When the Nikon D7100 is launched, many new owners will want to test their new body in a studio setting. Of course it is always preferable to use available light if you can, when shooting portraits or still-life pictures.If that isn't possible, the built-in flash will be more than adequate for fill-in work, or you could use a remotely fired flash gun. A little practise can get you some excellent results. But what if you want to go one step further? Setting up a home studios is not as expensive - or inconvenient - as it once was. 
Obviously you need a fair amount of space - particularly if you are going to photograph people. A high ceiling is good, and you must have a good 5 meters between the photographer and subject if you want to shoot people full-length. A basement or garage might just be big enough. With light being such an important factor, you cannot afford to let light in from the outside to contaminate your set. Cover all the doors and windows black out cloth and paint the walls black. This prevents the wall color reflecting back onto your subject. If the room is communal, and there are objections to black - it can be a bit depressing - try to get as dark a gray as possible. And try to ensure that you have a good supply of electrical sockets - you will need them.
Having closed out all external light sources, you can decide what lighting you want to have in your studio. Lighting falls into two categories - continuous or strobe. Continuous also has two options, either tungsten or fluorescent. Tungsten is very popular for portraiture because it gives good skin tones. It is naturally a 'warm' light, both in light and temperature (this can be a problem, if you make your subject sit under them for a long time). You would also want to use tungstens if you were shooting video.
Fluorescent lights are considered 'colder' because they have a blueish color to them that make them ideal for stock shots and inanimate objects. Of course, both types of lighting can be used for either live or stock shots, it's just a matter of what the photographer is trying to achieve. You will be able to set the white balance in the D7100 for either light source, but remember you want to have the lighting working for you rather than against you. You don't want to have to be compensating against it all the time. Sooner or later you will forget to do it and then have to catch up in your editing software.
With continuous lighting, the photographer is able to judge how the light affects his subject in real time through the viewfinder or backscreen - which means fewer surprises and disappointments. It also means that the photographer can devote more attention to composition and content, rather than wondering if the flash just fired or not. However, if you want to catch something in motion, or even cleanly give the impression and motion, then you have need to shoot with strobe lights.
Strobe lighting can offer much more flexibility. You can adjust the intensity of your light to suit your needs, which means that you have more control over your shutter speeds. However, because of the blast that comes out of the strobes, they do take a short time to recharge, which can be frustrating.
If you start off with a couple of lights, the easiest way to set them up is with the soft box at the front and the spot at the back. The soft box emits a softer more even light that is easier to meter against. The soft box should be 6 feet away from the subject, near the camera. The other light should be at least 3 feet away from the back drop so that it gives an even background. I would advise getting some barn doors for the back light, so that the light doesn't spread where it isn't wanted. always set your trigger up to the front light and ensure that both lights fire at the same time. Most lighting systems have slaves built into them these days.
I usually begin a shoot on a standard 1/125 at f8 with an ISO set at 200. This gives me enough flexibility to change things around gradually if I need to. Most studio lenses operate comfortably at f8 and the shutter speed will catch most fluid movement. If you find the lighting a bit flat, move the soft box out wide to get some more definition and shadow, but always be aware that more shadow can be very unflattering, particularly if the subject has an angular face or large nose. I always start by getting the standard shots done - the full length, half-length and then move in tighter for head and shoulders or portrait. By the time you want to try something more interesting your model will have relaxed and you will have become more confident in the equipment and you abilities.
Obviously you need a fair amount of space - particularly if you are going to photograph people. A high ceiling is good, and you must have a good 5 meters between the photographer and subject if you want to shoot people full-length. A basement or garage might just be big enough. With light being such an important factor, you cannot afford to let light in from the outside to contaminate your set. Cover all the doors and windows black out cloth and paint the walls black. This prevents the wall color reflecting back onto your subject. If the room is communal, and there are objections to black - it can be a bit depressing - try to get as dark a gray as possible. And try to ensure that you have a good supply of electrical sockets - you will need them.
Having closed out all external light sources, you can decide what lighting you want to have in your studio. Lighting falls into two categories - continuous or strobe. Continuous also has two options, either tungsten or fluorescent. Tungsten is very popular for portraiture because it gives good skin tones. It is naturally a 'warm' light, both in light and temperature (this can be a problem, if you make your subject sit under them for a long time). You would also want to use tungstens if you were shooting video.
Fluorescent lights are considered 'colder' because they have a blueish color to them that make them ideal for stock shots and inanimate objects. Of course, both types of lighting can be used for either live or stock shots, it's just a matter of what the photographer is trying to achieve. You will be able to set the white balance in the D7100 for either light source, but remember you want to have the lighting working for you rather than against you. You don't want to have to be compensating against it all the time. Sooner or later you will forget to do it and then have to catch up in your editing software.
With continuous lighting, the photographer is able to judge how the light affects his subject in real time through the viewfinder or backscreen - which means fewer surprises and disappointments. It also means that the photographer can devote more attention to composition and content, rather than wondering if the flash just fired or not. However, if you want to catch something in motion, or even cleanly give the impression and motion, then you have need to shoot with strobe lights.
Strobe lighting can offer much more flexibility. You can adjust the intensity of your light to suit your needs, which means that you have more control over your shutter speeds. However, because of the blast that comes out of the strobes, they do take a short time to recharge, which can be frustrating.
If you start off with a couple of lights, the easiest way to set them up is with the soft box at the front and the spot at the back. The soft box emits a softer more even light that is easier to meter against. The soft box should be 6 feet away from the subject, near the camera. The other light should be at least 3 feet away from the back drop so that it gives an even background. I would advise getting some barn doors for the back light, so that the light doesn't spread where it isn't wanted. always set your trigger up to the front light and ensure that both lights fire at the same time. Most lighting systems have slaves built into them these days.
I usually begin a shoot on a standard 1/125 at f8 with an ISO set at 200. This gives me enough flexibility to change things around gradually if I need to. Most studio lenses operate comfortably at f8 and the shutter speed will catch most fluid movement. If you find the lighting a bit flat, move the soft box out wide to get some more definition and shadow, but always be aware that more shadow can be very unflattering, particularly if the subject has an angular face or large nose. I always start by getting the standard shots done - the full length, half-length and then move in tighter for head and shoulders or portrait. By the time you want to try something more interesting your model will have relaxed and you will have become more confident in the equipment and you abilities.
About the Author:
Jeremy Bayston has worked in the photographic industry for more than twenty years. He has a particular interest in digital cameras and photography. Learn more about the new Nikon D7100 and its release date from his website. Regularly updated with news and advice, it can help you get better pictures from your D7100.
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