DIY Home Studio

Home
Studio
Photography
by Udi Tirosh
YOUR COMPLETE GUIDE TO BUILDING A PHOTOGRAPHY STUDIO AT HOME
Contents
Thanks And Acknowledgment / Credits & Copyright_________________________ 3
Light Support______________________________________________________ 74
About Home Studio And This Book________________________________________ 4
PVC Light Stand___________________________________________________ 75
Why Home Studio?_____________________________________________________ 4
Pony Clamp Stand_________________________________________________ 80
How To Use The Book___________________________________________________ 5
QUICK TIP Plaster Knife Light Stand_ _______________________________ 83
Choosing Your Lights_ __________________________________________________ 6
Stick In A Can_ ___________________________________________________ 84
Light Modifiers_________________________________________________________ 7
Ghetto Set-Ups_____________________________________________________ 88
Softboxes___________________________________________________________ 8
Light Tent________________________________________________________ 89
The Easiest Softbox In The World_ ____________________________________ 9
Underlight With A Cardboard Box_ __________________________________ 93
DIY Strip Light____________________________________________________ 12
QUICK TIP Instant Flower Set-Up With Available Light________________ 101
QUICK TIP Building A Foamcore Softbox_____________________________ 17
The Best Softbox Ever______________________________________________ 18
Putting It All Together_ ___________________________________________102
Continuous Light Softbox___________________________________________ 31

Turkey Pan Beauty Dish_____________________________________________ 39
Appendices_______________________________________________________108
Appendix 1 Cheat Sheets________________________________________ 109
Reflectors, Diffusion Screens And Flags____________________________ 43
Appendix 2 Commonly Used Materials And Tools____________________ 113
Foamboard Reflector_______________________________________________ 44
Appendix 3 Further (Or Former) Reading____________________________ 114
V Cards__________________________________________________________ 47
PVC Diffusion Screen_ _____________________________________________ 51
Thank You And Keeping In Touch_______________________________________ 115
QUICK TIP Making Your Own Collars_ ______________________________ 59
Restricting Light_ __________________________________________________ 60

QUICK TIP A Black Foamy And Rubber Band, A Beer Cozy______________ 61
The Oh So Famous Cereal Snoot____________________________________ 62

Coroplast Gridspot________________________________________________ 66
Black Straws Grid_ ________________________________________________ 69
2
Thanks And Acknowledgment
Credits & Copyright
This book would not have been possible without the contribution of the
talented and crafty photographers who are listed below
Written by: Udi Tirosh

udijw@diyphotography.net
Nick Wheeler, computer programmer by day, sometime hobby photographer by

night. Enjoys DIY photography projects and small flash photography in the Strobist
style. You can find his Flickr stream here.
Publisher: Udi Tirosh

www.diyphotography.net
David Turman, an amateur inventor and photographer who is always looking to

simplify any process he comes across. Born and raised in South Carolina but ready
to photograph all the fantastic beauties the world has to offer. You can see more
of his photography here.
Rui M Leal is a professional photographer specializing in entertainment and
concert photography, based in Lisbon, Portugal. You can visit him at
www.ruimleal-photography.net.
Matt Haines, a professional portrait and fashion photographer who shoots digitally
for clients, but film for fun. He likes to tinker with lighting and cameras, and develop
his own black and white film. You can see more of Matts work here.
Megan Abshire is a photographer in Phoenix, Arizona. She likes to show that you
dont need lots of money to take a picture like the pros, you just need to know how
to work with light. You can see her work here.
Alex Campagna, a craftsman, a carpenter and a photographer based in Quebec,
Canada combines his woodworking skills and his photography know how to
create practical lighting modifiers. You can see his craftsmanship here and
his photography here.
Yaniv Glozman, a potent industrial designer who knows how to make complicated
things look simple. See more of his work here: www.yanivdesign.com
Graphic Design / Layout: Naomi Creek

www.starfishblue.com.au
Udis portrait:
Picture by Ron Uriel
Version 1.0.1 Copyright 2010 Udi Tirosh
All photos and illustrations by the author unless otherwise noted.
All rights reserved.
We worked hard on this book, please respect it. No part of this publication may
be reproduced, stored or transmitted in any form or by any means, electronic,
mechanical or otherwise without prior written consent from the publisher, except
for the inclusion of brief quotations in a review. You may store the pdf on your
computer and backups. You may print one copy of this book for your own
personal use.
Disclaimer: The information contained in this book is based on the author and
contributors experience and knowledge. We double checked every measure and
verified every single instruction. The author, contributors and publisher will not be
held liable for any use or misuse of the information in this book, including using
any light modifier for the sake of taking badly lit photographs.
Sandra Freeman is a fine art photographer specializing in flowers and natural light.
You may see more of her work at SandraFreemanPhotography.com
Her book, FLORA ET LUX, is available at here.
About Home Studio And This Book

Are you looking to expand your photography by using
studio lights?
Why Home Studio
This makes sense, as using artificial lighting can open up whole

new photographic horizons for you.
If we could afford all the gear and all the space in the world it would rock, wouldnt
it? Sadly, if we are shooting in our living room, we probably cant. As shooting-athome photographers who have their studio double as living rooms or garages, we
have to deal with two constraints: lack of space and lack of gear. While this book
will mostly deal with Lack of Gear I wanted to say something about Lack of Space.
DIY Photography has been a resource for creating cheap

studio accessories for over four years and whenever I interact
with photographers about the site they want to see more
lighting tutorials.
A studio at home can be set up in the garage, the basement or the spare bedroom.
When I started out I had none of those, so I used to push all the furniture in my
living room aside and that was my studio. So really all you need is four walls and
a roof.
Over the years DIYP has published hundreds of lighting and studio gear projects
dealing with lighting, lighting modifiers, set-ups and other light related projects.
This book takes the most important gear in the studio and demonstrates how you
can build cheaper, yet fully functional versions.
We have also included the best and most relevant lighting projects from DIYP as well
as projects from many contributors that are not available on the blog, all here with
one intent: to enable you to build an entire studio economically.
Y
ou may be taking your first steps in photography and dont want to spend a lot
of money on equipment.
Y
ou may be inspired by the Strobist movement, own a strobe or two and
want to test out different modifiers.
ou may want that 90x90 softbox that will set you back about $200, and
Y
you just want to see if its a modifier worth buying.
Whatever it is you are looking for the following pages will provide you with a
valuable resource as you take your first steps into the world of Home Studio
Photography.
Udi Tirosh
How To Use This Book

Browsing Through The Book
General Materials / Instructions Scheme
This book is filled with great projects that you can build or adopt to enhance your
photographs. It is divided into sections and each describes a different group of
lighting modifiers. The first section deals with what may be generally referred to as
diffusion boxes. The second tackles reflectors, diffusion screens and flags. The third
section addresses light restrictors and the fourth deals with light placement. Finally,
we look at examples of using household items to create lighting set-ups.
Each project begins by presenting the materials and tools needed for project
completion. A lot of the projects share a common list and these can be found
in the Commonly Used Materials And Tools Appendix. Some of these are very
common like scissors and tape, others a bit more unlikely to have around the house
like ripstop nylon.
If you are planning to create a full starters studio in a limited space, you may want
to read this book chronologically and build the relevant projects as you go along.
If you are faced with a problem that needs solving, or with a light modifier you
should prepare overnight, you may want to pick a specific project and follow it.
Another way of using this book, which I highly encourage, is to select a project
and use it as inspiration and general guidelines to create something of your own.
You can learn the mechanics of things, see some of the approaches to solving
lighting situations and then modify them to your particular needs. If you do make
something of your own, please consider sharing it on DIYPhotographys flickr
forum
Last but not least, it is assumed that you know at least a little bit about photography
in general and lighting in particular. While the book shows How to build and
position your lights it does not cover the Why and Where of positioning your lights.
Appendix 1 has a few pointers and cheat sheet cards to help you get started, but
if you are interested in a more complete read I advise going over the books and
resources in Appendix 3; it has some very informational sites and books.
Most projects are built like a recipe, taking you step by step from scratch to
project completion. We have worked hard to make the steps clear and to properly
document each step. If you are still not sure, you can always pop a question to the
DIYPs flickr forum, where hundreds of skilled photographers share your passion.
Some of the easier projects may have a simpler structure. They will usually explain an
easy build process and provide a bit more info on how to use the end product.
Some Words About Safety

Most of the projects in this book are fun and safe. Well, actually all are fun. They are
all actually safe too if you take the proper measures when building them. Whenever
one of the steps needs extra attention for safety, we will place
to let you know.
Here are some pointers that will keep you in one piece while revelling in the joys of
construction:
M
ake sure you work in ventilated areas when you use glue or spray. I know they
smell nice, but theyre bad for you.
Some of the projects involve working with electricity, which weve marked with a
. If you do not have the proper background and certification, please ask your
neighbourhood electrician for help on that particular step. Even if its 1:00am and you
really want to finish the project, wait for the professional.
If you are working with power tools, make sure you know the instructions, wear
safety goggles and for Petes sake, know where your fingers are at all times.
Practice common sense. If something looks too dangerous to do, it probably is.
Choosing Your Lights
Strobes
One of the first items to consider as a studio photographer is your choice of lights.
As a generalization there are two kinds of lights that you can choose from: strobes
(or flashes) and continuous light systems.
Strobes (or flashes) are devices

that emit short bursts of light.
How short? Hundredths of
seconds. The flash is built to emit
this light when the shutter is open.
You can opt for one of them or go with both. You can start with one and later
switch to the other; you can mix; you can pick the light based on a particular
photograph and effect you would like to achieve. Just remember, whatever decision
you make it is not permanent.
I have included some projects for each of those options, but usually you can change
the light source and keep the modifier as is.
While this is not a lighting book per se, lets explore briefly the pros and cons of
using each of the various systems.
There are big strobes that can

deliver huge amounts of light but
those are typically very expensive.
In this book Ill be discussing
hot-shoe strobes. These strobes
are originally meant to be
mounted on your camera.
A photographer named
David Hobby (aka Strobist)
revolutionized the use of hot-shoe
strobes to be used off camera,
and off camera strobes are used
often throughout this book.
Hot-shoe strobes are small and portable, they only require batteries to operate and
when compared to their big flash brothers they are relatively cheap. Older models
and second hand strobes can be found for less than $50 on eBay.
Another thing about strobes is that you can control how much light they give.
This is different between models, but usually you can tune down a strobe to at least
1 32nd of its power.
/
The downside of using strobes is that they are `dark` when the shutter is closed. This
means you can only judge the quality of your lighting by examining a picture after it
is taken. Finally, because strobes are used off camera, they have to be synchronized
with the shutter operation (i.e. to make them pop when the shutter is open).
If you are keen to learn more about how to use off camera hot-shoe strobes
I recommend heading over to David Hobbys Strobist.com where he has very
detailed explanations on how to use hot-shoe strobes off camera.
Continuous Light
Light Modifiers
Light modifiers are the gadgets and instruments that assist studio photographers in
shaping light.
Light modifiers can make light soft (like a softbox or a strip light), restrict hard light
(like a snoot) define its edge and the way it fades or falls off.
In broad strokes, lighting modifiers can be separated into two groups, things that
make the light soft and things that block light.
Continuous light, as the name suggests, stays on as long as it is plugged in.

This means that, unlike with strobes, you get to see how your lighting looks
before pressing the shutter.
There are many options for continuous lights (incandescent bulbs, LEDs, halogens
and more), however in this book I am going to focus on CFLs (Compact Fluorescent
Lamps).
In the make-the-light-soft group youll find the softbox, the strip light, the octabank
and other modifiers. The thing that they all have in common is a large diffusion
screen that makes any light that hits it on one side look bigger from the other side.
The bigness is what makes the light look soft.
The other family of modifiers is used to restrict light; i.e. force it to go one place and
not another. The grid, snoot and flag are members of this family. The snoot and grid
are typically used to control hard light, making sure that it does not spill light onto
unwanted areas, or create camera flare.
I find CFLs have the right balance between usability and working in comfort as well
as affordability. The high grade CFLs are still reasonable to purchase on one hand
and they provide high enough light quality for photographers on the other. And by
high quality light I mean constant light temperature (which means constant white
balance) and high CRI (colour rendering index).
The other two advantages about CFLs are 1: they are equipped with standard E27
sockets so they will fit most household fittings and 2: they are very efficient in the
way that they convert electricity into light. CFLs provide about 5 times more light
than similarly rated incandescent bulbs. That means 5 times more light for the same
power, or 1/5th of the heat for the same light.
Those attributes combined make CFLs the perfect photospheres light bulb.
For lighting I usually use the Coleman Cable Reflector Clamp Light. Not only are
they very cheap (about $7 when writing this book) but they also come with a built in
reflector and clamp that can be attached to almost anywhere. (See Stick In A Can
to discover how easy mounting is with these lamps).
7
Softboxes
Softboxes, as the name implies, are

light modifiers that make your light
soft. They usually do so by making the
light go through a diffusion screen.
Most softboxes are simply composed
of three parts:
A box
A mount for the light source located
at the back of the box
A large diffusion screen at the front
of the box
For anyone outside the box, it appears
as a huge light source the size of the
diffusion panel, and since the panel is
large, it makes the light soft.
In this chapter we will cover a few
homemade softboxes, starting with a
very basic box and travelling through
a clever worklight design and the best
strobe softbox in the world. We will
also be touching on several softbox
related tips that will allow you to create
any sized softbox.
The Easiest Softbox In The World
STROBES
Project by Udi Tirosh
This tutorial shows how to build a simple softbox in only a few minutes.
It provides the perfect solution if youre in need of an urgent soft light
source.
Materials
A cardboard box (preferably 12" x 16")
Aluminum foil / Maylar
Glue
Sketching paper / Baking paper / Silk for diffusion screen
Duct tape
Tools
Utility knife
Instructions
STEP 1 - Prepare The Box
Open the box and cut two of the
flaps on the top side of the box.
You want to use at least a
12" x 16" box that has some
decent depth.
Cut a hole in the back of the box where you traced the line. It is fine
if the hole is slightly smaller, but a big headache if the hole is slightly
bigger, so dont make it bigger.
You can also reinforce the back with some tape before you make the cut.
STEP 2 - Position The Strobe
Place the strobe inside the hole and as long as you are not turning the
box upside down, the friction will hold it in place.
There are actually two ways to do this. The first option (back mounting)
is better for making flash adjustments, while the second (internal
mounting) provides softer light. The flash is not very accessible with
internal mounting so it works best if you are operating in TTL.
With this option, the strobe is throwing a cone of light that hits the front
panel. The front panel will then transfer that light as if it is the light
source. Since the cone is limited in size, there will be a hot spot in the
middle of the box.
Option 1 Back Mounting
Option 2 Internal Mounting
Place the face of the strobe on

the back of the box and trace it.
Tape a flash stand on the bottom

of the box. Make sure you tape
it really well and rigidly because
once you seal the box it will not
be very accessible.
10
Finally, mount the strobe into the

flash stand. Make sure it is set on
TTL. (Another option is to have the
back flaps open, but this can be
awkward.)
If you preferred back mounting re-open the aluminum foil and re-attach
it with tape. If you went with the internal mounting option reveal the
flash stand.
The light travels differently with

this option. Here, the light is
coming off the flash, bounces
around (and gets softer) in the
softbox and only then hits the
front panel for a really softer light.
STEP 3 - Covering The Box And Adding A Screen

Either using duct tape or glue,
cover the interior of the box with
aluminum foil. Make sure you
cover all four panels of the
box from inside. Then cover the
two inner panels on the bottom,
the ones that constitute the boxs
floor when it is sitting straight.
Now tape the paper to the front

of the box. Not surprisingly youve
ended up with a box. Its sealed
from all six sides so now it is time
to add the strobe.
The flaps on the sides can act as barn doors and restrict some of the
light that is going into the scene. See the difference between those two
options in the images below.
11
DIY Strip Light
DIY Strip Light
STROBES
Project by Nick Wheeler
A strip light is a specific type of softbox. As the name suggests it is

lengthy rather than square. Strip lights are great for portrait lighting
and for rim / back lighting. Here is how you can make one yourself.
Materials
A
long thin cardboard box (in this project well use an IKEA
clothes rack box)
Heavy duty aluminum foil (or Mylar) + aluminum tape
Cheap thin cotton fabric (or silk, or ripstop)
Black fabric
Spray glue
Duct tape
Tools
Scissors
Magic marker
Utility knife
Office fold back clips (for securing the glued sections)
12
DIY Strip Light
Instructions
STEP 1 - Prepare The Box
Spray the glue over the bottom of the box and carefully place the foil
inside. Once in place, smooth it down using a cloth.
Strengthen the joins of the box with duct tape.
Repeat this process for the two long sides of the box. Then apply
aluminum tape on the two short sides and run a strip along the top edge
of the two long sides for extra strength.
Roll out the aluminum foil shiny side down and trace out the shape of
the bottom of the box using a magic marker. Then cut the bottom lining
out using a pair of scissors.
With the box fully lined, stand it on its end and trace
out the outline of your small strobe with the magic marker.
13
DIY Strip Light
STEP 2 - Preparing A Strobe Mount
STEP 3 - Attaching A Diffuser
Using a craft knife cut just inside the outline of the flash head. It is
important that you dont make the hole too big as you want a nice snug
fit. This way, friction alone will hold the flash head in place.
The next step is to add a diffuser to the front of the box. For this use
some cheap thin white cotton fabric. Place the box face down with the
front flaps open on the cotton and trace the outline plus an inch (2.5cm)
with a pencil.
If you did cut too wide, swivel the flash head so it does not fall.
Then cut the fabric along the lines you have just traced.
Pressing down on the top of the box, fold the excess fabric along the
length of one flap back and tape it down with duct tape.
14
DIY Strip Light
With the box flipped over, spray some glue on the flap you have just
taped and pull the fabric tight over it. Smooth it down with a cloth.
Be careful at this point not to apply too much glue or it will soak into
the cotton.
The last step is to tape the fabric to the underside of the flap and to tape
back the two short ends.
Apply a row of fold back clips to the side you have just glued and then
apply more glue to the other flap and pull the fabric tightly across.
Use a second row of fold back clips to hold everything in place while it
dries.
15
DIY Strip Light
STEP 4 - Darkening The Flaps With A Removable Sock

Optional: The last step is to add a pair of black socks to the front flaps.
These help control light spill when the box is used with the flaps folded
down.
Results
Here you can see the strip light
with the front flaps wide open.
And with the flaps closed

down to a narrow slit.
Similarly to the way you attached the diffuser, trace a length of black
fabric twice as wide as the flaps and just slightly longer. Fold it in half
lengthways and tape the ends over with duct tape. Then slide it over
the flaps.
In this set-up the strip light is

used to light the models face
while back light is supplied by
a shoot through umbrella.
16
QU
IC
K
TI
P
Building A Foamcore Softbox
Building A Foamcore Softbox

One of the easiest ways of building a quick softbox is using foamcore
boards. Foamcore is a wonderful material to work with. It is relatively
light, the interiors are conveniently painted in reflective white and
it is very easy to work with it cuts easily and accepts duct tape
well. Surprisingly foamcore is a very steady material. It does not
easily bend, and once put together it has great structural integrity.
Foamcore can be bought at art supply and Office Depot stores.
To prepare a foamcore softbox you need to cut four pieces from
the foamboard. Two of these will comprise the top and bottom and
the other two the left and right sides.
This quick tip will help you prepare the pieces needed for any sized
softbox.
Materials
Foamcore board
The back will correspond to the size of the strobe you are using (usually
around 1.6" x 3.2"); front determines the size of the diffusion panel;
depth should be big enough to allow the beam of light to spread so it
covers the front screen.
Here are five simple steps to create the softbox with any size you like.
Step 1 On the foamboard draw the back height (A) and mark the middle.
Step 2 Perpendicular to line A, draw the depth line (C).
S
tep 3 Draw the front width (D) such that its middle is positioned
exactly where line C ends.
S
tep 4 Connect the edges of A and D (1 with 2 and 3 with 4).
You now have the softbox side panel.
Step 5 Repeat for lines B and E for the bottom / top panel.
Step 6 Cut the shapes, and tape along the diagonal lines.
Tape
Tools
Ruler
Utility knife
The first thing you need to do is decide on the dimensions of the softbox.
A typical softbox has five measurements: two backs, where the light
goes; two fronts where the diffusion screen goes and the depth.
Back height (A in the diagram at right)
Back width (B)
Front height (E)
Front width (D)
Depth (from front to back, C)
17
The Best Softbox Ever
STROBES
This softbox is an advanced model of a regular foamcore softbox. It is

designed to weigh less, be sturdier and have a fail safe mount for
the strobe.
Some basic carpentry skills are required for this project but its definitely
worth the effort if you are looking for a long-lasting softbox.
Materials
0
.7" x 0.4" soft pine wood strips for the softbox front and
rear frames
20 gauge steel fencing wire to connect the two frames
F lat and 90 degree L brackets to connect the frame
wood strips
Picture hangers to fasten the wire to the wood
T
hin brown card or thick brown paper to create the sides
of the sofbox
Heavy duty aluminum foil (Mylar)
Aluminum tape, duct tape and staples
White cotton fabric
Sticky backed Velcro tabs
Bolt (and optional washers)
Tools
Saw
Drill
Staple gun
Pen, pencil
Pliers
Clamps
Scissors
18
Instructions
STEP 1 - Building The Front Panel
The first thing to do is construct the front frame from the wood strips.
We are going to build a 40" x 23.5" softbox. This is a good size for
portraits and more than adequate for still life set-ups.
Lay the strips out and mark two lengths of 40" and two of 23.5".
Then cut the strips to size.
Once the holes have been marked and drilled, just add four screws for a
surprisingly strong joint. Repeat this for all 4 corners.
The front panel joints will be made using L brackets. (This alleviates
the requirement of having woodworking skills and if there are any
carpenters reading this, I apologise now for my perceived lack of respect
for your craft.)
Place the bracket over the wood and mark where the holes are going
to be. Since this is a small and soft wood, those pilot holes will stop the
screws from just splitting the wood in two.
19
STEP 2 - Building The Flash Mount
Use small L brackets to put the blocks together as shown below.
The next step is to build a frame to hold the flash in place at the back of
the softbox. The mount has to be secure enough so it wont drop out but
still be easily accessible and easy to pop in and out. This is why it is going
to be a cradle design.
Cut seven blocks of wood: 4 slightly bigger than your strobes width;
2 slightly bigger than your strobes height and one roughly the same as
your strobes length.
20
STEP 3 - Connecting The Front And Back Frames

Cut four 40" lengths from the 20 gauge fencing wire and roughly
straighten them out. This wire is strong but light and easy to bend and
manipulate.
Use the soft steel picture frame hangers to hold the wire in place.
First bend a 90 degree angle a couple of inches from the end of one
wire using a pair of pliers.
Then feed the end through the hole in the picture hanger and then
screw this onto the front frame (after drilling pilot holes). Lastly, bend
the remaining wire back towards the flash carrier.
Repeat this for all 4 corners.
And for the flash cradle.
To make it easier to join the

front to the back, we are going
to build a temporary stand for
the cradle. This is just two 19.7"
lengths of wood joined with inner
L brackets.
21
Then trim the excess wire off each end with a pair of wire cutters and
remove the temporary support.
Note: Dont worry if it all seems a bit wobbly at this point because the
next step entails adding a strengthening brace that will also act as the
mounting point for the whole softbox.
The brace is a single length of wood with the ends cut at roughly the
angle of the joint. To do this, cut a length of wood a few inches too long
and then with the softbox placed face down hold it in place and draw
the join angle onto the edge of the wood.
Then saw the ends off at this angle.
To join the brace to the front face and carrier hold the inner L brackets in
two pairs of pliers and bend them to a matching angle.
Then screw the brace in place after drilling pilot holes.
22
STEP 4 - Adding A Mounting Point For A Light Stand
STEP 5 - Adding The Softbox Skin
The next task is to add a support onto the brace for the mounting bolt
that goes into the light stand.
First number each side of the softbox and mark the numbers on the
wood using a permanent marker. These will be used later to match the
skin with the correct side.
Use a slightly thicker piece of scrap wood for this and draw a line on
it that would be parallel to the floor when mounted on the brace.
Then saw along this line.
Hold the softbox by the brace and find

the approximate balance point this is
where you should attach the mount
with screws.
Use the brown card for the covering lay the softbox on its side on top
of the card, trace around the outline of the softbox with a marker and
then expand this line by a couple of inches.
Repeat this for all four sides

and then cut along the
outer line.
23
Each of these panels now needs to be covered in aluminum foil.

Cut pieces of foil large enough to cover all the panels.
Attach the foil using a spray contact adhesive. First spray the glue
on the card being particularly careful to spray right up to the edge.
Next lay the foil, shiny side up, on the card and rub all over with a cloth.
This smooths out most of the wrinkles and makes sure the aluminum and
card are well glued.
Finally, trim off the excess foil with a pair of scissors. Repeat this for all
four panels.
Next cut a small length of aluminum tape just long enough to cover the
short end of the panel where it connects to the flash carrier.
Lift the panel up so that it is flush to the wires and use the aluminum
tape to hold the panel in place by sticking it across the top end of the
two wires and the flash carrier.
Now we need to attach the panel to the frame. There are many ways to
go about this. Here is one that I believe to be the easiest.
Clamp the frame to the table with the edge of the panel clamped under
the long edge of the frame.
24
Cut a small notch in the bottom end of the panel so it aligns with the
frame. Fold the resultant flap up and staple it to the wood using
a staple gun.
The next step is to cut two lengths of aluminum tape to the same length
as the wires. You also need to cut off one corner to match the join angle
at the bottom of the panel.
Run the tape over the top of the wires to hold the panel in place and
then smooth it down with a cloth.
Cut two more small

lengths of aluminum
tape to fasten the
bottom end of the frame
(where the wire meets
the bracket).
Finally, trim off the excess

overlap with scissors, leaving
a one inch flap which should
be bent up around the wires.
The last step in securing the
panel is to add a row of
staples (using a staple gun)
along the outside edge of
the front frame.
25
Repeat this process for the panel on the other side.
Now we want to add the panel on the side without the brace. Start by
stapling the edge to the front of the frame.
Next clamp the softbox to
the table with the panel at the
bottom.
Use aluminum tape to fasten the

panel to the flaps of the
other two panels.
26
With the inside taped down, trim off any excess card on the outside.
Leave about an inch flap all round. Then use duct tape to fasten the
panels down.
Before adding the final panel we

need to insert the bolt into the
support for the light stand mount.
Drill a small pilot hole into the
mounting strip and work up in
drill bit size until you have a
hole big enough for the bolt
to fit securely.
The bolt in the picture did not have threads all the way up to the head,
so a stack of washers was enlisted to get the nut to secure the whole
assembly, however if you are using a bolt that is threaded the whole way
through, obviously the washers wont be required. The two nuts further
down are to give the screw in the light stand something solid to clamp onto.
To further secure the brace,

simply add additional
bracing in the form of two
inner L brackets and a bolt
to the top of the brace.
This will ensure the braces
stability.
27
Now its time to add the final panel. As you may have noticed, the brace
is in the way, so trim the panel down to size before fitting it. You will
also need to cut a couple of notches in the top and bottom to fit the
panel around the brace joints.
With the panel in place, add a row of staples along the edge of the front
frame and tape up the inside flaps with aluminum tape.

Then the outside flaps with duct

tape.
Finally, seal any gaps on

the inside with aluminum
tape. Also run a length of
aluminum tape along each
of the front edges folding
it back on the inside and out.
28
STEP 6 - Adding The Diffuser Panel
First cut a slit in each of the four corners of the fabric to make a fold
when it is stuck in place.
The final stage is to add the diffuser panel. Use a piece of white cotton
fabric (or silk or ripstop) for this.
Lay the softbox face down on the fabric and trace around the outer
edge, leaving a couple of inches extra fabric all round.
Cut the other line with scissors.
To add the Velcro, stick the fluffy side to the fabric and place the hard
side on top of this. Add three tabs on the short sides and five tabs on
the long sides. Make sure the tabs on each end are not too close to the
corners.
There are two options for attaching the diffusion screen to the softbox.
One option is to staple it down. This, of course will work, however, it
will give no access to the interior of the softbox in case anything should
happen to it. This is why we are going with option two: Velcro.
29
To get the hard side in the correct spot, fold the fabric into place so that
the hard side is stuck to the cardboard.
Finally, if youd like to strengthen the Velcro grip on the fabric even
more, pop a couple of staples into each fluffy tab to keep them in place.
Result
And this is it!
Add a tab to each corner

and again hold them in
place with a staple.
30
Continuous Light Softbox
WORKLIGHTS
Project by Alex Campagna
The softbox in this project is one of the best DIY softbox designs out
there, and one of the only CFL softbox designs in general. While it may
take a bit of time to build, and requires wood skills, some electricity
skills and bending coroplast, it pays off big time. The box is shaped with
round line which provides great softening (and looks good enough to
display while working with clients). The construction is solid and most
importantly it works with CFL bulbs which are both cheap and allow you
to see the effect of light before pressing the shutter release button.
Materials
3 square pieces of half inch MDF 6-1/2" x 6-1/2"
5 rubber bulb sockets
Aluminum foil / Mylar / white paint (for softbox interior)
On / off wire switch
4x4 metal box (normally used for laundry dryers) and cover plate
2 position toggle switch
4' x 8' sheet of black corrugated plastic. Also called Coroplast.
Spray adhesive
Small wooden beams and metal L brackets to make the frame
White ripstop nylon for the diffusion screen
Double threaded bolt (with 3/4" threading) + two nuts
Stud (like the one that comes with umbrella swivels or brackets)
Tools
Drill
Glue
Staple gun
31
Instructions
STEP 1 - Create The Lighting Fixture
Place the 5 sockets inside the holes with the bulb side facing the
aluminum foil.
Glue the three MDF pieces together to get about 1-1/2" of total thickness.
Using 1-1/2" Forstner bit and a drill, drill 5 holes. One in the center and
4 at the corners.
This is how it should look

from the back.
Apply plenty of construction

adhesive to hold everything in place.
Add some aluminum foil to

the bulb side. To get a more
diffused effect you can wrinkle
the foil and then flatten it.
Use spray adhesive to glue the
foil to the MDF. Then trim any
excess foil from around the
perimeter.
32
STEP 2 - Electrical Wiring
Now that the wiring is

completed, attach the metal
box to the wooden plate.
BULB 1
+
POWER
BULB 2
SWITCH 1
BULB 3
CH
IT
SW
BULB 4
BULB 5
This is how the lighting

fixture should look like when
it is finished.
33
0"
7"
9 1/2"
12"
14 1/2"
17"
19 1/2"
29 3/4"
23 1/2"
Use the diagram below to cut the coroplast. Note the directions of the
channels. The easiest way to cut the coroplast is to do the dimensions
on the diagram to the coroplast and then to connect the dots.
21 13/32"
STEP 3 - Building The Softbox
28 9/32"
0"
/4"
125/32"
24 /2"
1
311/32"
22"
517/32"
191/2"
819/32"
17"
141/2"
12 27/32"
12"
16 3/4"
91/2"
7"
21/4"
23 1/4"
0"
1 17/32"
/8"
3
/32"
27
2 11/32"
3 /16"
5
6 27/32"
5 19/32"
15 1/4"
8 3/4"
4 13/32"
0"
2 1/4"
34
You should end up with something like this:
When you bend coroplast in the wrong direction, it can be disastrous.

To avoid permanent fold marks, simply take a very sharp knife and
cut the FIRST HALF of the coroplast layer. Cut about every inch or so.
This allows the whole panel to bend nicely without any problem.
Now apply spray and attach the aluminum foil (or Mylar).
35
The front frame was built in a

similar way to the front frame
on the Best Softbox Ever, only the
wood is a bit thicker.
Using a staple gun, attach the four
long sides of the coroplast to the
bottom of the frame. Make sure
the aluminum coated side is facing
inwards.
The connection sequence should be:

Staple the four wide ends of the coroplast sheets to the front panel
Staple two opposite coroplast sheets to the top panel
Tape the ends of all the coroplast sheets together
Staple the remaining two coroplast sheets to the back panel.
This is what you should end up with once youre done.
Now make a small tower of books

and place the back panel on those
books. Staple the back panel too.
It does not necessarily have to
be a tower of books, but something
needs to hold the back panel in
place while you are busy stapling.
36
Now, add the bulbs.
Lights on...
STEP 4 - Mounting A Softbox On A Light Stand

Since the softbox design attaches directly to the lighting fixture,
all that is needed now is to create a mounting stud on the fixture
(this mounting stud can be fitted into a swivel or bracket later on).
With the bolt shown below, one end is designed to screw into wood
and the other is like a bolt.
Then add a diffusion panel similar

to the one explained in the
Best Softbox Ever project.
Pre-drill a hole in the bottom of the fixture and screw the bolt in place.
Since there is no head on this screw / bolt, the only way you can secure
it is by using a combination of two nuts.
37
Finally, screw in the stud and its finished.
Sample Image
The following photograph was taken at 1/40sec F2.8 ISO 80. The bulbs
installed are Philips Marathon, 27W daylight balanced CFLs. If you would
like more light and want to keep your ISO low, install more powerful
bulbs. Even with 5 40W bulbs the whole thing will be at 200W. Just like
one regular strobe modeling light.
38
Turkey Pan Beauty Dish
STROBES
Project by Megan Abshire
A beauty dish is a flash modifier used often in the fashion industry.

It provides a central hot spot which is usually used to light the face and
has a very nice light fall off.
It is generally placed high above the model, promoting a glamorous feel.
Materials
Gary Fong diffuser or
Empty yogurt cup (transparent) and foamies
Aluminum turkey-roasting pan
Aluminum foil
Tools
Scissors
Tape
39
Instructions
STEP 1 - Prepare The Flash Housing
You may use a Fong diffuser or a yogurt cup for the flash housing.
Note: In this project we are using a two part Gary Fong Lightsphere
diffuser. This diffuser is double duty. It serves both as a flash holder and,
since it has a concave top, it reflects the flash well too. If you dont own
such a diffuser, you can achieve a similar construction with a yogurt cup.
Just make sure you buy one thats transparent.
STEP 2 - Prepare The Pan

Trace the flash housing on the middle of the pan. After tracing the cup,
make another inner circle about 0.2" towards the center. Cut a hole at
the inner circle.
Next, attach the housing to the pan using some tape.
Layer the upper part of the cup with foamies, until your flash fits snugly.
Cover the inside of the housing with aluminum foil.
Then place the cup (if you are

using the yogurt option, dont
worry about it, there is no cup).
There you have it a self made
beauty dish.
40
STEP 3 - Attaching A Flash And Taking A Photograph
Sample Images
Once you have finished the dish, you will need to attach a strobe and
mount it on a light stand.
Here is an image taken with

a $200 beauty dish.

As you can see in the picture below

the DIY version takes about
25 years off your subject.
Below is how a typical set-up will look.
OK, OK.... its my daughter in the second photograph, but as you can
see, the results from the $200 beauty dish and from the DIY turkey pan
version of the beauty dish are very similar in quality.
41
Reflectors,
Diffusion
Screens
And Flags
This chapter is dedicated to large scale

light modifiers which control light:
Block it, reflect it, direct it, diffuse
it and soften it. While each of these
modifiers provides a different function,
they share the same chapter because
the ideas behind their construction are
similar and they are interchangeable
once the cover (or screen) is replaced.
If you take one of these outside on
a windy day, make sure you weigh it
down. They are like sails, and will fly
away in a second if not anchored in
some way.
We will start with the simplest modifier
in the world a foamboard reflector.
(simplest assuming you dont consider
a cars silver sun shield as a reflector,
which I do, still...); move on to a larger
scale V-card and finish off with a fancy
dual use collapsible PVC screen / flag /
V-card contraption.
Foamboard Reflector
Foamboard Reflector
WORKLIGHTS
STROBES
If youve got this far, youre well past the softboxes section and probably
already familiar with foamboard.
Foamboard is a strong and light material often used to construct small
models (or softboxes ). It is made from a sheet of foam which gives it
thickness nestled between two sheets of paper to give it strength.
It comes in big flat boards in various thicknesses and is usually white
or black. Or, if youre lucky enough to find an arts and crafts store that
stocks them, half white half black.
The white foamcore board in itself can
be a very good reflector if you need some
diffused reflection. However, it can get
even better and more directional if you
convert it into a silver reflector. You can
see it demonstrated on the reflector cheat
sheet in Appendix 1.
This is a simple ten-minute project that is
well worth your efforts if youre in need of some fill light.
Materials
Foamboard
Double stick tape
M
ylar or aluminum foil (while these are usualy interchangeable,
Mylar will work much better in this application as its more
durable when the face of the reflector is not protected).
Tools
This project is very easy so you dont need any tools!
44
Foamboard Reflector
Instructions
STEP 1 - Line The Foamboard With Double Stick Tape
When you apply the Mylar, work perpendicular to the tape. This allows
you to use any width of Mylar to cover strips of the foamboard.
Run the tape from side to side

spaced at about 3". Dont peel off
the other side of the tape at this
stage.
STEP 2 - Apply The Mylar

Once you have the foamboard
covered with strips of dual stick
tape, you can apply the Mylar.
It is best to go from top to
bottom, covering one strip at
a time.
Remove the other side of the
double stick tape from all the
strips.
This will result in nice tape curls.
Its not only OK if the Mylar gets

wrinkled, in fact it is better if it
wrinkles a bit as it will help to
diffuse the light.
Note: some art stores sell adhesive
foamboards. These boards are
usually used for framing pictures
and if you could get one, it may
be worth the extra cost. Using a
sticky board will save you much
of the work done with the double
stick tape.
45
Foamboard Reflector
Sample Images
Image taken with no reflector
The following images show how a simple reflector changes the contrast
and opens the shadows on the dark side.
The dragon is lit with an umbrella and a strobe, with the reflector being
held by a wood block and an A-clamp.
Image taken with white foamboard as reflector
Image taken with silver reflector

While both the silver and white reflectors provide good opening of
the shadows, the silver reflector gives a more directional light. If you
go pixel peeping, youll notice that the silver reflector is a little better
with edges. Notice the back of the neck for example it has a specular
reflection when the silver reflector is used.
46
V-Cards
V-Cards
WORKLIGHTS
STROBES
Project by Matt Haines
A V-card consists of two sturdy panels covered with a reflective surface,

combined at an edge by some sort of hinge. The panels can be folded
at various angles to form a V, and thus stand up on their own. Imagine
a book on its edge, the covers opened slightly so that it stands upright.
Thats a V-card.
Now bounce a light off the inside of the V. Theres your light modifier!
But of course thats just the beginning.
Materials
F oamboard (or insulation panels if you can get them they
are bigger and much sturdier).
Wide cloth tape
Tools
Practically none
47
V-Cards
Instructions
My V-cards are made from foam insulation panels I bought at Lowes
(a local giant hardware outlet, similar to Home Depot for those not
familiar with the store). The panels are 4' x 8', and come in various
thicknesses. I use the 1.5" thickness, because its pretty sturdy, and each
panel cost me $15. Think foamcore, but on a larger and cheaper-per-inch
scale.
One side of the panel has printing on it, but the other side is bright
white and super reflective. Its so efficient in fact, its better at bouncing
light than my silver umbrellas! (Ive checked this with a flash meter, so
thats how I know.)
Oddly enough, I first started using these in outdoor shooting situations.

I do a lot of family portraits, often on the beach and I wanted a large
light source that was sturdy and wouldnt collapse in the wind. So I built
the 4' high V-card for this purpose. I would spread the V out between
two legs of a heavy tripod, tape it to the legs for added stability, sandbag
the base of the V-card so it didnt fly away (were talking 20-30 mph
winds here sometimes!), and then fire a couple of Nikon SB-28s in front
of it.
Below is an image I took a few years ago, with a V-card as the light
source to camera left. The sand in front of the V-card has been burned
down in post, as it was very bright.
The tape holding it all together doesnt need to be fancy, but some sort
of wide cloth tape would work nicely. It has to be durable enough to
withstand repeated openings and closings. I use silvery tape, 3" wide
which works well.
I simply cut the panel down the middle lengthwise, so that I have two
2' x 8' panels. I use a utility knife and a metal yardstick to get the cut
correct, then hinge the uncut sides, because theyre perfectly straight
and will line up better. The tape goes on the white reflective side,
allowing you to close the white sides together.
I also put tape around all the edges, to keep loose styrofoam from
coming off. And I place some extra bits at the corners, since those areas
are going to take a lot of abuse. But lets face itits $15. If the V-card
lasts 10 shoots, Im happy. Actually I still have my first V-card, which I
built about three years ago.
I have a couple of different sizes of V-cards, for different applications
(see image on previous page). I use a 4' high version for some things, and
an 8' V-card for others. Basically, a 2' x 8' V-card (remember, two panels
hinged at the middle and folded up) just barely fits in my hatchback, so
I dont take it anywhere unless Im doing full body shots. The 4' one is
more portable, and works nicely for many applications.
48
V-Cards
Admittedly this use of a V-card is a little insane, looking back. It made

for a whole lot of equipment to bring to a beach shoot, but I was tired
of losing umbrellas when the light stand fell over, or the umbrella simply
folded up on itself. I dont use V-cards on location now though. If its too
windy, Ill just use hard light in a more subtle way.
Fast forward to the present day, and Im doing many more fashion and
commercial shoots in studio situations (usually a borrowed / rented
studio, or warehouse space). This is where the V-cards usefulness
becomes most apparent.
So, What Are V-Cards Good For?

They are an infinitely adjustable large light source. Open the V-card
wide, and it is a very soft, rectangular light source. Move the strobe
further away from the card, and its even softer. Move it closer, and its
harder. Just like choking up on an umbrella!
The picture of my three year old son (with my six year old son holding
the ice cream cone), was shot using a V-card opened wide, camera left.
I also had a 2' x 2' foamcore card to camera right, spray painted gold,
off which I bounced a speedlight.
Close the V-card as tightly as you can. You now have a strip light! A wide,
soft source in the vertical dimension, and a small, hard source in the
horizontal direction. Using a strip light like this is great when you want
to light the model from head to toe in an even manner, but dont want
spill going elsewhere on the set. You can use it as an edge light, or as the
key light.
As well, you can place the strobe at different heights to get different
characteristics. When lighting people, I usually want the face properly
exposed, with some falloff going down the body. To achieve that, I put
the strobe up high (if using a studio strobe, I use a standard reflector),
and angle it down so that it points about 2/3 of the way down the card.
This gives a very good, even coverage of the V-card, with just a little
falloff toward the bottom. If I want more falloff, I just angle the light
higher, but still below horizontal. If I want to keep spill off the floor,
I just flag the bottom of the V-card by leaning a black foamcore panel
up against it.
On the left you can see my
son holding a speedlight over
the top of the V-card, pointed
downward to light the whole
thing. The speedlight could
have been aimed a little further
down, for more even coverage
but hey, hes only six!
Short V-cards can be set on a
table or some other surface,
allowing you to light the face
but with more falloff toward
the groundmuch like flagging
the bottom of a larger V-card.
So you dont have to use an
8' V-card all the time.
49
V-Cards
When Do You Choose A V-Card?

Generally I choose a V-card over other light modifiers when I want to
light something that stands upright, like a person for instance. Especially
when I need to light the whole person, such as a fashion shot where the
clothes are vitally important. It allows me to control the softness of the
light independently in two dimensions, and its good at controlling spill
on unwanted areas of the set or studio.
V cards are not, however, the best choice when you want to suspend
your light source. You cant shoot under them! A softbox or umbrella can
be positioned above the frame, but a V-card cant. If Im doing butterfly
or loop lighting where the light source needs to be over the subject and
out of frame, the V-card is useless. Its best to use a softbox, umbrella or
beauty dish in that case. And V-cards are also less portable.
To conclude, Id say that V-cards belong to the versatile, cheap and
fast-to-deploy family of light modifiers. They are an excellent solution
for both home and studio usage by providing great light, yet are easy
to store when not in use.
50
PVC Diffusion Screen
WORKLIGHTS
STROBES
Project by Rui M. Leal
Soft Light Panel... A lot of people have been building these throughout
multiple blogs but here is an easy version that you can assemble in less
than 5 minutes.
It is eminently portable and will easily fit in the trunk, while its
robustness will provide a lifetime of use.
Materials
6 PVC tubes, 1m each and already cut, D32 (diameter)
4 PVC corner joints 8730 FF D32
2 PVC straight joints FF D32
2 pack of 4 clamps
sheet of white and / or black fabric 50" (L) x 82.5" (H),
A
(white for diffusing, black for flagging)
Thick elastic cord
Quick glue
Elastic band (1" width)
Tools
Scissors
Screwdriver
51
Instructions
STEP 1 - Build The Frame
Thread the elastic through the tubes; you dont need to start at any
specific point. After pushing it through all the parts it will look something
like this:
The actual building of the frame is fairly straight forward. When the
frame is assembled it will form a rectangle, so start by placing the PVC
parts on the floor as in the image below.
Next, simply pull a little on both parts of the elastic so it will stay firm.
Then cut it and make a knot with both ends so it stays inside the tube.
Now, glue some of the PVC joints on one end. Two pipes should have
both a corner joint and a straight joint, two pipes should have corner
joints only, and two pipes should have no joints.
52
Below is a close up of what it will look like after running the elastic
through all the tubes and bending it all together for transportation.
STEP 2 - Build The Diffusion Screen

Start by spreading the fabric on the floor and placing the constructed
frame on top of it. Align it to one of the frame corners.
And here is the final product ready to transport anywhere.
Trace the fabric around the frame, leaving about 1.2" of space, then cut
along the trace.
53
Next, sew the fabric all around so it wont unravel and fray.
STEP 3 - Attaching The Screen To The Frame

There are basically two options to attach the diffusion screen to the frame.
The first quick (and dirty) way is to use clamps.
The last step is to add the elastic band to assist in mounting the screen
upon the frame.
Cut four strips, each 5.1" long, from the elastic band.
Measure about 7.9" from each corner going inside and make a mark.
(I know this does not seem to make sense with the Pythagoras law,
but doing this allows the band to stretch.)
Now, sew the band to the marks you made.
With clamps, all you need to do

is secure the four corners and then
clamp at a few extra strategic
locations to keep the fabric taut.
This will work nicely even if the
fabric is not 100% stretched.
54
Another, better option is to attach the diffusion screen using collar joints.
These collar joints can be bought at hardware stores, or you can even
make them yourself (see page 58).
Here is how the front and back look once you use collars to tighten the
fabric.
The bonus of using collar joints is it enables you to stretch the fabric
after you attach it to the frame.
First, you clamp the fabric
down using the joint.
Then you twist it to add

tension to the screen.
55
STEP 4 - Making The Whole Thing Stand
Now you can clamp two of the frame poles together to act as a hinge.
There are several ways you can bring the panel to a vertical position and
I am going to show you four of them.
1. By Creating A Panel V-Card

If you build two diffusion screens (which I highly recommend) you can
shape them into a V-card like shape. You can do this with collar joints
similar to the ones you used to attach the diffusion screen.
You will need 2 collars and a nut.
You can also use the panel as a diffuser / flag combo by having one
white panel and one black panel to prevent flare on the camera or
background. Alternatively, put a white fabric on each and create a folded
white panel.
Start by positioning the two collars

opposite one another, remove the
inner nut and then screw them
together. You need to remove the
inner nut as it wont allow you to
screw it completely.
56
2. By Using Use 45 Joints
3. By Creating 90 Flat Feet
Another option is to use 45 joints to put between the 1m high tubes to

create some feet for your panel.
Again, you can use the same collars, only align them 90 degrees instead
of parallel, and attach them to the bottom bar. Then attach two PVC
pipes to the collars so they face 90 degrees to the frame.
This is what it looks like

standing.
And here is a close up of how the

joints are connected.
To make the panel stand up correctly, you will need longer PVC pipes for
the supporting legs.
57
4. By Attaching It To A
Light Stand
Heres the set-up for this image.
The final option is to attach the

frame to a light stand using clamps.
The image opposite (taken from
the back of the panel) shows
how this attachment is made.
Results
Heres how this gorgeous light
looks on a real model.
And how the diffusion screen looks

when it is hit with a small strobe
(SB26 behind the Soft Light Panel
at 1/4 power at 18mm). If you want
to get a nice spread on the diffusion
panel, make sure you set your
strobe to the widest angle possible.
58
QU
IC
K
TI
P
Making Your Own Collars
Making Your Own Collars
Using the hacksaw cut through at

each of the markings. You should
end up with a few short pipes.
Cut each of the short pipes

lengthwise so about one-third
of the pipe is removed.
If youve been looking around and cant find any collars, you can
always opt for making them yourself. There is very little work
involved, and the price for a DIY pair is close to nothing.
Materials
A
PVC pipe one size up in diameter
from the diameter of the PVC pipe
used for the frame. Actually, while
you are in the shop check to see that
the two pipes slide perfectly one
into the other.
Sand the edges of the pipes so they dont scratch the fabric.
Tools
Hacksaw
Sandpaper
As you can see the collar now

clips to the frame pipe.
And it can then easily hold

the fabric in place.
First mark the pipe to the size of brackets you need. 2" is a good size.
Make as many markings as you would like brackets.
59
Restricting
Light
here are many occasions when a

photographer needs to prevent light
hitting certain areas in a frame. This is
where restrictors come in handy.
Restrictors (or GOBOs or flags in studio
lingo) help you light one place without
affecting another. If you think of light
as a spray of water coming from your
light source, a restrictor can be thought
of as a pipe, forcing the water to go
only in one direction.
Restrictors are also useful when you
would like to avoid having a light
source hitting the lens and causing
flare. This is why in many backlight
scenarios a grid or a snoot is placed on
the strobe. The grid allows the light
to hit a subject from behind, but limits
the light hitting the camera lens and
creating flare.
QU
IC
K
TI
PS
A Black Foamy And A Rubber Band | A Beer Cozy
A Black Foamy And

A Rubber Band
The easiest way to create a snoot is to use a foamy (easiest,
assuming you dont drink beer, see second quick tip). Foamies
are paper like soft plastic sheets that are great for arts & crafts,
and are available at most arts & crafts stores.
To make your first snoot simply

roll a foamy around the flash
and secure with a rubber band.
The width of the foamy should
wrap nicely over the flash.
A Beer Cozy
The same principle as the foamy snoot applies here using a long
cylinder to restrict light. Only, with cozies, some of the steps are
saved courtesy of beer companies. (If you are under 21 please read
soda companies.) Most cozies are black on the inside, so you can
just cut the bottom and have an instant snoot. If you have the
right size of cozy it will stay on by sheer friction.
The nice thing about this snoot,

and the other soft snoots, is that
they do not have to produce a
circular pattern. Depending on
how you press the front side of
the snoot, you can get shapes
ranging from circle, through
ellipsoid to a very tight slit,
as seen in the examples below.
You may want to make two versions

of this snoot a long version
(around 3") and a short version
(around 2") and use these
depending on how tight you want
the beam to be.
61
The Oh So Famous Cereal Snoot
STROBES
Snoots help you restrict light by blocking some of it that is coming from
your strobe. Most snoots are tunnel-looking devices that attach to the
light emitting side of your strobe. Obviously, the light must go through
the tunnel and cant spread outside it. This results in a circular pattern
where the light hits.
Before we go on and show how easy it is to make (or adapt) snoots
I would like to mention the two main factors that control how the light
coming from a snoot will look.
The length of the snoot determines how tight the circle of light is when
it hits the subject short snoots block less light and provide bigger
circles and long snoots restrict the light more and create tighter circles.
So if you wanted to create just a small dot of light you need a really,
really long snoot.
The interior color of a snoot determines how fast the edges of the light
circle fall off. If the interior is painted black, you get fast fall off and
sharp light edges; if it is painted white, you get softer edges while silver
produces even softer edges again.
Materials
Used cereal box
Tape (and optional gaffer tape for the finish)
Tools
Scissors
Black or silver marker
Ruler
62
Instructions
STEP 1 - Trace And Cut
The first step is to measure the size of the front of your strobe. For the
Nikon SB800 on this project the measurements are 2.35" on the wide side
and 1.52" on the thin side
Once you have the measurements, trace a set of rectangles on the inside
of an opened out cereal box. The rectangles should be thin-wide-thinwide-flap, where the flap is .8" wide, and will be used to assist with
taping the snoot. The long dimension of the box should be the length
of your snoot plus an extra .8" (2.75" snoot + .8" extra = 3.55" total in
our example).
STEP 2 - Colour Correction

If you are lucky enough to have a cereal box that is white or black on
one side, this step is unnecessary but if, like me, your box is brown, you
need to color correct it. Otherwise the light will pick up some hue from
the interior color.
Note: As mentioned above, the color of the interior of a snoot has an
impact on the way the light it throws falls off. Using a black marker
creates relatively sharp edges and fast falloff, while silver or white
creates softer edges and a more gradual fall off.
Using a pen or a utility knife lightly score over the traces to deepen
them. We are going to fold this box and this will make folding easier.
Using a marker of your choice, color the entire interior surface of the
snoot. If you have a young child, this is a great opportunity to get them
involved with that weird thing that daddy / mommy does.
63
STEP 3 - Fold And Tape

Fold along the traces and tape the flap over the thin side.
For a professional look, you can gaffer tape all around the box.
When mounted, the snoot is held by friction, so precise fit is important.

If you are using a few small hot-shoe flashes you may want to label
different snoots with marked tape.
64
Sample Images
The following three images were taken with 6.7", 4.2" and 2.75" snoots
to demonstrate the effect of making a snoot long or short.
65
Coroplast Gridspot
Coroplast Gridspot
STROBES
Project by Udi Trosh
A gridspot (or grid) is a studio accessory that attaches to your flash to

restrict and direct light. When the flash fires through the grid, the spread
of the light rays is limited. The effect produced is very similar to that
achieved by a snoot, but light is more controlled and concentrated on a
small surface. You often need to use a snoot or a grid for having just one
little spot lit and avoiding light everywhere else.
The size of the circle of light that the flash casts depends on the length
of the grid and the diameter of the grids inner cells (in our case the
coroplast tunnels). It is a good idea to prepare several gridspots each
with a different length of coroplast, to achieve different levels of light
restriction.
Materials
Some black coroplast (obtainable in art stores and at Office Depot)
Glue
Tools
Exacto knife
66
Coroplast Gridspot
Instructions
The next step is to glue the pieces of coroplast on top of each other.
Make sure that all the tunnels are aligned.
The first step is to measure your flash head. (I use a Nikon SB800 which is
2.4" wide.) Then, using an exacto knife, cut the coroplast into pieces as
wide as the flash head and as long as the length of your grid (in my case
2.4" x 1.2").
The easiest way to do this is by cutting a long strip of coroplast 2.4"
wide, then trimming at 1.2" long intervals.
Note: The grid we are making here produces a fairly tight light beam.
You can get a wider beam by making the grid shorter or a tighter beam
by making the grid longer.
When you are cutting the coroplast strip make sure the little tunnels
inside the coroplast are aligned to the length of the strip.
You should end up with something like this.
67
Coroplast Gridspot
Now here is the trick. Try looking at a light source with the gridspot in
between. You will see that only one angle allows you to see the light.
This is exactly what happens when you place the grid on the flash
light is emitted at one angle only and is not spreading out.
It works the same way when mounted on a small strobe see how the
light is only hitting the middle of the bookshelf and nicely falls off as it
gets further away.
68
Black Straws Grid
Black Straws Grid
STROBES
Project by Rui M Leal
Sometimes coroplast is not easy to find. This is why we are also

explaining a different approach to building a gridspot using the
very commonly available black drinking straw. Actually this is a more
sophisticated gridspot as it can house colored gels.
If youre out of black straws simply ask your waiter for some. And please
tip them generously for their help with your lighting endeavours!
Materials
Black duct tape
Cereal box (any type or any kind)
Glue
Handful of black straws (0.2" diameter)
Colored gels [optional]
Tools
Scissors
Ruler
Pen
Portable flash to try it out later
69
Black Straws Grid
Instructions
STEP 1 - Creating The Grid Box
After cutting the card use the

ruler to help you bend the card
on the marks.
After bending all the parts you

should have a card box similar
to the one below.
Measure the size of your strobe and draw it on the inside of the cereal
box. The way to do this is to measure the size of the flash box.
Go right, top, left, bottom. When you are overlaying the sizes on the
cereal box add a 0.4" flap. This helps to glue the box together.
The height of the box should be the length of the straws + 1.2".
Those extra 1.2" are for mounting the grid on the flash. Here is a sample
of the pattern for the SB26 and 580EX. It is 2.75", 1.75", 2.75", 1.75",
0.4" and 3.15" high for 2" straws.
Note: If you plan on adding gel support to the grid (see step 4)
add 0.4 to the height of the box.
Note: Do not glue the flap yet as it will be easier to fill in the straws
when the box is open.
STEP 2 - Making Straw Salad

Cut the straws with scissors and pay attention as they tend to pop out
after each cut.
Next, follow the trace

to cut the card.
70
Black Straws Grid
Now its time to glue them to the card box. Glue them to the longest
part of the card box first. This way it will be easier to glue everything
later on.
Once you have the first row on, carry on gluing.
Align them at the front of the card box... dont worry if the back part
(the one that stays inside the card box) is not precisely aligned, it will
work just as well. What is most important is to align the front.
When youve built the entire grid,

test to see how the top part closes.
This way you can add or remove
straws so it stays aligned.
71
Black Straws Grid
STEP 3 - Black Finish
Note: Choosing the length of the straws
Using black tape go all around the sides, wrapping them to conceal the
cereal box.
In general, the longer the straws are, the tighter the light spread will
be. There are two ways to restrict the light beam make a longer grid,
or use narrower straws. In the image below you can see the different
patterns that a2" grid and a 0.8" grid produce.
You should end up with a slick looking grid. Below are examples of a
5cm straw grid and a 2cm straw grid all built and ready to go.
In the photograph below the 0.8" grid on the right is lighting the wall to
create some background and detail while the 2" grid is aimed towards
the face.
72
Black Straws Grid
STEP 4 - Adding A Gel Holder For Colored Light
Once you are done, you can slide in a colored gel like so.
This additional step will allow you to add colored gels to your grid. Colored
gels allow you to color correct the light output or create artistic effects.
Using a ruler and while peeking inside to see where the straws end (mine
were about 1.2" from the edge) you mark the cutting line. This is where
the filter gel enters.
Here is the effect you can create

once you add the colored gel.
Using an exacto knife make a cut from bottom to top. It is best to cut on
the side where the box is not glued, making it easier to place the gel in.
Of course, if you planned it that way you can mark and make the incision
while building the box.
73
Light
Support
When lighting, a key consideration is

where to place your lights. While this
book does not cover lighting placement
it does provide some lighting tips in
the form of cheat sheets found at the
end of the book. You can also see the
additional readings section for some
great reading material. In this chapter
we show you some great options for
for placing your light source.
The basis for most strobe oriented
mounts is a 1/4-20" bolt. This bolt size
fits most lighting equipment bases and
mounting plates. Of course, if you are
using some other mechanism make the
appropriate changes.
PVC Light Stand
PVC Light Stand
WORKLIGHTS
STROBES
Project by David Turman
Here is a DIY version of a simple and durable PVC backdrop or lighting

stand. All the pieces are cheap and readily available and assembly is easy.
I bought all the pieces at my local Lowes for about $11.00, so you can
make 2 for around 20 bucks not counting the uprights. You might save
even more if you buy a multi-pack of the PVC fittings.
Materials
10- 3/4" schedule 40 PVC pipe
3/4" PVC cross tee
3/4" 45 degree PVC elbow
5- 3/4" PVC tee
3/4" 90 degree PVC elbow
Small can PVC cement
Tools
Tape measure
Sharpie marker
PVC pipe cutter or hacksaw
Dremel tool w/ sanding drum
Safety glasses and gloves
Just before we start, a word of caution: PVC cement is a very

noxious material and even flammable, so no smoking. Make sure
you employ adequate ventilation and take a break every so often. Safety
eyewear is also a sensible option.
75
PVC Light Stand
Instructions
STEP 1 - Get All The Pieces
STEP 2 - Construct The Crossmember

Lay out the 3", 6 1/2" pipe, cross tee and two 45 degree elbows like this.
All the items you need are laid out in the following picture.
To make it easier, join the short pieces to the cross tee and the long
pieces to the 45 degree elbows as below.
See page 77 for

grinding instructions
then glue them all
together like so.
Set this aside to dry.
76
PVC Light Stand
STEP 3 - Construct The Base
STEP 4 - Combine Crossmember And Base
Next lay out the 10 PVC pieces of pipe, four 90 degree elbows and two of
the tees as shown here.
Next, going back to the crossmember, glue on the two remaining tees.
Make sure they are nice and square.
Glue them together so the assembly looks like this. Ensure all the pieces
are fully inserted and the tee in the middle is perfectly vertical.
77
PVC Light Stand
Now you should have three pieces that look like this:
Now, join the three pieces together. A mallet or block of wood might be
helpful to ensure everything is properly seated.
One last thing. You need to

grind down the little lip
inside the cross tee.
The pole I use is exactly
1" in diameter and wont
slide through. A dremel
makes light work of this.
78
PVC Light Stand
Results
For a slicker look, the PVC can be spray painted in the color of your
choice. Black or silver will work best.
The image below shows one example of how two stands can be utilised
for mounting a backdrop.
79
Pony Clamp Stand
Pony Clamp Stand
STROBES
The pony clamp stand is a fast way to mount a strobe on shelves, doors,
knobs and so on. It is made from a pony clamp, a 1/4-20" bolt and an
optional stud.
The pony clamp is useful if you are short on space and would like to
avoid using light stands. It cant support much weight, but it works well
for a bare, gridded or snooted strobe.
Materials
Pony A clamp
1/420" bolt
A matching 1/420" nut (and optional washers)
Optional stud (like the one you get with a swivel)
Tools
Drill
80
Pony Clamp Stand
Instructions
STEP 1 - Drill A Hole In The A Clamp
Optionally, you can add a stud (or two) and a swivel or a flash ball mount
to have more control over the directions in which your flash is facing.
Mark a spot close to the edge of the A clamp and drill a small hole through
it. Some clamps already have such a hole under the plastic protection.
STEP 2 - Thread The Nut And Tighten The Bolt

If the bolt and nut are not
fastened tightly enough,
use some washers to close
the extra space.
81
Pony Clamp Stand
STEP 3 - Mount A Strobe And Clamp It
You dont have to use a pony clamp of course; other clamps work just
as well..
82
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Plaster Knife Light Stand
Plaster Knife Light Stand

This light stand, which is also called the Spatula light stand, uses,
well... a spatula as a way of positioning the strobe to certain locations.
It works great under the books on the bookshelf, in creeks and on
fences.
Materials
Plaster knife
Next, mount a strobe (and an optional stud / ball).

1/4-20" bolt
A matching 1/4-20" nut
Optional stud
Tools
No tools required
First, thread the bolt through the spatula hole.
Of course, once you figure this out,

there is no need to stop at spatula
knives and pony clamps. You can
use any device that can hold a flash
or accept a nut. An iPhone holder,
for example, is a great flash mount
(just make sure the suction is
strong enough).
83
Stick In A Can
Stick In A Can
WORKLIGHTS
A stick in a can is the poor mans solution for positioning lights in three
dimensional space. Basically it combines a stick, which provides some
height, and a cement filled can, which provides anchoring weight.
It works very well for positioning worklights, reflectors and just about
anything you can clamp.
As you may imagine, that cement mixture is pretty heavy so this
constitutes a great solution for a studio, but not so much for on location
photography. Its also handy for silencing songbirds if you are the mob
kind of guy.
Materials
Can
Stick
Wood screws
Cement / concrete mixture
Tools
Hammer
Screwdriver
Something to mix cement in
84
Stick In A Can
Instructions
STEP 1 - Get Hold Of A Can, Or Preferably Cans
While the entire stick in a can solution is pretty easy, this step is the
easiest of all. You can use any kind of can that you like. Food can,
chemical storage can, paint can. Really any can will do.
The cement mixture, at least the type that I was using, weighs about
2 kilos for every litre. Take that into account when deciding on can size
about 2-3 litre cans are ideal. Balance wise low, wide cans are better than
tall, thin cans.
I love pickles, so I acquired a couple of eight litre pickle cans.
(Please dont ask where all the pickles went. Id be forced to lie.)
STEP 2 - Attach A Stick

In the end, the stick is embedded in cement, kinda like Han Solo and the
Carbonite thing. However, It is not easy to place the stick once the can is
filled with wet cement, so it is important to attach the stick first.
I used a 0.8" by 1.6" beam for the stick, however, any similar size will
work. As for height, you can make this whatever you want. Its best
though to go as high as possible.
Since you already have an empty clean can, you can be pretty choosy
(like I am) about placing the stick. For example, you can use a straight
angle to draw a line which is 100% perpendicular to the floor.
Now, using a nail and hammer,

punch two small holes on that line.
These holes act as leads for the
screws.
Align the stick inside the can with
the screw holes and screw two wood
screws from the outside. You should
end up with the stick being very
close to the edge of the can.
85
Stick In A Can
STEP 3 - Cement It
Mix whatever cement mixture you
are using and pour it into the can.
Make sure you clean any leftovers
that fall on the floor. Once this
stuff dries it is very hard to remove.
Option: After the cement has dried
glue a piece of carpet or heavy duty
felt to the bottom of the can to
minimise any possible damage to
wooden floors or white cycloramas.
This would also help with sound,
if its important to keep a quiet set,
and may make it possible to slide
the cans around the floor, rather
than having to lift them up to
move them small distances.
Wet cement is a nasty material. Apart from being difficult to
remove, it is very hard on your skin. Make sure to wash up
thoroughly after mixing and pouring.
Its also convenient for booming lights overhead, with an additional long
stick and short stick. Just make a straight angle using more A clamps to
make sure the horizontal bar doesnt slide down.
STEP 4 - Use It For Lights

As I stated at the beginning of this project, this works terrifically well
when using worklights. You can clamp one, two or as many worklights
as you want to ensure some bright light. It is also a convenient aid in
illuminating a human size cycwall or large backdrops in general.
Depending on the size of the light that you are using, you may want to
clamp your worklights with an additional A clamp.
It works ideally if you just need a regular light coming from the side.
Bear in mind, too, that CFL worklights are so cold, you can flag them
with cardboard.
86
Stick In A Can
STEP 5 - Use It For Backdrop Mounting

If you have two stick in a cans, a bar clamped between them makes an
excellent backdrop stand. It is probably too heavy to take on location
but is ideal for use in a home studio where long hauling isnt required.
87
Ghetto
Set-Ups
This chapter discusses three simple

set-ups that can be built using everyday
objects found around the house.
The main premise of this chapter
(as is the purpose of the entire book)
is to show that you really need very
little to create a set-up that flatters your
subject. Your existing lights or windows
with the addition of a cardboard box or
a V-card may be all you need to bring
out all your subjects features.
Light Tent
Light Tent
WORKLIGHTS
STROBES
A light tent is probably the first studio light most people use for
product photography, as it is very easy to build and set up and it
produces terrific results for still life photography. Heck, if someone ever
built a man-sized version of this, I am sure it would be ideal for living
subjects too.
Materials
Cardboard box
Semi-transparent paper, like tracing paper
Tape
Tools
Utility knife
89
Light Tent
Instructions
STEP 1 - Procure A Box
The first step is to obtain a
cardboard box, such as the one
you get when you make a big
online order or the one your
old computer screen arrived in,
or just a plain medium sized
Fedex box.
When you have completed this project, two of the windows will enable
light to come from the sides and the middle one will enable light to
come from above.
STEP 2 - Cut Windows In The Box

Next, cut three windows in the box. The windows should be placed on
three sides of the box if it was standing on its base.
STEP 3 - Cover The Windows

Then place paper on each of the windows you have just created. This
will then force the light to enter the box in such a way as to produce a
lovely diffused light. You can use any paper for this as long as it is semitransparent. The thicker the paper the more light youll lose so consider
using a thin printing paper or sketching paper. Even baking paper will
work in a pinch.
90
Light Tent
Before performing the next step,

roll the box over so its base is
facing backwards. You now
have a window on each side and
a window on the top.
Set-Up
Place your product inside the box (a Canon G9 for example).
Place a source of light on each side of the box.
STEP 4 - Make A Seamless Backdrop

Now, you need to make a
seamless backdrop. While seamless
backdrops are hard to create on
a large scale, they are really easy
to create for this box. Simply tape
another piece of paper on the
back (what used to be the base)
of the box. Make this paper longer
than the box so it rolls outside
a little.
In this set-up I used strobes, but worklights will do the job just as well.
You can utilize the box flaps to act as flags to hide the light source from
the lens thus reducing flare.
You now have an instant box

for product shooting.
91
Light Tent
If needed, add a third light source over the top and you are ready to
shoot.
Sample Image
92
Underlight With A Cardboard Box
STROBES
This project shows how to underlight a transparent object and tells the
story of how I used everyday items found around the house to create
an underlight set-up. The construction here is specific to my flashes and
my living room table. A similar set-up can be used with strobes or other
flashes.
Just recently, I became the proud owner of a new dining room table.
Not a world shattering announcement you might think (and you would
be right), but what was getting me excited was the fact that it had a
frosted glass top. While my significant other was wondering where to
put it and what to do with the old table, I was thinking I wonder what
would happen if I stuck a flash underneath it?
The answer at first was a little disappointing but after a while I was
getting some pretty good results, particularly with bottles and containers
of liquid. I was finding that the light coming from underneath was
helping illuminate the liquid and giving it a nice glow. The only problem
I was having was the table top itself. The glass was dimpled, not smooth,
and while that gave a nice effect, it was not ideal for every shot. The
answer of course was a spot of DIY!
Materials
1 tall cardboard box
1 small cardboard box
1 piece of glass
Tools
Utility knife
93
Instructions
STEP 1 - Obtain A Box
With the bottom light in place the next step was to drape a black velvet
cloth down the inside back wall of the box. This provides the black
background for the floor.
OK, I needed a glass surface with a flash

underneath it! Hmmm, what if I took
the old dining room table, dug out the
power saw, cut a hole in the top of it...
You can forget that, use a cardboard
box, came the helpful suggestion from
my better half. So was born the floor lit
table top studio project.
I started with a largish cardboard box.
In the front I cut a little door to make
it easy to place a flash in the bottom.
I added a fold back clip (one of the DIY
photographers best friends) to act as a
handle. I also folded in the top flaps of
the box to make it open ended.
STEP 2 - Add A Flash And Background

Next I placed a flash head on the bottom
of the box to act as the floor light.
As I only have two small strobes (which
I needed to light the main subject), I had
to use one of my studio flash heads.
I didnt test this set-up with a small
strobe in the bottom of the box, but Im
pretty sure it would work equally as well.
To hold the flash head upright, I cut a
flash shaped hole in another small box
and placed the whole arrangement in
the bottom of the big box with a Pocket
Wizard acting as a trigger.
STEP 3 - Add A Glass Floor

Almost there now, I just need
to add a floor to the set-up.
I used the glass from a cheap
picture frame for this.
I placed the glass so that the
back edge lined up with the
back edge of the box. This
helps minimize (although not
eliminate) the back edge of
the glass appearing in your
pictures. At this point, it pays
big dividends to thoroughly
clean the glass on both sides.
Two minutes of cleaning now
saves hours of tedious dust
removal in the photo editing
package of your choice (in my
case Adobe Lightroom).
94
STEP 4 - Add A Black Background

The last thing required is a black backdrop. I used a sheet of seamless
paper, but any black cloth would work equally well. One thing you do
want to try to do is get a good gap between your box setup and the
background to avoid light contamination spilling onto the background.
With the floor light sorted out, I now needed to light the subject.
For the beer shot I chose to use a couple of softboxes pushed up close
on either side to give some nice specular highlights. If you dont have
softboxes, a couple of cardboard boxes with white fabric over the front
does the trick.
Set-Up
OK with everything in place I
was ready to take my first test
shot. I placed the subject on
the glass (in this case a bottle
of beer from the fridge) and
with just the floor light took a
picture.
Here, the beer bottle is lit
entirely from underneath.
As you can see there is a nice
glow in the liquid. You can
adjust the power of the floor
flash to get a good balance of
light through the whole bottle.
I set the two flashes in the softboxes to 1/32 power and took a few shots.
Before taking the shots, however, I cleaned the glass. But there was still
a lot of dust and the back edge of the glass was clearly visible.
95
Sample Images
Another picture with the same set-up.
After a few minutes in Lightroom, we get the final picture.

Here I have removed the dust, cloned out the edge line, boosted the
black levels slightly and increased the color saturation a touch.
96
With the soft boxes switched out for shooting through translucent
umbrellas, here is an example of this set-up.
So there you have it. A floor lit table top studio. But wait, as they say in
all the best infomercials, theres more!
As you can see, the effect works best on light colored liquids. As the
liquids get darker, it gets harder to light them from below as they just
soak up too much light.
Adding Color
By cutting a flap in the back of the box you get a whole new dimension
to the pictures you are able to take.
Here, I have cut down about a quarter of the way into the back of the
box. With the flap folded down we can now see through the glass to the
background. By changing the black backdrop for a white one, we can
light it any color we like with a strobe placed on the floor and a filter
placed on the strobe head.
97
On the following image I have placed a purple filter on the strobe head
and set the zoom to 85mm. The back edge of the glass gives a nice
horizon effect.
98
Here is the set-up shot for the previous two images.
99
Creating A Light Table

So, I hear you saying, thats all well and good, but what else can this do?
Okay, you want a quick and dirty product shot for your eBay auction?
No problem. Close the back flap, put a piece of white fabric under the
glass and place your auction item on top. Instant light table!
Nice clean edges if you need to cut a complicated shape out from a
background.
Dark items work really well with this set-up too.
Very quick and easy.
100
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Instant Flower Setup With Available Light
Instant Flower Set-Up

With Available Light
In this quick tip we will look at what can be achieved with a
flower, a V-card and a ton of creativity. The set-up is very simple
and shows that amazing, well lit photographs can be taken with
very little equipment if you have the creative juices flowing.
The Three Elements Of Flower Photography

T
he first is finding some organic object that has movement
(gesture) or texture that calls to me.
T
he second element (and perhaps the most important) is a large
(88" x 59") window that affords beautiful northeastern light for
most of the day.
The third element is the simple set-up that I use.
The Set-Up
Sample Image
I use a 36" x 48" piece of white foamcore with folds at 12" and 36".
The U-shaped foamcore allows me to support a background cloth (usually
my large back cashmere throw). The foamcore holds the background and
provides a definition for my working area on top of my dining room table.
The only other items I need are my tripod, a midlevel digital camera (Fuji
S3 Pro with Nikon 60mm Micro lens) and an occasional reflective card to
bounce fill light. I am not concerned with lighting ratios or sophisticated
metering techniques and my camera is set on manual. I often have to shield
my eyes from the window to see the light on my subject but I have the
advantage of the light changing subtly throughout the day. Some would
consider this a limitation; however, I see it as an advantage. I dont use an
electronic flash, so long exposures and small apertures require patience.
101
Putting It
All Together
Each of the light modifiers covered in

this book has power when it comes to
shaping light and creating beautiful
portraits. The real power, however,
is revealed when several tools are
combined.
The following two portraits were taken
with nothing but DIY equipment made
for small strobes. Try to see if you
can identify all the elements used for
lighting each of the portraits before
turning the page and discovering the
actual projects.
Putting It All Together
103
1. A 15.5" DIY softbox fitted

with a strobe provides soft
keylight coming from the
right.
2. A foamboard silver reflector
provides fill from the left side.
3. A stick-in-a-can and some
A clamps are used to hold a
stretch of black fabric to act
as a backdrop.
4. A
strobe fitted with blue
gel and a coroplast gridspot
is placed on the far right,
casting a long light strip and
providing some background
separation.
5. An IKEA chair is used as a
posing stool.
104
105
1. A strobe fitted with a beer

cozy snoot provides hard,
long keylight coming from
the right.
2. A 15.5" DIY softbox fitted
with a strobe provides soft fill
light from the left.
3. An orange gelled strobe
fitted with a short coroplast
gridspot casts the glow
behind the models head.
4. A stick-in-a-can and some
A clamps are used to hold a
stretch of black fabric to act
as a backdrop.
5. A silvery foamboard reflector
provides some fill coming
from beneath.
6. An IKEA chair is used as a
posing stool.
106
Conclusion
If youve read to this page, you are definitely interested in studio light
and design. Youve finished the book and really admired some of the
projects, imagined the possibilities in others and definitely want to build
them all. Well, wanting is not enough, the ball is in your court.
Go out (or actually stay in!), start the first project that you like and take
some photographs. Then go ahead, tackle another project and take some
more pictures.
Then take some more pictures.
And more pictures.
And some more.
But dont do these projects alone. Share your results with the
diyphotography.net community on the blog, flickr, and twitter. We want
to see how youve used the material in this book to create something
new and exciting.
Because in the end, the best way to improve your photography is by
making pictures and sharing them with others.
107
Appendices
Appendix 1 Cheat Sheets
Appendix 1
I said at the beginning of the book; there will be very little discussion
of light motivation, placement and effect, there are comprehensive
books and online learning resources for this. See Appendix 3,
extra reading. However, the following cheat sheets can provide some
clues on the effect of light placements and modification.
Cheat Sheets
Portrait Lighting Cheat Sheet
Setting up lighting for a portrait can be quite a complex task. If you, like
me, are using small strobes which have no modeling light it is hard to
predict what the outcome will be of each lighting array.
There are, however, some basic lighting schemes which are a starting
point for new portraits. Of course, once you lay out the initial lighting
you can change it, move it around as well as use modifiers to soften or
restrict the light.
Lighting Modifiers Cheat Sheet

This card is designed to help you understand the effect of each of the
modifiers discussed in the book. The card is divided into four sections,
each dealing with a different type of modifier. While there are plenty
of modifiers out there, I tried to include the more common ones, and
definitely the ones in the book.
The card includes softboxes, umbrellas, some light restricting devices and
some misc.
Reflector Card Cheat Sheet

The images on this card were taken using a single flash shot through
a shoot-though umbrella and reflected via several configurations of
a 5-in-1 reflector. The reflector was positioned at several locations to
demonstrate the effect of each of the four main uses a reflector can have.
Lastly, the fourth line compares several DIY options.
109
Appendix 1 Portrait Lighting Cheat Sheet
Portrait Lighting Cheat Sheet

0
45
90
135
180
225
270
315
Flash
@45
Down
Flash
@0
Down
Flash
@45
Up
110
Umbrellas
Restrictors
Other
Lighting
Modifiers
Cheat
Sheet
Softboxes
Appendix 1 Lighting Modifiers Cheat Sheet
111
Appendix 1 Reflectors Heat Sheet
Reflectors Cheat Sheet

Reflector
Colors
Reflector
Location
Different
Reflector
Types
None
Black
White
Silver
Gold
None
Side Fill
Under Fill
Hair Fill
Background
None
Foamboard
White Disc
White Tee
112
Appendix 2 Commonly Use Materials
Appendix 2
Commonly Used Materials

And Tools
There are many projects in this book that tread the fine line between
photography and weekend crafts and as such many of the materials
and tools are used more than once.
Tools
Here is a list you will find useful.
Scissors for cutting fabrics, paper and wires.
A
utility knife will probably be your best friend on many of the projects,
especially for any that involve foamcore, cardboard or coroplast.
A
glue gun is handy to keep around for almost any project involving
three dimensional gluing. In this book most such gluing is done with
tape, but trust me, sometimes a glue gun is faster and cleaner.
S ome of the projects require heavier tools; a hammer or a drill.
Make sure you know how to use them before pushing the on button,
or randomly swinging away.
Materials
T
he projects use a lot of tape. In fact, at some point I looked at the
book and hoped no one would accuse me of trying to help 3M take
over the world. To attach things I recommend duct tape, though other
tapes may work too.
T
he book has several chapters that require diffusion material. My
favorite is ripstop nylon. It is strong, has enough transparency and is
easy to work with and clean. Other good diffusion materials are silk (my
second best), tracing paper (cheap and easy to get, but tears easily) and
if everything else fails, baking paper. For some of the smaller projects,
like the light tent set-up, you can even get away with regular office paper.
C
ompanion to diffusion is reflection, The two best options for coating
a reflecting surface are Mylar and aluminum foil. Both are very cheap.
Mylar will last longer and is very easy to handle; aluminum foil is very
accessible but tears easily.
F oamboard, coroplast, tracing paper, ripstop and most other materials
can be found at your local hobby or art supply store.
Appendix 3 Further (Or Former) Reading
Appendix 3
If youve made it so far you are definitely into light. There are a few
resources out there that can deal with the whole Yes, but how do I
know where and what to use? that this book is only skimming. To the
right you will find a list of resources to use as a jumping off point.
Further (Or Former) Reading

Online Resources
T
he Strobist site and group ran by David Hobby are great resources for
beginners and advanced photographers who want to get into lighting.
Aside from constant lighting tips, the site features two great lighting
tutorials: Lighting 101 and Lighting 102.
P
ro Photo Life has tons of information and a great video tutorial
library. The site is on a long break; however, the videos and articles are
very relevant.
Z
ack Arias, Don Giannatti, Chase Jarvis, Syl Arena and Neil van Niekerk
all run great blogs that deal quite a bit with light.
Printed Resources
T
he definitive bible is Light: Science and Magic: An Introduction to
Photographic Lighting by Fil Hunter, Steven Biver & Paul. It describes
in great detail and scientific approach everything you need to know
about light. Most modifiers can be traced back to the principles
depicted in this book. (ISBN: 978-0240808192)
T
he Hot Shoe Diaries: Big Light from Small Flashes by Joe McNally is
definitely the best book about using hot shoe flashes youll ever read.
It covers everything from the very basic to some really mind disturbing
multi flash scenarios. (ISBN: 978-0321580146)
Thank You
More @Home Studio
Thanks for buying DIY Photographys first book. I hope that it inspired you to
take a shot (no pun intended) at studio photography, and eased the considerable
introductory expense of studio photography.
If youd like to get more tips and tricks about building studio equipment and about
photography in general, you can subscribe to our bi-monthly newsletter. This free
resource includes photography tips and tricks, links to our DIYPs best articles,
reviews and other resources. To subscribe to our newletter click here.
If you find this book helpful, please consider sharing its existence with a friend.
First, we think they will love you for helping them get studio quality photographs for
a minimal outlay. But also, each book you buy helps us grow the DIYP community.
Please pass along info about this book by emailing a friend with the following link:
www.diyphotography.net/studio-at-home
or tweet the news by clicking the icon below.
Join Our Flickr Group

The DIYP Flickr group features projects from other photographers, a discussion
board to ask questions and homemade pictures with explanations on how they
were taken.
Follow Us On Twitter And Facebook

Many of our readers also choose to interact with us via social media. Follow us on
Twitter and Facebook to get real time updates.
www.twitter.com/diyphotography
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YOUR COMPLETE GUIDE TO BUILDING A PHOTOGRAPHY STUDIO AT HOME

About Home Studio And This Book________________________________________ 4

PVC Light Stand___________________________________________________ 75

Why Home Studio?_____________________________________________________ 4

Pony Clamp Stand_________________________________________________ 80

How To Use The Book___________________________________________________ 5

QUICK TIP Plaster Knife Light Stand_ _______________________________ 83

Choosing Your Lights_ __________________________________________________ 6

Stick In A Can_ ___________________________________________________ 84

The Easiest Softbox In The World_ ____________________________________ 9

Underlight With A Cardboard Box_ __________________________________ 93

DIY Strip Light____________________________________________________ 12

QUICK TIP Instant Flower Set-Up With Available Light________________ 101

QUICK TIP Building A Foamcore Softbox_____________________________ 17

The Best Softbox Ever______________________________________________ 18

Putting It All Together_ ___________________________________________102

Continuous Light Softbox___________________________________________ 31

Reflectors, Diffusion Screens And Flags____________________________ 43

Appendix 2 Commonly Used Materials And Tools____________________ 113

Appendix 3 Further (Or Former) Reading____________________________ 114

Thank You And Keeping In Touch_______________________________________ 115

QUICK TIP Making Your Own Collars_ ______________________________ 59

Restricting Light_ __________________________________________________ 60

The Oh So Famous Cereal Snoot____________________________________ 62

Thanks And Acknowledgment

Credits & Copyright

Written by: Udi Tirosh

Nick Wheeler, computer programmer by day, sometime hobby photographer by

Publisher: Udi Tirosh

David Turman, an amateur inventor and photographer who is always looking to

Graphic Design / Layout: Naomi Creek

About Home Studio And This Book

Why Home Studio

This makes sense, as using artificial lighting can open up whole

DIY Photography has been a resource for creating cheap

How To Use This Book

General Materials / Instructions Scheme

Some Words About Safety

Choosing Your Lights

Strobes (or flashes) are devices

There are big strobes that can

Continuous light, as the name suggests, stays on as long as it is plugged in.

Softboxes, as the name implies, are

The Easiest Softbox In The World

The Easiest Softbox In The World

Project by Udi Tirosh

The Easiest Softbox In The World

STEP 2 - Position The Strobe

Option 1 Back Mounting

Option 2 Internal Mounting

Place the face of the strobe on

Tape a flash stand on the bottom

The Easiest Softbox In The World

Finally, mount the strobe into the

The light travels differently with

STEP 3 - Covering The Box And Adding A Screen

Now tape the paper to the front

DIY Strip Light

DIY Strip Light

Project by Nick Wheeler

A strip light is a specific type of softbox. As the name suggests it is

Office fold back clips (for securing the glued sections)

DIY Strip Light

Office fold back clips (for securing the glued sections)