hang of it.
Light output at 25% from one Elinchrom 400Ws head with the beauty dish, no grid. The shadows are well defined behind her even when pressed against the brick wall.
This was one of the desired effects of an overhead light. This is the wok suspended overhead with the grid attached. I asked Khema to look up like there is something in the sky.
Simulating the sun on a cloudy day. Full power on Elinchrom 400Ws head with the wok & grid. Powered by Godox LP800X. I could use available light but this is better than available light. This is consistent light in the direction and intensity that i want on a day when the sky can't make up its mind on whether to be cloudy, sunny or raining. I know i won't always have the luxury to wait for natural light to do the thing i want. This lets me put out the characteristics of light i desire, where i want it and when i need it.
I don't think its overkill. There will be situations where i would want to do this in studio for advertising or fashion. If the client wants an afternoon sun at 9am in the morning, I want to be the guy that says "i can do that now". Not expect the client to wait till 5pm in the afternoon for the sun to set.
The edges of shadows with a wok are more refined than softboxes. This is something I'm noticing more now.
Use the wok as close as possible. Got it now.
The sweet spot is easy to work with once I understood the characteristics of the modifier. I can see some interesting opportunities with this dish. I'll make a separate post about the construction and quality of the dish later.