DIY Fluorescent Photography Studio Lighting Setup – Part 1



Why spend several thousand dollars for hi-end kino-flo’s when you can build your own fluorescent studio lights for less than two hundred dollars?

View Part II – http://youtu.be/9MmsLGqS-rY
View Part III (Energy Efficient T8 Bulbs) – http://youtu.be/OBPDSBCoN2c

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40 thoughts on “DIY Fluorescent Photography Studio Lighting Setup – Part 1

  1. Home Depot – but watch Part III in this series. It is an updated fixture and all of the purchasing information is linked in the comments of that video as well as on my blog.

  2. I assume a lot of people, trying to sell expensive stuff, will hate (or "shoot") you for these 3 vids… Congrats from my side! This videos are worth 1'000s of dollars… every beginner should watch 'em… 

  3. Definitely use the T8 Bulbs – not the T12's – I have only shot vide with them at 30 frames per second so I can't speak for the faster frame rate but I see no reason why they wouldn't. I would take a camera to Home Depot or Lowes and just shoot a quick clip of their in store demos before you buy.

  4. Hello Joe. Thanks for your work, it's inspiring, clear and helpful. I'm planning to set up a "video studio", basically something like a small photo studio, but for videos (adverts, interviews, etc.). I've worked with kino-flo as a gaffer on some movie sets, I love them, but they're definetly too expensive for my budget. I shoot my videos at 25,50 and 60 frames per second, depending on the situation. Do you think that a setup like yours would allow me shooting flicker-free? Thanks

  5. Check out the end of the video as well as Part II and Part III. It's in there. With T12 bulbs you must shoot at a shutter speed of 1/125th or slower, With T8's (Part III) it doesn't matter.

  6. The 24-70mm has great range Abigail but it is not ideal for people photography – especially not portraits, beauty and fashion like you see in my portfolio. You could get away with using the lens strictly at the 70mm focal length so that it is a short telephoto, but 100mm and up tends to give better compression of depth – shallower depth of field and allows you to work at a friendly distance without invading your subjects space.

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