I missed this before, but 100W Daylight compact fluorescents are your friends. Make sure they're the Daylight ones, especially if you're ever planning to use them for stills where you might be supplementing with flash, and put several of them in the clamp-type shop light fixtures. You'll get a lot of light with not much heat, and the price for even a dozen of these is still well under pro lighting rigs. Since they're around 26W usage, four of them will draw barely more current than a single 100W incandescent. If you can run a 1000W worklight on a circuit, you could (theoretically) run 38 of the 100W equivalent CFs on it and still be safe.Kalrog wrote:Charles - the big point of the umbrellas is to make the light source "bigger". Well, you have a HUGE light source if you need it - just take your high power work lights. Point them up or backwards and reflect them off of the wall or ceiling. Bingo - great light.
The main reason for being picky about the light color temperature is that "soft white" may or may not be consistent between brands. IME, daylight or 5000-6500k bulbs are a lot easier to account for with white balance, and it doesn't cost that much to make sure that everything in your studio area is one brand of CF.
