Train to nowhere

by Jorge Córdoba

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When presented with this situation I've usually hired a VAL (Voice Activated Lightstand.) VAL's are a self-propelling vocally directed support system, they come with built-in collision avoidance systems and fit well into most cars. They are also compatible with most types of light (within certain weight limits) and with the monopod boom suggestion ...


Higher end studio flashes tend to be (in order from most to least amount of impact on a typical studio shoot): More powerful. They can output more light than their speedlight/speedlite couterparts. Capable of higher quality light. The light they output is more evenly distributed along the visible spectrum in the way natural light is and even at different ...


You can put the flash on a tall monopod, and then use one hand on the camera, and one hand on the flash, like this guy:, If you find it too heavy, Use a tripod for the camera and two hands on the flash.


Well I don't know if that is what you want to achive or a result of a photo of yours you want to improve. I will only coment that for low key photos probably the shoot through umbrellas are not the best option becouse they spill a lot of light. I'm imagining the violin and the face photo, and I supose you want more contrast, the dark side of the face as ...


Just me, but I'd say, you're missing the skills and practice, not the tools. Your gear is a pretty good basic three-light setup (assuming you just didn't feel like listing the stands and swivels). You have umbrellas, and a 24" softbox, and while they might be a little small, they're still pretty decent-sized. The main thing you have to learn here is that ...

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