Five Lighting Kit Tips for On-Location Headshots: New York Edition

Things are still topsy-turvy with certain restrictions around the world, but in New York City, clients are bringing me into their offices again for headshots, so I wanted to share what I bring and why.

To be clear, this is my way of doing things based on how I work and what experience has taught me in the last eight years. Everyone has different needs, capabilities, and preferences, so this isn’t the be-all, end-all approach to an on-location kit. Hopefully, it will serve as inspiration for those looking to build their own and give insight into what it takes to do this professionally in a crazy city like this one.

I'm not going to include my camera, lenses, or laptop in this breakdown, as I’m just focused on the kit. This will work with any name brand camera system, and I also plan to write another article about tethering on location.

Over the years, I’ve created a simple guide for me to follow for this kit:

1. All lights must be wireless, as you’re not guaranteed power on every shoot, plus chords lying on the ground are an accident waiting to happen.
2. Everything must fit into a single case that rolls and can be used on the subway. I also use car services, but the trains are actually the fastest mode of transportation.
3. Weight needs to be kept to an absolute minimum, as the ratio of subway stations with elevators to those without is probably 1 to 10,000. 
4. Top-rated gear is not required because things are going to get banged up, unless that compromises quality.
5. Must be versatile for different client needs, as this isn’t just for headshots, so I need to be able to adapt easily without completely changing the load out.

The most important question for me is, what do I absolutely need to bring to deliver my style of headshots on location? I use three lights to light my clients, plus, a fourth behind them to pop the background white. That means I need three light stands for the main setup and one mini stand for the background light. Along with this are the various triggers, modifiers, accessories, and a large carrying case with rollers that can fit through subway turnstiles. They are a narrow breed. The great news is with the serious outbreak of new and cheaper equipment in the last five years, this has gotten easier to assemble. Let’s get to the gear.

The Lights

• Three Godox AD200Pro TTL: $897
• One Godox V1 Flash: $259
• One Godox XProC TTL Wireless Flash Trigger: $69

This is an area where you can save money by going with speed lights; however, if you go too cheap, then you will compromise on the fourth requirement. Nothing says amateur hour than gear that works half the time. Regardless of the reason for the issue, clients will see you as inept, not to mention the image quality will probably suffer as well.

The Light Modifiers

• Three Westcott 1x3' Stripbanks: $477 (no modifier on the background light, it comes with a round soft dome diffuser)
• Three Impact Speed Rings: $134.85
• Three Glow S2 Round Flash S-type Bowens Mount Brackets: $75 (there are cheaper versions, but this one is metal and is much less temperamental)

Again, you can save money here with cheaper modifiers. The drawback might be a shorter lifespan and possible color casting due to lower-quality materials.

The Light Stands

• One set of Manfrotto 1005BAC 107" Air Cushioned Aluminum Ranker Light Stand 3 pack: $390
• One Kupo Low Mini Kit Stand: $54.95 (not what I use, but mine was cannibalized from another kit that’s no longer available)

This one will be tough to save on, as there just aren't that many travel-size lights stand on the market.

The Tripod

• One MeFOTO Backpacker Travel Tripod: $104.95

The Travel Case

• One Photoflex Transpac Single Light Kit Case: $199.95

Again, I would be careful going cheaper with the case. This needs to be able to transport thousands of dollars in gear safely and last for a few years. Plus, New York City sidewalks and streets are not exactly well maintained.

The Background

• One Westcott 5 x 7' White X-Drop Backdrop Kit: $119.90

This one is optional, but I wanted to include it, as it does a good job when I bounce light off the scrim or backlight it since it's slightly translucent. You can use a white wall, and I've also taped a white bed sheet up. Whatever it takes.

Various Accessories

• One Pelican 0915 Memory Card Case: $19.99
• One Think Tank Cable Management 20 V2.0: $24.70
• One Think Tank DSLR Battery Holder: $17.75
• One Visual Departure microGAFFER Tape 1": $18.95

Total Cost

• $2,862.99 (this is pre-tax and shipping, and most of these items are on sale at the time of this writing)

The only piece of gear listed that I don’t use is the mini light stand. The one in my kit is from another brand that’s no longer available but looks to do the same job, but I can’t speak for its quality.

If a client wants portraits or in-situation images, I still have some room in the case to add other light modifiers, umbrellas, deep Octaboxes, and so on. This is the last part of the guide to ensure versatility, so I’m not required to invest in gear that isn’t used often.

I also bring with me various grooming items that are always needed: 

• lint roller
• hairspray
• hair clips and ties
• face wipes
• collar stays and support
• mini clamps (a must-have for a host of reasons)

This has been my go-to setup for the last four years, and it has proven to be very reliable. I prefer to stick with lower-cost lights so I’m not worried about them getting banged up and also because they sit in the case until I need them on location. It’s hard to justify spending 10x the amount for a top-name light brand for it to spend most of its life hidden away.

Have a suggestion or question? Drop it in the comments! As always, be supportive and empathetic.