Now this is such a huge topic that it’s almost hard to even start writing. Just like any other type of photography, there are so many lights and so many modifiers made for so many different purposes that it would be impossible to write a guide detailing them all.
Since I usually work on small productions with only one or two assistants, I like to keep things simple. I’ve also got a herniated disc and some terrible knees, so keeping things light helps as much as possible. I don’t want to hurt myself schlepping pelicans full of packs and heads to shoots, so I try to avoid the real heavy stuff while still getting good results. I've been using a Paul Buff-based setup for a couple of years now, and while it is a great entry level system, I have been thinking of upgrading for awhile now so I will present both a budget option and a higher-end option for those who are seeking a little more out of their lights.
Profoto D1 Air 1000W/s Monolight This is my light of choice. This is fairly small, relatively light weight, and completely self contained. This puts out a large amount of light and allows me to fake the intensity of sunlight. It's very simple to add zoom reflectors, umbrellas, or beauty dishes, to modify your light for your scene. The Profoto series also uses the air remote to trigger the flashes from your camera. I have found this system far more reliable than triggering off camera flashes with pocket wizards.
Profoto B1 500 AirTTL Battery-Powered Flash Similar to the D1, this light puts out a large amount of power and is completely self contained. Although it puts out slightly less power than the D1, it has a built in battery pack which makes it usable without access to power outlets. The main problem I find with them is that they don't travel well. They have a very fragile glass dome which tends to break after it goes through TSA. All Profoto zoom reflectors, umbrellas, beauty dishes and air remotes are also compatible with the B1.
Canon Speedlites In addition to the larger lights, I also bring a bunch of Canon Speedlites to every shoot. Sometimes you are only lighting a small bedroom or only need a kiss of light, and a Speedlite is a perfect way to do it without breaking out a monolight with reflector, cables, power pack, etc. These are also great for perching on the tops of doors and hiding behind appliances. I have used the 430EXII and 580EXII, which has been discontinued, paired with the PocketWizard Flex TT5, Mini TT1 and AC3 (more on those later). The 600EX-RT is a great replacement for the 580EXII.
Yongnuo 560 III These have become my do-it-all workhorse lights. They're cheap, powerful, have a great optical trigger, and I don't really care if I drop and break one because they're just so damn cheap. If you only have the budget for a few lights, get a set of PocketWizards for the camera and one light, and just use the optical triggers on these badboys. They have plenty of power for lighting up rooms and if you don't need the features that the full-fledged Speedlites offer, this is the way to go.
Nikon SB-80 DX Before I discovered the Yongnuo flashes (above) these were my go-to optically triggered flash. Again, you only need two Pocketwizards to get set up with these flashes: one on the camera, and one on the first flash. The rest will fire with the built-in optical trigger. The SB-80, while slightly less powerful than a Yongnuo, will do a great job. These are getting harder to find, but they are built like tanks if you can get your hands on them. If you're starting from scratch, I'd recommend the Yongnuos mentioned above, as they'll do the same thing and you won't have to buy them used.
Lowel GL-1 Hotlight One of my favorite lights in my kit. Allows me to paint light during long exposures to get a wonderful 'glow' effect as seen in the DVD or I can mount it to a stand and aim it wherever I please to add fill to part of a scene. While quite pricey, I couldn't work without it. Read my full review here.
Sand Bags are a must any time you're working with expensive lights on stands. Use them to make sure no one trips over your lights or the wind carries off an umbrella. These are very common and the brand doesn't matter that much but they're important not to overlook.
Honl Speed Strap System And Modifiers Simply the best modifiers for use with speedlights. I used the Traveler Softboxes, the flags/bounce cards, grids, snoots and gels (more on that below). The attach quickly and seamlessly to your speedlights and are built like tanks. Read my full review here for a detailed breakdown of how I use each item and my thoughts on them all.
It's important not only to be able to add light but also remove it. I carry black cloth purchased through any fabric store as well as butterfly netting which can cut light by a certain number of stops. I carry several sizes and densities so I can knock down the light from a window or door exactly how I want it. To secure the netting, it helps to have a variety of A Clamps or suction cups with hooks available.
Color Correction Gels These get used on every shoot and you're missing the boat by not having them, period. When shooting interiors and architecture, it is so critical to have control over the colors of your own lights and the installed lights to best photograph a scene. Whether it's my monolights or speedlights, they're going to get gelled at some point, no matter if I'm shooting inside or outside. Gels allow you to match the color of your daylight-balanced strobes to the interior or exterior lighting, or play with colors for artistic effect. On my speedlights, I used the Honl Speed Strap system with the Honl Color Correction Filter Kit and on my big lights I use sheets of Rosco gels with good 'ol gaffer tape.
Black Cinefoil is invaluable when you want to cover existing lights such as exit signs or unwanted bulbs. Cinefoil is fireproof and completely keeps the light from passing through.
Manfrotto Air Cushioned Stands I used to think light stands were just light stands but once you buy a bunch and they break you realize they can be a real liability. While in reality I have a smorgasbord of different stands, I love the Manfrottos for their portability and ease of use. If you decide you want bigger lights, you can scale the lightstand size up accordingly. Whatever you do, I recommend that you get SANDBAGS and use them - nothing is worse than watching a lightstand with $1000 worth of light and modifier on it tumble into someone's priceless heirloom in their house.
Manfrotto 026 Swivel Umbrella Adapter In order to use umbrellas with your speedlites, you'll need a couple of these. They won't work with the big lights but if you want to use umbrellas on your little guys, these are the way to go. You may want to get a couple backup studs, I lose the little things on a regular basis.
I see there are all types of PocketWizards. You have the PocketWizard Flex TT5, you have the PocketWizard Mini TT1, and the PocketWizard PlusX or Plus III. I know Mike said that I should get a couple PocketWizards and one Speedlite if I am just starting off. When doing real estate photography, what is the best set of PocketWizards to get since there are so many types?
very useful guide. I'lll be checking some of this gear out.
Probably sound a bit novice here... But do you ever use sto fen Filters? I've been using them as the umbrellas are so hard to carry around on shoot.
Interesting article. I notice that you mention different types of Pocket Wizards here... Will a combination of the YN-560ii or 5600iii flash with the PW FlexTT5, Mini TT1 and AC3 Zone Controller allow me to change my flash settings from my camera position?
Or does the AC3 not work with manual flashes like this?
Thanks.
Hello!!! Perfect guide! Thank you! What type of manfrotto monopod do you use or what model do you recommend (length, carbon or aluminum). I buy now all gears for start architectural photography. i am so inspired by your work!!!