Can I get a Light?

[Rad]

Lights, Camera, Action

It’s the first thing mentioned, and seemingly the first thing forgotten. I’m so tired of seeing un-lit interviews, press conferences, stand-ups and other things. I mean, come on, how hard is it to set up a light or two.

I’ll give you little wiggle room here if you’re shooting an action where the subject won’t be in the same place all the time, or where setting up your light would simply be a drip in an ocean. But most things we shoot need some sort of lighting.

A formal sit-down interview should be lit. A press conference should have some light on the speakers face. A stand-up should show the reporter in a flattering light. How much time and money do we spend lighting the anchors on set? Shouldn’t we at least take five minutes to light the mid-level state office manager who’s not getting paid to be on TV?

Even if you don’t believe lighting is an art (I think it is) it’s necessary to help make your camera (and your work) look the best it can.

For those who say “My camera can shoot in low light”, I say it can capture an image, but it’s not capturing a good image.

Can I get a light? (Let the Bud Light jokes roll, for those who remember that ad campaign.)

[Baltimore Shooter]

But it's a digital camera, you don't need lights anymore. That's why you use "turbo gain" ;)

Warren

[cameragod]

Back in the first days of b-roll, back when the VJ model was quietly failing on its own without anyone here having heard of it, the hot topic was lighting. Massive amounts of words were spun out into the net and after all the talk the message I hope people got was “quality of lighting not quantity.”

Now you just need to visit Nino’s site, get off your ass and put what you learn into practice.

BTW there is always time to light... always.

[rocky1138]

Rad, I agree w/ you on the aspect that you're only going to have a quality pucture when your subject is nicely lit (which is something that takes talent to do greatly), but I ask are you making movies or reporting the news?

if you want everything to look pretty then get off the local news & move to Hollywood. if you want to be a photojournalist then make sure style doesn't get in the way of reporting your story. (note: previous sentence not meant to be an excuse to be lazy)

[cameragod]

Oh god I’m having flashbacks.


if you want everything to look pretty then get off the local news & move to Hollywood. if you want to be a photojournalist then make sure style doesn't get in the way of reporting your story. (note: previous sentence not meant to be an excuse to be lazy)



The problem with saying that (even with the bracketed bit) is that every lazy SOB will still use the “It’s not a movie” excuse to justify their not lighting anything.

I don’t buy it. If you can’t be bothered to light or at least understand light then you might as well be a VJ.

Not lighting can make just as much, if not more of a statement about a story than lighting sympathetically.

[Shooter in the Ville]

What really annoys me is when a reporter gives you attitude because it takes 5 extra minutes to set up a light. Doesn't happen often, but occasionally.

[Goon]

What really annoys me is when a reporter gives you attitude because it takes 5 extra minutes to set up a light. Doesn't happen often, but occasionally.

They could use that time to do a quick pre-interview instead of using my camera as their notebook.

[shoot da parrot]

I feel your pain Rad. Thats one reason why I left the business. Lighting is an art and those who put it down either don't have the skills or are lazy.

[f11vid]

I attended a NPPA Flying Short Course in Milwaukee several years ago where the speaker (MN POY) proudly stated. " I have two light kits...plus 9 and plus 18"
Singly , the stupidest statement I have ever heard in the business.

[Land Rover]

What really annoys me is when a reporter gives you attitude because it takes 5 extra minutes to set up a light. Doesn't happen often, but occasionally.

I've had them complain about wanting to use a tripod to get some b-roll saying it was taking too long. They just wanted me to shoot it off the shoulder and so we could go. I used a tripod.

[Rad]

if you want everything to look pretty then get off the local news & move to Hollywood. if you want to be a photojournalist then make sure style doesn't get in the way of reporting your story. (note: previous sentence not meant to be an excuse to be lazy)

I'm not saying every scene has to be lit, but certain standards should apply. Especially to those things that are done specifically for TV News. Sit-down interviews and press conferences should be a given for lighting.

And I'm not talking about 27 lights with flags, color gels and gobos on the wall, I'm talking the basics.... eliminating the raccoon eyes, poor color, and unflattering image captured by shooting in a florescent lit room. I'm talking about shooting a dark skined person against a white wall with no lighting. I'm talking about enough lighting to put a tiny gleam in the yes so they stand out.

" I have two light kits...plus 9 and plus 18"

I agree there are plenty of times when you don't want to light, and some of those times are simply a stylistic choice, but again, for most of the stuff we do, we ought to light.

I've said this for years... We spend thousands of dollars and and large amounts of time to light the highly paid TV anchors.... we can at least spend five minutes to simply light the average man or woman who agrees to talk to us on-camera without getting paid.

[Baltimore's Finest Fotog]

I attended a NPPA Flying Short Course in Milwaukee several years ago where the speaker (MN POY) proudly stated. " I have two light kits...plus 9 and plus 18"
Singly , the stupidest statement I have ever heard in the business.

You just accompanied a statement about what you believe to be the stupidest statement you ever heard in the business with an equally ridiculous Title for your post: "The NPPA Way."

Are you kidding me? One of the first influences in teaching me how to properly light was my attendance at NPPA's Northern Short Course. I learned even more from Les Rose at The Workshop. So, easy does it with the blanket statements there, f11vid.

[f11vid]

This was an organised NPPA leg of the Flying Short Course,with the speakers authorised and sponsored by the NPPA held at WITI Fox six in Milwaukee attended by probably fifty--sixty people who had driven hundreds of miles to LEARN something'He made this statement and REPEATED it several times.It was not an offhand remark at a tavern.This was his presentation AT the NPPA event.

[villagevidiot]

Lights who has time for lights anymore? LOL I didn't get lights until 6 months into the job...

[Rad]

Lights who has time for lights anymore? LOL I didn't get lights until 6 months into the job...

Really? In OKC? When I worked there with Dave Tamez at KWTV everyone there was about quality TV. Man, there were (and I'm sure still are) a lot of photogs who really cared. I know TV has changed a lot in the last 13 years, but you gotta hope quality will live on in some of the better markets.

[Freddie Mercury]

Here are a couple of problems I have encountered with lighting press conferences. Very specifically, I recently decided to add some light to a presser, and as I was setting it up, a victim family was looking over some photographs of their dead child. The reporter pointed it out (since I was distracted) and I had to make a call to finish setting up the light because the conference was pretty much waiting on me. As you can predict, the shot was missed, and it was an otherwise video-poor story. The sots looked better than they would have, but I missed a moment.

On multiple occassions I have been to pressers where you recieve the information that you need to go out to some scenes and get the real story. In these situations you are racing the other stations out the door to get interviews before people decide they've had enough. If I'm breaking down light(s) instead of heading to the location, I'm hurting our story.

Generally, we try to use pressers as sources of information and avoid using the video altogether, but sometimes we need to insert the official soundbite from the podium. I might settle for popping on my frezzie for this rather than endanger the rest of the story.

I completely agree that lighting skills should be used when appropriate, but sometimes there are good reasons they are not.

[Baltimore Shooter]

Maybe you need to get to the presser earlier.

Warren

[Baltimore's Finest Fotog]

This was an organised NPPA leg of the Flying Short Course,with the speakers authorised and sponsored by the NPPA held at WITI Fox six in Milwaukee attended by probably fifty--sixty people who had driven hundreds of miles to LEARN something'He made this statement and REPEATED it several times.It was not an offhand remark at a tavern.This was his presentation AT the NPPA event.

I'm not calling you a liar. I believe what was said was said. I'm simply saying you cannot honestly say that the NPPA as a whole condones this and promotes this kind of teaching. I just wonder if they had a chance to proofread his presentation before allowing him to pontificate, if you will, or if they just put 100% faith in his reputation as a POY and allowed him to speak freely. Either way they should feel ashamed for allowing that message to be communicated knowing it did the attendees a disservice in the lighting dept.

[Freddie Mercury]

Since you bring it up, I was the first one to arrive at this presser, spent my time shooting said photographs as the other stations arrived, and volunteered to bring in my light while the other stations shot the pix. It's very easy to be a Monday morning quarterback, but maybe you should know what the hell you're talking about.

[104imdirect]

Just my two cents, but there are some situations where gain is better than a light (riots, etc.) But 99.9% of the time, you should light right.

[Tdomi74]

Sure, I'd love to light when time permits. It's hard to light when you're always running from one story to the other. Then back to the station while grabbing lunch on the way. Then set around to watch your reporter goof off until the last minute.
Then give you a scrpit at 8:45 if not 9:00, crank out a 30 minute edit, rush to the live location to be live at 10. Some days am just happy to make slot and have a nice back ground that is already lit. While only have to worry about throwing up one softbox to light the talent. Thats a good day in Greensboro.

[Rad]

The sots looked better than they would have, but I missed a moment.

I agree it's more important to capture the moment.

And wouldn't it be great if everyone showed up ready to light so it didn't fall on just one person?


but sometimes we need to insert the official soundbite from the podium. I might settle for popping on my frezzie for this rather than endanger the rest of the story.

I personally hate it when someone is popping on and off their camera light. Usually, it pops on or off right in the middle of what I'm shooting.

These days, we often record entire pressers for later playback on the web, so if someone if popping on and off their frezzi, it looks like crap. Of course, Hopefully in that situation I've lit it so you don't need your frezzi, and quite frankly, no one is watching the presser on the web!

I completely agree that lighting skills should be used when appropriate, but sometimes there are good reasons they are not.

I agree at times there is good reason... but let's make sure they are good reasons and we aren't just trying to justify laziness.

[wutang]

http://tbn0.google.com/images?q=tbn:x2oyXg0ZKIzRoM:http://www.oreillynet.com/digitalmedia/blog/images/diy_studio_lighting.jpg (http://images.google.com/imgres?imgurl=http://www.oreillynet.com/digitalmedia/blog/images/diy_studio_lighting.jpg&imgrefurl=http://www.oreillynet.com/digitalmedia/blog/2007/05/diy_studio_lighting_set_up.html&h=367&w=360&sz=24&hl=en&start=61&tbnid=x2oyXg0ZKIzRoM:&tbnh=122&tbnw=120&prev=/images%3Fq%3Dphotography%2Blights%26start%3D60%26g bv%3D2%26ndsp%3D20%26svnum%3D10%26hl%3Den%26sa%3DN )

I got your light for ya.....

[tresbeez]

Well, i work at a place that doesnt want me to have any more than 2 pro-lights (i have more, which i use whenever time permits.) if i am slamming and dont have time to set up the kit i will use the available light coming in from a window (not back lit) and turn the overhead lights off. as long as there is some sort of seperation from the person being interviewed and the background. the big thing i have learned working in local news is to use the resources you are given and learn how to use them to make things look top notch. with that being said, thats how I try to operate....my collegues(sp?) on the other hand......

[Lensmith]

There are no hard and fast rules about lighting when shooting local news.

You do the best you can in the time you have available with the equipment you have available.

That being said I have two light kits. One with three lights for the more formal occasions and another single light with stand, extension cord, barn doors, dichroic filter, even a dimmer and umbrella, that I use more often on day-of stories.

Most of us at B-Roll Online churn out more than a single story a day.

Part of "lighting" is knowing how to use a single light source with available light at the given situation. Not just thinking lighting involves bringing out all the toys, as seen in an above photo, for every local news live shot or interview.

My single light is easy to carry and quick to set up. It's not the pretties thing to look at but it works and takes a beating. It gets my light source off the top of the camera and makes my image just a wee bit better than the other photog who may be coming through the door.

David Busse and I have often talked about how just having a single light, used properly, can make just as good a product as some others efforts who spend more time lighting.

In fact, my single light was one I scrounged up at my station from the junk bin. It didn't work when I found it. I tire from hearing some complain about no time. But sometime photogs get into a lazy habit and the "no time" becomes an excuse to not do anything ever.

My lighting has been able to set my work apart from others over the years. It's kept me employed where others have not. I could have sat around and waited for the company to buy me a brand new light but I felt like being a little more proactive and found my own solution right there at the station.

I love lighting...when I have the time to do the full light show.

Reporters or producers complaining about it taking too much time to set up a light or even use a tripod are nothing new in this business. Get a spine. Do your job the way you know it should be done. Don't miss slot because you used too much time setting things up but the moment you start bending to the whiny reporter/producer with you then you've lost.

News conferences...I hate them and nine times out of ten they are in dark little rooms or places with awful natural light. I bring in my single beat up lowel omni light head and use it to my advantage. If I have to go...I have to go. The light comes down and others can deal with the new lighting situation. I do wait for a natural break in the event, a question or end of a sentence, to kill the light.

I'm not going to worry about lighting up everything for everyone else. Yep, there are times we all work together and we all help one another out. Leaving a light on a building during a live shot or long winded news conference.

What grates on me are the lazy ones who never bring a light. Ever! They pirate off my efforts and never return the favor down the road.

They think I don't notice. But I and others do. ;)

[lost focus]

rad,
not trying to start anything, but It's interesting that you find it annoying when other photogs turn their lights on and off when most of the guys at your station (not you that I remember) have screwed all the other togs with those dern undifused sun guns you guys have and tend to use in the most inappropraite times. Different white balance and WAAAAAAAAAAY to hot for the situation. I hate when others can't see when a light isn't necessary. frankly if there's a gangbang and I don't already have my light on...I don't need (want) someone else's light.

[Rad]

rad,
not trying to start anything, but It's interesting that you find it annoying when other photogs turn their lights on and off when most of the guys at your station (not you that I remember) have screwed all the other togs with those dern undifused sun guns you guys have and tend to use in the most inappropraite times. Different white balance and WAAAAAAAAAAY to hot for the situation. I hate when others can't see when a light isn't necessary. frankly if there's a gangbang and I don't already have my light on...I don't need (want) someone else's light.

I'm not my brother's keeper. Personally, I'm from the old school (Of TK 76's and battery belts) believing to let the other guy waste his battery using a camera top light in a gang bang. I rarely use mine. And I would switch to the 32k light is if I was in a gang bang needing a light... unless I checked with the other 'togs first.

[NEWSSHOOTER3]

You are absolutely right! I'm in market eight and I'm TIRED of the apathy here. I refuse to do anything less than, at least, one light. I wish everyone else gave a small damn!

[redcoat]

I've just now begun lighting all of my daytime live shots lately, which is unusual in my market. In fact, the competition doesn't always even bring out a light kit for nighttime live shots! That's right, sometimes they rely completely on a fresi light at night...unbelievable I know. On a day to day basis I usually only use my light kit for live shots. Otherwise I bring it out for special report interviews or sweeps shoots. Otherwise, judging by the feel in this market, lighting a presser or just any old interview would be viewed as going overboard and wasting time. But anyways, maybe I'll light the next presser and see how it turns out. We don't have too many of those in my area anyway.

[cameragod]

Today I had a two camera shoot with CNBC Asia, a seven light set up in a few politicians’ offices over here in New Zealand, up and rolling inside ten min. They looked good for the speed, you might see them on the weekend. Two professional cameramen from different countries, working quickly together, because they both speak the language of lighting fluently. I didn’t need to ask where the key or backlight or fill or background lights needed to go we just did it… most fun I’ve had all week.

[dhart]

Here are a couple of problems I have encountered with lighting press conferences. Very specifically, I recently decided to add some light to a presser, and as I was setting it up, a victim family was looking over some photographs of their dead child. The reporter pointed it out (since I was distracted) and I had to make a call to finish setting up the light because the conference was pretty much waiting on me. As you can predict, the shot was missed, and it was an otherwise video-poor story. The sots looked better than they would have, but I missed a moment.

God forbid that the reporter could have come over and finished setting up the light so you could have gotten the shot!

[Nino]

Looking at the future in my crystal ball I can see a real threat brewing in the horizon and it’s called VJs. I know that until now, deservedly so, VJs have been the target of ridicules, a synonymous of low quality and useless videos.

Some of these people have made a substantial investment in time end equipment and soon or later they’ll realize that in order to make a living they’ll have to part from the Rosenblum’s economics and start looking at ways to make money. Producing useless cute little spec videos in hope that somebody will buy them does not put food on the table, and as we've seen with veterans like Bill Gentile and others, not even those with better skills can survive by doing specs jobs; the only chance to make a living is the old fashion way, go after paid jobs and assignments. Most if not all of them are not ready to take on assignments or to meet client’s requirements, but these people have nowhere top go but upward; soon or later the quality of their work will start coming close to the work of those in the lower end of the professional business, once the line of quality becomes blurred there will be a lot of pink slips handed out by employers.

Not all VJs are stupid, many have already realized that in order to shift into the money making part of the business they’ll have to expand their skills, and judging from the number of e-mails that I’ve been getting, lighting is their first priority. In few words they’ll have to forget everything that they have learned from MR and start over again but nevertheless many of them will not quit, they will learn and will gradually start filtering into the ranks of professionals. Because of the mass number of them even a small percentage will make a substantial impact to our business.

I’m talking primarily freelancing, not staff jobs but even those can be threatened by this mass of newcomers. Once they learn the necessary skills they’ll start eroding away jobs from the lower end of the business, primarily from those who until now did not have the TIME to set up lights or to learn proper lighting techniques or other necessary skills to advance in this profession. Just because you don't get to use lighting skills everyday it doesn't mean that you don't need them. Lighting skills are not the key to advance financially and become successful in this business, but there can not be success without it.

VJs are not and they will not be a threat of those in the higher end of our business, as long as a cushion of quality is maintained, this means that even professional on the higher end of the business should not rest on their knowledge but continue to expand their skills. If anything, now for the first time clients have come to appreciate the effort of those with skills, now that they have something to compare with.

[The Next Generation...]

It would be nice if I could even get a light kit from the station! I have to bum lights out of our live trucks or from other photogs. I Can't do my job without the tools. :mad:

[Nino]

It would be nice if I could even get a light kit from the station! I have to bum lights out of our live trucks or from other photogs. I Can't do my job without the tools. :mad:

I know that most will not like what I have to say, but I'm going to say it anyway.

In a recent thread started by Kevin about the highest levels of education, 80 percent of those who responded completed college education; that's a lot of money invested into personal future; and then this "I Can't do my job without the tools".

After this much investment in education your future is now dependent on the decision of a few executives and on a few thousand of dollars? Do you know that most auto mechanics must provide their own tools? Some of them buy just the essential while others have those huge double tool boxes that takes a semi to move them. Regardless of what their bosses wants them to do, they have done that and more, they have gone beyond what was asked of them in order to benefit their own future.

Don't expect your bosses to care about your future, you can be gone in the blink of an eye, then what? Go beyond what you are being asked to do, don't do it for them, do it for yourself and for your future.

When I started freelancing for ESPN here in Florida some ten years ago the average time to set up an interview was 30 minutes, today I ask (and get) two hours or more. They did not just gave it to me for the asking, I had to prove to them that the extra time resulted in a much better product.

We are the creative people and we have to set the standards, it will not happen overnight but with continuous baby steps.

[shooterguy]

I know that most will not like what I have to say, but I'm going to say it anyway.

In a recent thread started by Kevin about the highest levels of education, 80 percent of those who responded completed college education; that's a lot of money invested into personal future; and then this "I Can't do my job without the tools".

After this much investment in education your future is now dependent on the decision of a few executives and on a few thousand of dollars? Do you know that most auto mechanics must provide their own tools? Some of them buy just the essential while others have those huge double tool boxes that takes a semi to move them. Regardless of what their bosses wants them to do, they have done that and more, they have gone beyond what was asked of them in order to benefit their own future.

Don't expect your bosses to care about your future, you can be gone in the blink of an eye, then what? Go beyond what you are being asked to do, don't do it for them, do it for yourself and for your future.

When I started freelancing for ESPN here in Florida some ten years ago the average time to set up an interview was 30 minutes, today I ask (and get) two hours or more. They did not just gave it to me for the asking, I had to prove to them that the extra time resulted in a much better product.

We are the creative people and we have to set the standards, it will not happen overnight but with continuous baby steps.

I barely make enough money to pay my rent and food...how am I going to afford a $4000 light kit. My station has ONE light kit for the live truck. That's it! I've begged and begged for just a couple lights and can't get anything. I'm lucky if I can get a replacement bulb for my UltraLight. All you big market guys talk a great game...come back down here to small market news and see just how much you can do. No, I can't even get one light...one freakin light let alone anything to make an interview look good.

[Nino]

I barely make enough money to pay my rent and food...how am I going to afford a $4000 light kit. My station has ONE light kit for the live truck. That's it! I've begged and begged for just a couple lights and can't get anything. I'm lucky if I can get a replacement bulb for my UltraLight. All you big market guys talk a great game...come back down here to small market news and see just how much you can do. No, I can't even get one light...one freakin light let alone anything to make an interview look good.

You don't need to spend $4000 to get started. Lighting is modular. You get one light at the time and build your kit from there at your own pace. Start with a second light for key. This could be a soft box, an umbrella or an open face light bounced against a reflector or shined thru a diffuser. This will be your key light, use your on camera light as a fill and you'll be on your way. Next buy something like a Lowel Pro Light for edge or hair light, and so on. As you do that you'll see your work improve step by step.

Read some of the mail I've been getting at

http://efplighting.com/index.php?Write_to_Nino

None of us had $4000 when we started, we started in small markets and we were all in the same boat as you are now. There was no Ebay or the web when we started, finding used equipment was nearly impossible.

We all started with nothing but we managed to find ways and we are now benefiting from those limited resources. It's your career and your future, nobody will do it for you. Anything extra that you do now will put you one step ahead toward your future.

You are saying that you are barely making enough money to buy food? So what's your outlook for the future, what will happen that will make things change. Is not going to get any better unless you are going to make it happen.

[Baltimore Shooter]

Next Gen and ShooterGuy, I can understand what you mean. I never worked at a station in a small market, but while covering a nascar race, I saw a station doing a live shot with...are you ready for this...haligon work lights from Home Depot! And on top of that, the live shot was outside and they didn't have any CTB gels on the lights!

Yeah, I almost couldn't believe it either. I don't know if all small markets are like the one I saw and the one you describe or not.

I wouldn't go out buying your own lights right now. The only thing I can think of is to start putting reels out to other stations in your area or maybe to a larger market that isn't too far away, so that you can still live where you are right now, thus keeping your expenses low.

Warren

[f11vid]

If you are on good terms with engineering,ask them if you can poke around where they keep the old,retired gear.Maybe you can find an old Cine 60 or strand light that just needs a little tlc.Not state of the art,but may get the job done.

[Run&Gun]

I agree that working at a TV station, he shouldn't have to buy his own equipment(that's what you do in the freelance world), the station should care enough about the product to provide at least the essentials. But you can get some basic three light Lowel kits for under $900. My very first light kit was a Lowel 3 light kit(2 Omni's and a Tota and accesories w/a case) and it was about $1K or so. You can buy just an Omni for $100 something, and they work great in Chimera's(the only thing I use them for), but a little tuff spun and you've got a nice key on the cheap.

[Baltimore Shooter]

You could also check eBay. I see all kinds of used film & TV lights there that you can get pretty cheap.

Warren

[patssle]

If your buying your own light kit, isn't it more about for you and wanting to improve?

I'm in college with no money and I've managed to build myself a working lightkit over the past 2 years (2 omnis, 1 tota w/ softbox, and a pro-light with cables, reflector, gels, stands, etc). I did it for myself so I can learn how to light. And by doing so, I'll be able to make more money in the future because I know more.

[The Next Generation...]

I know that most will not like what I have to say, but I'm going to say it anyway.

In a recent thread started by Kevin about the highest levels of education, 80 percent of those who responded completed college education; that's a lot of money invested into personal future; and then this "I Can't do my job without the tools".

After this much investment in education your future is now dependent on the decision of a few executives and on a few thousand of dollars? Do you know that most auto mechanics must provide their own tools? Some of them buy just the essential while others have those huge double tool boxes that takes a semi to move them. Regardless of what their bosses wants them to do, they have done that and more, they have gone beyond what was asked of them in order to benefit their own future.

Don't expect your bosses to care about your future, you can be gone in the blink of an eye, then what? Go beyond what you are being asked to do, don't do it for them, do it for yourself and for your future.

When I started freelancing for ESPN here in Florida some ten years ago the average time to set up an interview was 30 minutes, today I ask (and get) two hours or more. They did not just gave it to me for the asking, I had to prove to them that the extra time resulted in a much better product.

We are the creative people and we have to set the standards, it will not happen overnight but with continuous baby steps.

If you have the cash to throw around why don't you buy a light kit for me? Like some of the other photogs on here have stated, I can not afford, nor do I want to use my personal gear in the daily grind of news. A station is to provide its staff with tools to do their jobs. I am not a freelancer who works for ESPN and can charge a few hundred if not a thousand dollars a day, I'm a FT photog in a top 30 market.

For the record, I was one of the few that did NOT go to college and dish out all the money that is required to do so. BUT I have NEVER heard anyone complain about the lighting in my shots to shoot interviews. I work with what I have, which is not a lot. Stations need to stop being cheap and invest in their product.

[cameragod]

It’s your future why would you not want to invest in that? In the 14 years I was working for a Network I built my own kit of extra bits and pieces that make my day easier and my product better. It doesn’t need to cost much one of my best buys was a Manfrotto reflector board holder. When the building next door was refurbishing I loaded the company car up with fluro light fixtures. Over the years I’ve made my own Kino flow style of soft lights for less than $10.
That’s just the gear side of things.
Sitting in the crew room were some of the best lighting cameramen on the planet. They were happy to show a keen young cameraman the tricks of lighting. Nowadays my contemporaries might discus a lighting problem but a lot of the new kids just don’t seem to care. Most of them don’t seem to know what to do with the one light they only sometimes carry.

I can get a job shooting anywhere in the world. That’s partly because I am a real honest to god lighting cameraman and it feels like there are not a lot of us left.

[Shooter in the Ville]

I find that you can get buy on one relatively cheap light for most everyday interviews. As long as you are already in a room with some light in the background. My light kit is only two lights with an umbrella and assorted gels. But I also have a large colortran for lighting backgrounds in live shots. Bottom line is, you can do pretty solid work with just one or two lights.

[Nino]

It would be nice if I could even get a light kit from the station! I have to bum lights out of our live trucks or from other photogs. I Can't do my job without the tools. :mad:

If you have the cash to throw around why don't you buy a light kit for me? Like some of the other photogs on here have stated, I can not afford, nor do I want to use my personal gear in the daily grind of news. A station is to provide its staff with tools to do their jobs. I am not a freelancer who works for ESPN and can charge a few hundred if not a thousand dollars a day, I'm a FT photog in a top 30 market.

For the record, I was one of the few that did NOT go to college and dish out all the money that is required to do so. BUT I have NEVER heard anyone complain about the lighting in my shots to shoot interviews. I work with what I have, which is not a lot. Stations need to stop being cheap and invest in their product.

I gave you a suggestion based on what you said, you don't have to take it.

As far a ESPN or my other accounts go, I didn't find them in my crib what I was born, it was a long road to get those, and sure did no get them by waiting for other people to hand me the basic gears so I can get better and go after those accounts. Getting there was no picnic.

[Hiding Under Here]

Next Generation, I found myself confused by one of your posts. You said that no one complained about the lighting in your shots, and yet you are complaning about the lack of lights at your station. I don't get it. Are you lighting with lights or not?

I'm a big market freelancer with a truck full of lights. And more sitting home in the garage. What people know, now more than ever, is that good lighting distinguishes you. Understanding how to light will move you ahead, in some ways, in your career.

I never shot local news. But I was called to freelance for a local station a couple of times back in the early days. The first time I shot local news it was an interview with a law school professor who had a weekly spot on the nightly broadcast. When I arrived with the truck operator, I asked him where the light kit was. Light kit? He responded. Then he reached into the bowels of the truck and pulled out a 1K Lowell D-Light on a stand. It had no barn doors. Just to bug him, I bounced it off the ceiling rather than direct it at the subject's face.

Look, we can't tell you how to get management to buy you lights. That's a situation by situation thing in small cities where budgets are tight and competition is harsh. The only advice I can offer is similar to Nino's. Either you're willing to invest in yourself or you aren't. Either you see the efficacy of spending a few bucks on yourself or you don't. Maybe, if you aspire to being someone who makes a thousand bucks a day, spending a little money on your own small light kit is the first step in achieving that objective. Maybe that sacrifice is THE key difference between market 30 and working in a better world.

So forget $4000 light kits. Save a hundred dollars. Put it aside. Monitor eBay religiously. Buy one light, one stand and one way of softening that light (an umbrella?) with your money. Get a bag for it and have it with you at all times. Use it when you can. Distinguish yourself. Take pride in your work. And, after making that commitment you believe having another light would help, save a few bucks up again and get that light. Maybe even buy an educational DVD or attend a workshop. Furthermore, email people here whom you trust and respect. Ask them for advice if you think they might be able to help.

Put yourself into the vortex. Don't find reasons for running from it. Challenge yourself.

[Goon]

I'd say the benefits of owning your own equipment far outweigh the price you will pay for them. B&H has some decent light kits that start well under a grand.

[Rad]

I was at the ACC’s “Operation Basketball” this past weekend. It’s one of those events where several TV stations / networks set in in various hotel rooms and the league parades coaches and players to sit down in front of each set-up.

I was amazed at the set-ups and how they varied. Of course your Fox (?) and Raycom types had huge set-ups with several lights, draped backgrounds and gobo patterns. Some of the locals had a soft key light and maybe a back-light, some added color on the wall, clearly they were trying. And some showed up with no lights, expecting to shoot under the recessed low lighting of the meeting room. Sad.

It seems to me that the coaches and media advisor see the difference. So the next time the coach is reviewing sit-down interview requests, they may think; “well I always look good on ESPN, but I look like crap whenever I’m on XYZ network.”

In fact, I recently had a public official tell something similar. He had just finished talking with my competition, then came over to talk with us. He said he didn’t like being on OUR air, because he didn’t looked good. I explained to him that the last few times he was on our air someone had used a camera top light way to bright. I assured him I would take the time to create some nice lighting and he would look fine. I saw him a few days later and he agreed, he looked fine the evening I shot him.

[The Next Generation...]

To answer Hiding Under here, No one has ever complained but that does not mean I don't want my material to look better, because I do. Believe it or not, I do care about what I shoot and I always want to improve on it. Back to my original statement though, all I was saying is that I wish the station cared enough to provide the tools and that I did not have to bum lights out of the live trucks. Not that my material looks bad and "o poor me, I can not fix it." but I just wish they would make it easier. Since a lot of what I do shoot is run and gun I do not have time to set up a light if I even had a kit...plus half the time it is on locations where there are no electrical outlets to begin with.

And for the record.....I'm watching Ebay. ;-)

[Cambot Mk. II]

I attended a decent lighting seminar as part of the NPPA's 2006 Workshop. One of the speakers demonstrated his "Lighting by Lowes" One-Man-Band technique. Normally I would have dismissed it out of hand, but since it was Larry Hatteberg, the OMB-shooting News Director, I decided it was worth a listen.

His technique is to use 3 battery powered flourescent lights mounted on stands for key, backlight and fill.

You vary the intensity of the light by moving the lights forward or back.

The kit weighs less than 10 lbs and costs less than $200.

My question is whether anyone outside of Kansas is actually using this technique?

[Baltimore Shooter]

In fact, I recently had a public official tell something similar. He had just finished talking with my competition, then came over to talk with us. He said he didn’t like being on OUR air, because he didn’t looked good. I explained to him that the last few times he was on our air someone had used a camera top light way to bright. I assured him I would take the time to create some nice lighting and he would look fine. I saw him a few days later and he agreed, he looked fine the evening I shot him.

So you mean that the average citizen actually notices the difference between good and bad lighting??? Say it ain't so! MR, Lake4 and others will be pissed! You're blowing holes in their theories! ;)

Warren

[RDmischief]

I agree with The Next Generation. You're station should you provide you with the tools that you need. If you want to invest in lights, don't use them at work. Practice at home, learn for yourself what's good. But working in a small market, making crap money, why should you be using your own gear to improve a product that your station doesn't care about? What if you buy some wicked-good light that you're all excited about and it gets knocked over at a live-shot? Will they reimburse you? Doubt it.

I've been shooting for a few years and rarely had access to lights. And when I did, like you say, where do plug them in?? The only shots you can really light are sit down interviews and live shots, and when you're shooting hard news you don't have sit down interviews everyday. I like to light shots when I can, but I've learned to shoot compelling news without the luxery of lights. Learning to harness natural light and make it look as good as possible is just as important as learning 3 point lighting.

I got a job at a better station in a bigger market, and now I have lights. I'm honing my lighting skills now after years of focusing on the other skills it takes to get our job done.

Yes nicely lit shots always look better. But your future doesn't depend on lighting. Save your money for yourself...you deserve it

[Goon]

why should you be using your own gear to improve a product that your station doesn't care about?

The product that u can improve w/ your own equipment can go on your resume tape.

[Run&Gun]

But your future doesn't depend on lighting.

If you never want to freelance or shoot network, or anything else besides chaising car wrecks, house fires and murders.

[Hiding Under Here]

I guess it all depends on what you want to do in life. Trust me when I say that shooting network stories isn't all its cracked up to be. Things have changed in the television news business. And it can be a grind. But it's always been a grind in some ways because humping around lots of equipment cases isn't easy. So the work part of the business hasn't changed. It's a lot of work.

But consider the idea about saving your money for yourself. Obviously that IS what work is for. Work is a means to an end. It's the method through which you make money to do OTHER things in life, like get married, own a house, raise a family, retire. If you aspire to those things, though, money becomes important. And the amount of money you have -- unless your family has deep pockets -- is directly tied to the salary you make. Your salary is tied to your job. And your job is tied to your skills. So, if we can make this leap of logic, your skills have a DIRECT impact on the amount of money you make.

Being a TV photographer isn't, I'm told, brain surgery. That doesn't mean having a complete and rounded understanding of your craft doesn't matter. Hey, if you're only in this for the short haul, have a good time, report to work on time and get out when you can. But if you are here for the long run, if you think working as a television photographer might be the way you make a living for the next couple of decades, consider this:

It's okay for you to be more ambitious than your employer. Why? Because there's always the possibility that you might outgrow them, that you might find yourself capable of doing work that is of a higher standard than the "product" you are putting out now. Maybe you'd like to leave that small city behind, move to a bigger market, make more money. The way to do that is to improve your skills. And the way to improve your skills is to invest in your own goals and desires. Sure working for a cheap station can be frustrating. But the only way to get out of there, to get to a better place, is to upgrade your skills. In the open job market you will be competing against other ambitious and talented people. It shouldn't even be an internal argument for you about what you need to do to move ahead. What you NEED to do is FOCUS, to wake up every day with desire and ambition to make everything you shoot stand out.

If you think that's nuts, just ask the successful people here if that isn't their approach. I was complaining to one of the freelancers here just a few months ago how difficult this work is. He told me not to say another word. he didn't want to hear it. He still gets a kick out of seeing his pictures on television. And this guy has been around the world shooting Olympic profiles and other pieces for virtually every major news show on television.

I was glad he said it to me. It slapped me back to reality. When the grind turns you negative and IF you want to move ahead, keep your eyes on the prize. YOU make the choice to perform at an optimal level. You can still make that choice despite the obstacles your employer creates for you. Finding solutions to problems, staving off feelings of becoming embittered, is what will keep you moving forward. There are people here who like what they do for a living. Your "job" is to figure out how to get where they are. But only if you really want to be shooting television for a living.

[TimG]

I agree with The Next Generation. You're station should you provide you with the tools that you need. If you want to invest in lights, don't use them at work. Practice at home, learn for yourself what's good. But working in a small market, making crap money, why should you be using your own gear to improve a product that your station doesn't care about?

I would humbly suggest to The Next Generation that the reason to improve the product that your station doesn't care about is because it is your product too. You, as a photog, are defined by the quality of the images that you record. Take ownership. Screw the station - It's your video. Do you think anyone cares what your limitations were? No, they just want to see compelling, well lit, well composed images.

You suggest that your management is content with a mediocre product. You obviously aren't. Well, what are you going to do about it?

What some of us are trying to suggest is that you need to be proactive - do something to change your situation. It would be very wise for you to buy that first light yourself, become a proficient lighting cameraman and use those marketable skills to get the hell out of your current job.

We've all been there. I started in the industry doing craft services - serving coffee and donuts on feature film sets. I worked my way up from there and now make a very good living as a freelancer shooting for Discovery, Nat. Geo. and The Networks. Do you want that? Are you in it for the long haul as Hiding Under Here asks? If so, you need to be confident that you can succeed and not care that the pencil-pushers at your station won't cough up the money for a light. You are shooting for broadcast! Do you know what an incredible opportunity that is? Invest in your future. Rise above the mediocrity then build a great reel. Work towards making your present circumstances a distant memory.

Tim