What do you think of china silk as a diffusion fabric? I hear it is widely used in the movie industry and I have read that it is better than ripstop? Another consideration is the various forms of diffusion sold by Lee and Rosco. Being in Australia, I think that ripstop is more expensive but I can get cheap silks (and the rosco/lee diffusion) at similar prices to those in the US. Is paying more worth it?

I completely agree with what you have said regarding softboxes… Expensive and lacking in versatility compared to DIY studio modifiers. My (purely armchair) opinion is that studio photographers would be better served by investing the saved money in beauty dishes instead.

V-flats (foamcore) and V-banks (rip-stop nylon) are interchangeable and will reproduce the same light quality when setup as a V. However, there is a distinct benefit to using the fabric.

The fabric is portable and I fly all over the country with my setup. I shoot a ton of catalog work on location so portability is a big plus for me. Secondly, I can use the fabric to further diffuse window light, softboxes, octaboxes and beauty dishes. And I can use it as reflectors.

I also use the fabric as a sail on my sea kayak but that is another story……

Putting the panel closer to camera axis gives a flatter light quality I suppose. Flat lighting is not really my look, but I suppose it may work for someone else. In school we tested the sh%$# out of everything. Then we took a polariod of the lighting setup for future repeatability. Mind you that was before digital, 1989.

The panels are super forgiving. If you go to NYC or LA, you see them in every large fashion studio and catalog house. Softboxes are so 1980, LOL.

I don’t get to post as often as I would like to and catalog season is in full swing again for me. Hope I was helpful.

Warmly,
Thorsten

What do you think about using 8×4 ft V flats instead? And does firing the strobe into a v flat draped with nylon give any more diffuse light? Of course, I’m aware of the transport issue here.

Concerning the fill: how does putting it closer to the camera axis compare with this setup? Now, you wouldn’t be able to use a reflection panel but if a good window or strobe+nylon were available, how would the image change?

Another good option as you mentioned would be a large or extra large softbox. I would feather the softbox a bit more towards the white satin panels for even and soft lighting. 40% towards model and 60% towards white panels.

The common mistake is to just point the softbox towards the model and shoot away. But feathering the light between model and reflector will give a more even light quality….if that is your goal.

“Above and behind” panel product lighting is super simple and looks fantastic for food photography or still-life setups. I always chuckle at the Youtube “still-life lighting tutorials” that show a massive softbox lighting a product from the camera angle….looks awful and flat and boring…unless that is what you want

Try it sometime and I think you will agree.

Maybe I’m getting a little too creative here, but have you ever thought about tilting the panels (or had a job where you used them tilted)?
In your tutorials, you always seem to use them standing straight vertical.

Thank you guys for this blog, pumped with useful information in the articles and comments as well!

Cheers from Germany,
Dieter

Thanks for the quick reply! I thought it might be that, so much easier than crafting feet.

Really appreciate your time in responding to all of us!

John