Getting Started With The LiteLight System

by Tommy Thompson*

Getting started with LiteLights was easy for me.  I just "fell into it" when I needed a bare tube head for my Balcar P Series pack, called The LiteLight Company, and was soon "hooked"!  Admittedly, the Balcar P was probably the most complicated way to start, as it requires a Variator Box to hold the extra capacitors that are normally housed in the P Series head, but it worked like a dream and most importantly--it got me the photo my client needed. Soon thereafter, I bought a couple of Balcar A Packs, which were very nice and at least used the same synch cords as my Balcar P's.  They also took the LiteLight heads directly without using the Variator Box (If you've got a Balcar P system, the Variator Box is great--you can dial down a LiteLight tube to about 25WS to use as a hidden 'kicker' light).   Finally (after about 12 years of really heavy road travel and use), all my P's and A's just wore out, as John Morgan had warned they would, and I began looking for new power packs with which to use my growing LiteLight collection.  I chose the Dyna-Lite M1000 packs, finding them durable and lightweight. Balcar still makes some of the best gear, but it's now pricey and as I understand, parts for repair are limited.   Every photographer has his own needs and wants, so I won't try to second guess anyone, but I will give some opinions which I think will be helpful in making a sensible Litelight purchase.

I realize that readers of this article are from all strata of the photographic world, and I would like to address LiteLight applications in several areas of our field.  I'll also make recommendations as to basic and advanced equipment.   I'll try to keep my preference for particular power supplies under control--I've used Balcar and now use Dynas, but certainly don't reject other power supplies as being inferior.  They're all good if you keep them working and learn how to use them.  Nor does The LiteLight Company endorse a particular power supply.  LiteLights are made to work with most major power supplies (And should you need to purchase a good, rebuilt power supply, The LiteLight Company is a good source.). 

So, let's get to particular applications....

As an editorial photographer, concerned with speed of setup and ease of operation, I'd begin with a medium-sized power pack ( a Dynalite 1000, Balcar A1200, Norman 1250 or Speedotron Brownline 1600) and two LiteLight heads with 1600 WS tubes.  An umbrella or softbox adapter (depending on the 'look' you prefer), a 6" or 7" reflector and a couple of Universal Stand Adapters would round out the system and allow you to pack the entire kit in a small case with a couple of Bogen stands and a 24x36" softbox or 30" umbrella.  I'd add a third head, tube and plug-in modeling lamp accessory as my system grew (or if my power supply had a third head socket).  The final result would be a nice main light, a directed side or backlight (Possibly diffused, as the 7" and 6" reflectors come with the 'shower cap' diffusers.) and a bare tube on the background.

Location and studio portrait work might require a bit of a twist on the above configuration.  As digital imaging has  gained in both popularity and quality, smaller, less-powerful power supplies (Dynalite 500, Norman 800, Speedotron Brownline 800, etc.) can be used.  Battery-powered units (Norman 400's and 200's) with LiteLight heads can also serve double duty for photographers shooting both indoors and outdoors using fill light.  As above, I'd recommend 3 heads, but would opt for the 16" reflector as a broader backlight or sidelight, with a 7" reflector as a background light.  An umbrella or a softbox as the main light would be the photographer's choice, depending on your preference (For a really 30's look, you might try a 16" reflector with a 'shower cap' diffuser as a main light sometime!)  As many portrait photographers also shoot weddings, I'd also like to recommend the same basic equipment with the addition of the LiteLight Flat Reflector.  Rigged up high and away to the side of a group, using this LiteLight accessory could be the best twenty bucks you'll ever spend!  It will really add dimension to a group shot.  A LiteLight head on a Norman 400 or 200 battery-powered unit also gives this reflector some flexibility and portability.

I shoot industrial, corporate, and commercial advertising photos in some pretty nasty and inaccessible locations.  The big problem with most industrial photography jobs is that you never quite know just what you'll need until you get there!  What this means is that I need to pack my gear as efficiently and as lightly as is possible, and to have it perform at its optimum all the time.  I'm concerned about output, but some of my work is with 35mm color transparency film, so 2000 watt-seconds of light with four heads is plenty for the average "man with his work" shot or working portrait.  At other times, I need to light huge scenes or shoot 4x5 chromes, needing heads with 2000 watt-seconds of light in each.  LiteLights allow me the flexibility to shoot jobs of many different complexities and intensities, while only changing out my power supplies and an occasional flashtube.  

I use a set of 4 Dyna-Lite M1000 packs for my power supplies.   My basic head kit is 4 LiteLight heads, 2-2400 WS flashtubes, 2-1600 WS flashtubes, a 7" reflector and a 6" reflector, 2 Chimera adapters (one which takes two LiteLight heads), a 16" reflector, a deflector assembly, a "Hood-Light", 4-universal stand mounts, some clamp and magnet mounts, shower cap diffusers, and plug-in modeling lamp adapters. This 'kit' allows me the flexibility I need to shoot large, complicated shots or small, simple portraits.   

I would recommend that an industrial photographer take on location the most gear he (or his assistant can easily transport) can carry.  Four heads and four packs is just right for me.  I don't carry big packs any more, as I prefer to keep the power spread out on the 'set' with as few extension cables as possible.  6" and  7" reflectors pack easily ( the 6" reflectors 'nest' with your umbrella disks!) as do softboxes and adapters, and the 'Hood-Light', magnet mount and clamp mount are manna from Heaven at times. Assistants really do love the LiteLight part of the carrying!

Studio commercial photographers really have it made!  If it's raining, you let it rain; if you need an extra light stand, you send an assistant to the 'light stand storage room' to get one; and you never have to slap yourself on the forehead and admit to a client that you forgot to bring something along on the job!  And as long as the budget is there, you can keep all the strobe equipment you might need right there in the studio, at hand.

In terms of LiteLights, the studio commercial photographer can use a head with just about whatever flashtube fits his individual power supply, and can at times use almost any or all of the accessories currently available.  I would recommend using the maximum single power flashtube to match your packs, provided they are under 2400WS (The maximum flashtube size currently available from LiteLight), as in the large format studio, power and depth-of-field are very important. I recommend that you always buy the largest flashtube you think you'll ever need--it's easy to put 400WS into a 2400WS tube but disastrous to put 2400WS into a 400WS tube!  Take a look at  The LiteLight Company's is  bi-tube softbox adapter for bigger power supplies.   It's also possible to custom mount multiple LiteLight heads in large overhead softboxes, each driven by its own power supply.  For studio fashion use, I'd also consider the LiteLight 4-head sequencer/Chimera softbox adapter--I've seen one driven by four Balcar A1200 packs keep up with a Nikon motor drive at full power (This is a LiteLight special order item.).

As you can see, LiteLights are useful in many photographic applications and with a number of power supplies.  LiteLights really are a universal and valuable photographic tool.  The most important thing to remember is that LiteLights are an 'add-on' to your already existing power supply (Or that power supply you're just dying to get!) and works with all its bells and whistles.  Given this, I suggest that most new LiteLight buyers start with one head rigged with the reflector, umbrella adapter, or softbox adapter that they use most frequently, and give it a go! 

 I don't think you'll be disappointed!

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*Tommy Thompson specializes in corporate, industrial and institutional photography.  He lives in Gainesville, Florida and works from his office in Atlanta, Georgia. He has photographed in every state except North Dakota and in much of Western Europe. He's a member of ASMP and NPPA. 

His work can be seen at www.mindspring.com/~tommythompson. Contact Tommy  by email at tommy@afn.org.  

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LiteLight Kits

In response to questions about just what it takes to set up LiteLights for particular applications, we've put together a few sample "LiteLight Kits" which should demonstrate the practicality of the system and give an idea as to "working costs".

Remember that LiteLights ARE modular and changeable and that in many instances, a simple adapter or reflector change can adapt your LiteLights to a completely different application!

The LiteLight Umbrella Kit

*Add $40 for Broncolor, $40 plus Variator Box for Balcar P

**Add $66 for 1600WS, $100 for 2400WS

The LiteLight Softbox Kit

*Add $40 for Broncolor, $40 plus Variator Box for Balcar P

**Add $66 for 1600WS, $100 for 2400WS

The LiteLight 7" Reflector Kit

*Add $40 for Broncolor, $40 plus Variator Box for Balcar P

**Add $66 for 1600WS, $100 for 2400WS

The LiteLight 16" Reflector Kit

*Add $40 for Broncolor, $40 plus Variator Box for Balcar P

**Add $66 for 1600WS, $100 for 2400WS

The LiteLight Ultimo Super Corona Big-Time Professional Kit

 We've taken the liberty of assuming you've got at least a couple of medium- sized power packs (in the 2000-2400WS range), and are shooting a variety of subjects--and have, of course, a pretty good budget!  We've put this 'dream' kit together with the largest flashtubes and with the best and most useful options we can think of to make for the best possible Litelight experience!

Hopefully you now have an idea as to just how to 'build' your very own LiteLight system.   As you can tell, the many options depend on just how you plan to use your Litelights and on the particular power supplies you prefer.  

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