Whether you are taking photos of your family, creating makeup tutorials online, or shooting a model in the studio, there will come a time when you need more than ambient light to get the job done. But what kind of light should you choose? This article will guide you through some of the most popular types of lights to help you decide which is best for your specific needs.
On-Camera Flash
The first kind of lights most photographers become acquainted with are on-camera flashes. This makes sense for a number of reasons. First, they are small, so you can take them practically anywhere you take your camera without worrying about extra weight or bags. Second, they communicate directly with your camera. You can trigger an on-camera flash without having to worry about managing radio channels or additional accessories. Finally, many incorporate through-the-lens (TTL) capabilities, which can be a great benefit for photographers who are still learning how to set their lights manually.
Back in the day, the safest bet was to choose the same brand of on-camera flash as that of your camera. This ensured that your camera would work in perfect harmony with your flash, maximizing all of its bells and whistles. This is still true to an extent—if you want to take advantage of new, proprietary technologies, the best way to do so is to stay within the same brand. However, third-party manufacturers have made serious inroads in recent years, creating units that maximize compatibility with specific cameras while introducing unique features of their own. Two recent examples of this phenomenon are Profoto’s A1 Studio Light and Godox’s V1 Flash, both of which have rounded flash heads capable of producing flattering light and more natural catchlights than conventional rectangular flash heads. If you decide to go the third-party route, just make sure to double-check that the flash you choose is compatible with your camera brand and model.
If you are planning on making a flash your all-purpose light, there are a few more features you should consider. Many flashes are now capable of being triggered remotely, so you can take them off your camera and position your light source wherever you need it for your shot. This is an incredibly useful attribute that essentially transforms your flash into a miniature battery-powered strobe. For tips on working with your flash off-camera, check out this article. Photographers working with fast-moving subjects or creative lighting scenarios should choose a unit with stroboscopic, high-speed, and first/second curtain sync modes. To learn about the benefits of these features, read Flash Modes Explained.
Finally, flash modifiers come in all sorts of shapes and sizes, depending on what you are trying to accomplish with your light. Bounce diffusers and domes are the most popular choices for flashes, because they can soften the harsh effect of a flash unit, especially when working in cramped spaces. Umbrellas, and even softboxes, can be modified for flashes taken off-camera to approximate the effects of a strobe. For more creative applications, gels and gobos can be used to produce vivid colors or custom light patterns, respectively.
There are two main reasons still photographers upgrade from on-camera flashes to strobes: power and performance. Strobes come in a range of strengths, depending on whether you need a splash of hair light or a blast of room-filling illumination. Generally speaking, a strobe maxing out between 250-500 Ws will provide a reasonable key light for most close portraits and small- to medium-size compositions. Strobes in the 500-1000 Ws range work best for full-body shots and larger subjects. While the temptation may be to get the most powerful light you can afford, there is no sense in purchasing something that you will never need to use beyond half power. Further, you may run into a situation where your strobe provides too much light, forcing you to apply additional diffusion to reign it in. Another major benefit of strobes is that they often have much faster recycle times than smaller flash units. This will allow you to capture moving subjects much more easily while streamlining overall workflow.
If you intend to shoot outdoors or on location, choose a light that is battery powered. The trend toward compact, battery-powered strobes like Profoto's B10 and B10 Plus has created a scenario in which photographers can achieve the power of a strobe in a light nearly as portable as a flash. Similarly, TTL capabilities have become increasingly common features in strobes for those who rely upon this technology.
Yet another benefit of using a strobe is the extensive variety of modifiers that you can use to shape your light. Umbrellas, softboxes, snoots, and gels can all be used to transform the output of your strobe into exactly the kind of light you need for your shot. Add a grid or barndoors to control your light’s path or additional diffusion to reduce its effect. Check out this video to see the effects of various modifiers on a strobe.
Finally, don’t forget that your camera will need a means of communicating with your light. Make sure that you choose a trigger that is compatible with the light you are using. While many newer lights incorporate receivers into their builds, some older models may require you to purchase both a trigger and receiver in order to fire your light.
Continuous Lights
Continuous lights can be tempting for photographers just starting out because they allow you to see their effect on a composition in real time. They are also the necessary choice for anyone creating video content. While it is true that many strobes (and even some flashes) have modeling lights that can be used for video applications in a pinch, if you plan on creating video content regularly, you will need to invest in a dedicated continuous light.
Tungsten lights were once the go-to choice for continuous lighting, and they remain fairly common sights on fashion and film sets. Although they serve as dependable light sources, they are not great choices for most beginner applications. These lights are capable of producing a serious amount of light (and heat!), so if you do decide to go this route, you will need to invest in flags and scrims to manage output.
In recent years, LED lights have surpassed tungsten lights for many video applications outside of major productions. LEDs are exponentially cooler than tungsten lights, making them easier on both user and talent. They are also much easier to control and transport. Models that feature bi-color LEDs can even be tweaked to match the temperature of ambient light without needing to fuss with gels. Many LEDs are battery powered so you don’t have to worry about finding an outlet, tending to a fuse box, or dealing with a generator when working on location. Pack a few spare batteries with your LED and you can go as far off the beaten path as you’d like without worry.
Another benefit of LED lighting is the sheer variety of shapes and sizes that they come in, from easily pocketable to window replaceable. There are even flexible panels like Westcott’s Flex Cine Daylight Mat and handheld lights like Godox’s LED Light Stick LC500 that can squeeze light virtually anywhere it is needed.
For those looking to simulate the effect of a strobe, high-power LED spotlights like Aputure’s LS300X can provide a concentrated source with the added benefits of being able to vary its color temperature from 2700-6500K and simulate a variety of lighting effects. “Run-and-gun” filmmakers looking for the LED equivalent of an on-camera light will appreciate the many shoe-mount options available. Finally, with the explosion of online video meetings this past year, LED ring lights have become extremely popular for their ability to provide flattering light when you are sitting in front of your webcam or computer. Many even include mounts for your phone or tabletop tripods for use with your computer.
What was your first light? Share your advice for photographers new to lighting in the Comments section, below!