Lowel v-light instructions – Tiffen Lowel V-light User Manual

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V-light for the New Pro

Lowel V-light Instructions

90 Oser Avenue, Hauppauge, New York, 11788
Call: 800 645-2522 or 631 273-2500

e-mail: [email protected]
www.lowel.com

Lowel-Light Manufacturing, Inc.

ground evenly. Position of the lights and distance to the subject
can be varied for different creative results. Add diffusion gel in
a Tota-frame, or attach an umbrella to create a softer source.

For soft Key & Fill in a classic interview setup,
use 2 V-light’s with reflective umbrellas A & B from 3/4 angles.
Varying the distance of either light from the subject will vary the

contrast ratio between Key & Fill. V-light’s ability to light even-
ly makes it ideal for archival copy work. See Setup #2 below for
further information.

Because the coverage area of the V-light is so wide,
it may be necessary to trim its spill, especially to reduce risk
of shadow in your shot caused by use of overhead boom micro-
phones. Accessory Tota-shades attach quickly to the
light & allow you to cut output on 2 or 4 sides. Flexi-shafts
& Tota-flags can also be attached for increased light
control options.

The wide angle coverage area of the broad throw
V-light makes it the ideal choice for lighting a large
area evenly.

The V-light is an open face (lensless) fixture. Therefore
its capable of throwing sharp shadows. The V-light’s
versatilities are easily extended by addition of light control
accessories. For example, adding a Tota-brella instantly
transforms the light into a soft Key (main) light or Fill
(secondary) light.

The V-light is a tungsten-halogen source. Its color tem-
perature will be in the 3000–3200k° range, depending on lamp
choice. To use V-light in locations where its output will mix with
daylight (5600–6500k°), its color temperature can be converted
by adding various strengths of day blue gels to the Tota-frame
for more realistic white-balancing in video or film.

The V-light & Pro-light are part of the ViP system.
As a starting point, when using them together in simple setups,
use Pro-light A for focusing on your subject, and a second Pro
B for fill if desired. Use a V-light C to illuminate your back-

These are just some starting suggestions.
For an in-depth understanding of the creative decisions
involved in the art of lighting, we suggest Ross Lowell’s
acclaimed book, Matters of Light & Depth. Available from Lowel
and many of our dealers.

Setup #1

To simply raise the ambient level of light in a room,
point the V-light at a white wall or ceiling (from a safe
distance of several feet or more). Position the light so it won't
be in your shot.

Setup #2

For archival copy work (Example: a painting hung on a wall)
start by placing V-lights A & B on stands at 45° angles to the
wall, on both sides of the camera. Vary the angle to the
wall/camera to reduce unwanted reflection. Large subjects
may require 2 V-lights at different heights on each side.

Setup #3

In classic interview setup, use 1 V-light A with diffusion and
Tota-frame as the key light, and another V-light B with reflec-
tive umbrella as the softer fill light. Vary position & angle to
camera for desired creative effect. Note: the output of the V-
light key will be harder/sharper than the V-light fill because the
umbrella addition creates a softer source.
Option: add a third V-light C to evenly light the background.

Example Setups using V-light

Camera

The oversimplified diagram above shows some of the
ramifications of positioning lights for different subject types
& lighting effects. The diagram is only useful as a starting
point for new pros. All subjects & scenes are different and
make different demands upon lighting. The height of the
lights & camera, and the subjects angles & reflectivity
must be considered.