After three years of working with studio lighting, I thought I knew a lot about on-camera flash, if not everything, then a lot. Three weeks ago, I came to visit a particularly experienced strobist, who told and showed so much that I immediately realized that I had to sit down and do a rake census, and then test, test and test again.
below is enough famous things that, however, caused facepalm in those who were with me or with me. In the rake list, you can find something new with some probability. If at least this feature of using the flash turns out to be useful for you, then my task can be considered completed. Please note that the material technical parts regarding the operation of flashes and Canon cameras. For other brands, the general idea of use is the same, but the specifics are slightly different.
The first joint: shooting mode
It seems that everyone knows for sure that it is best to shoot indoors in M, on the street - in M or Av. Nevertheless, the fact that in the aperture priority the camera, when working in the interior, almost does not take into account the possible light of the flash in the exposure calculation (that is, the exposure is set as if it were not there), came as a surprise to many.Just in case: when working with flash in a dark room, the shutter speed becomes almost negligible. If the share of natural (available) light is only a few percent of the share of light given by a flash, then shutter speed does not exist for us: the movement is frozen by a light pulse. Accordingly, there will be no difference between 1/200 and 1/30 in practice. Another thing is if the share of local light is at least somewhat significant: in this case, more or less long exposure smearing from trembling hands or from the movement of objects may clearly show through. If the camera in Av decides that a long exposure is needed, this will happen.
underexposed background
It would seem that the most logical thing to do indoors is to set the shutter speed to sync and shoot the flash at the ceiling or somewhere else. But shutter speed still matters for working out the background, especially in large rooms that are not completely flooded with pulse light. The longer the shutter speed and the higher the ISO, the lighter the background becomes. Accordingly, in any more or less large room, we always have a choice between shooting an object in black and an object in a natural light environment. And, yes, you often have to increase the ISO, which is strange when working with a flash and, as it seemed to me, could only be used to save battery power.yellow background
If the main object is a normal color and the background is yellow, this is a color temperature difference problem. The fact is that the light of the flash is higher in temperature than the light of incandescent lamps: a color conversion filter is needed, which brings its temperature to the temperature of other light sources. For incandescent lamps, this is a yellow film glued to the flash. The white balance, of course, must be set to the lamps. With gas discharge lamps, a characteristic pinkish film is needed.On the street constant overexposure
It's very simple: many people constantly forget to turn on the high-speed sync mode on the flash. The camera rests on the exposure couple, based on the sync speed, and is forced to give an overexposed result. General rule: went outside - turned on high-speed sync.By the way, this mode works very interestingly: the flash strobes quickly, giving several pulses so that the frame is illuminated evenly not in one moment of the shutter being fully opened, but sequentially, in parts. Canon's press release states that in this mode, the flash consumes less power (but seems to “plant” the lamp faster). Demoded suggests that the pulse is weaker, that is, it is relevant at a distance of up to 4 meters. Ozgg clarifies that the flash does not adjust to the curtains, but always hits at 50 kHz.
flat face
In the presence of more or less tolerable external lighting, in order not to make traditional “pancake faces” from the flash, you can simply enter a flash power correction, for example, one or one and a half steps down. This will highlight the shadows, but not knock them out completely. It seems obvious, but it turned out that some make exposure compensation for the entire frame, and not for the flash pulse.Fallen eyes
Head-on flash is rarely used, mainly in quick reporting or when you need to get a distant object. If you have a choice, it's usually better to deploy it somewhere, move it away from the camera, or use a nozzle.If you shoot a flash at a wall or (more often) a ceiling, you will get a more or less realistic soft light, since the entire illuminated surface will turn into an independent light source for the frame.
When reflected from the ceiling, a characteristic gradient of shadows is obtained: under the objects they become darker and thicker, for example, the eyes go into shadow. In such cases, it is necessary either to deflect the flash more back, or, if it is not possible, to use special attachments. The jar of Harry Fong and its Chinese brothers proved to be good for correcting gradients.
spotlight beam
The flash usually follows the focal length of the lens and moves the lamp in the housing to go wide or narrow. For the ultra-wide angle, it is assumed that you take out the micro-pyramid card that is inside. You can refuse automation and, for example, with a wide lens angle, compress the flash pulse into a fairly narrow beam. This is relevant for highlighting a single object or vignetting with light.Aiming in the dark
Sometimes there are situations when you need to shoot without a flash, but it is very difficult to catch the focus. If the subject is moving, you can often just miss the moment while the camera is moving around the lens. In this case, it is good to leave the aiming light (reticle) of the flash, but disable its operation. It is done from the flash control menu from the camera: flash firing = disable (not all cameras have a menu). The LEDs work, the flash does not shine.Flash not on camera
First, a little overview of how you can connect:- By wire with the preservation of the full data exchange protocol, that is, with the ability to use a flash in the machine (such a cable is usually short);
- With a long sync cable, only “on the trigger”, that is, the flash will work in manual mode;
- By IR synchronization from a special device (it is obsolete: it is not suitable for the street, it is poorly caught in large rooms with dark walls, it does not work under spotlights);
- By synchronization from another flash or control unit from some cameras (same restrictions);
- over the radio ( the best option, if E-TTL is stored, as, for example, in the Pocket Wizard system - but this thing is outrageously expensive). An obvious plus is not only that the launch comes from 100 meters anywhere, but also that the system has an additional gizmo that allows you not to run to flashes when you need to apply local settings to them or simply turn them off. We need three types of devices: control modules for each flash, the main module for the camera and the gadget on top, which acts as a kind of "mixing console" for three groups of flashes.
This cable allows you to simply fire the flash in manual mode.
And this one is to take her off the camera's hot shoe.
So, if the idea of \u200b\u200bbuying a cable comes up, it's better to solder it yourself. External light traps are not very reliable and you can also make them yourself. The IR transmitter is also soldered. It is really important to take either a second flash (if you need more light) or, if you shoot seriously and for a long time - the same Pocket Wizard or analogues. When choosing analogues, it is very important to understand that you need to receive E-TTL data so that flashes can work in auto modes.
Stand is man's best friend
Before I bought the first rack, I spent terrible sums on various bells and whistles in order to get a more or less decent result. It turned out that if we are not talking about reporting, then the most good way- it's just to take a stand, put your head on it under the flash, stick a translucent white umbrella - and synchronize with the second non-lighting (or working as a fill) flash. It won’t work for the street, but it’s almost perfect indoors.Another point: it is important to specifically direct one flash to the receiver of the other so that they fire from a greater distance. At least turn the slave flash receiver towards the main one.
Nozzles: how not to buy too much
Canon flash comes with two attachments: a white card for glare in the eyes (it reflects very, very little), and a plastic thing with micropyramids for dispersion. A number of Nikon models, by the way, immediately have conversion filters. Another nozzle can be made by yourself from a sheet of paper attached in the form of a cone behind the flash (the famous "burdock", it is also a "fan", it is also a "photon reflector").Now about what is worth and what is not worth buying:
- White plastic "box" is almost not needed
- Burdock with holes on top is good, but the next option is better
- Garry Fong's "jar" (transparent) just allows you to hit the ceiling normally and at the same time eliminates heavy gradient shadows, but you need to get used to it. Given the wild holivars about her, it’s better not to believe me and twist it in your hands yourself. There are many analogues that are 2 times cheaper.
- The large softbox on the flash leads to a softening of the light and allows you to use it head-on. Needed for reporting, in other cases, the next item is better. You can run with a flash and a soft box in your hand.
- Beauty dish (plate) or an umbrella in the light is very beautiful, but only on racks. From 2-3 light sources, a mobile studio is obtained.
- The "plafond" - a round matte nozzle - is good for shooting interiors, but not very suitable for people.
- The strobe frame (handle + flash mount) is good in different configurations, but difficult in real shooting, because it is heavy. For an amateur.
- Honeycombs are important for forming a narrow beam of light, often interesting.
"Bank" Fong, she is in the first inflexible versions - "Toilet"
Almost unnecessary diffuser in practice
Medium softbox, relevant to the drawing source in some cases
It is worth remembering that the softness of the light is determined by the angular dimensions of the source (and, to a lesser extent, by the reflection from the walls): if you take a large softbox and take it far, far away, it will become a point. If long, beautiful gradients are needed, use large nozzles, which often mean that you need stands or assistants.
About flash
First, a quick educational program: the flash in E-TTL mode sends a preliminary pulse before the frame (or a series, by default - at 1/32 power). Based on what was “seen” in the frame as a result of the actual passage of light through all nozzles and reflections from all surfaces, a forecast of the required power is built. During the processing of the frame, the flash sends a calculated pulse. Automation is now very smart, so 90 percent of frames can be safely shot in a flash machine. Manual mode is needed when you want to clearly control the impulse: in this case, the flash fires with one impulse of a given power (this, by the way, is also one of the ways to launch studio light on light traps).A flash can make a person squint. If so, then you need to do either FEL (exposure lock, button with an asterisk) - then the flash will be long before the frame itself - or switch to manual mode. The same FEL in combination with the rotation of the flash head, by the way, allows you to correctly expose a person from the edge of the frame against the background of a window, for example.
Often the light provided by the built-in flash is not enough: it is not powerful enough for large and/or dark rooms. In addition, the flash on the forehead does not paint the model, leaving sharp shadows and highlights.
An external flash (blitz) is attached to the camera through a special socket (the so-called "hot shoe") or placed at any chosen point and connected to the camera using a sync cable or radio synchronizer.
When you need an external flash
- In low light conditions: for example, in a cafe or restaurant at a celebration, and in any other dimly lit room. The built-in flash will “give” the model or still life sharp shadows, red eyes, unnecessary glare. The frame will certainly turn out blurry, noisy and grainy. Sad, isn't it? With an external flash, you can get good quality photos.
- In the dark: An external flash can be used for night photography, portrait or genre photography in the dark, still life photography. Just do not direct the flash "on the forehead", that is, directly at the subject.
- On a sunny, clear day when taking a photo portrait. An external flash will help get rid of harsh shadows, highlight everything that remains in the shadows, and you will get a beautiful portrait.
External flash modes
Depending on the flash model, all modes or only some may be present.
- M (Manual)– flash energy is set in fractions of the total power;
- A (Automatic)- You set the aperture, the flash works automatically in a certain range of distances;
- TTL (Through-The-Lens)– an excellent mode for working with a flash camera: the light output of the flash is measured through the lens;
- S (Stroboscope)- strobe: the flash fires a certain number of flashes per second. An excellent mode for creating special effects and for capturing motion.
How to shoot with an external flash
There are several options for working with external flash:
- Manual mode, camera on camera: flash in TTL mode, spot metering mode, exposure determined by highlights. The flash can be attached to the camera (if shooting takes place during the day, that is, in good light conditions) or it can be on the side (it is connected to the camera by a sync cable).
- Command mode: the master flash (master) controls the slaves (slave or satellites). Not all flashes can synchronize with each other and work in this mode.
The flash can be fired at the subject, at the ceiling, or to the side.
Light
As a rule, the photographer needs a fairly soft, diffused light. How to achieve this?
- First, you don't need to shine on the model's face or directly on the subject: this is the key to unnaturally bright light and a flat image.
- Secondly, remember that an external flash is good because you can change the angle of the flash. Light can be reflected from a wall, from a ceiling, from a mirror or window, from a special reflector.
- Thirdly, several flashes will allow you to get better, deeper images without unnecessary shadows and highlights. By the way, some manufacturers (Nikon, Canon) produce wireless flash systems: flashes can fire both simultaneously and in groups.
Process details
- Keep in mind that reflecting light off a painted surface will produce colored light, so bright wallpaper or a painted (and even just wood) ceiling is not good if you want a natural shot.
- When shooting outdoors, you can attach external flashes to environmental objects: poles, trees, benches, etc. This will allow you to find an unusual angle of illumination - effectively and interestingly.
Technical question
Did you know that a flash is worth buying along with a few useful accessories?
- Reflector: is needed in order to provide an even, soft light. If it is not there, in principle, it's okay: you can use a white sheet or cardboard, a plastic card (white) instead. The “home” reflector must be fixed to the rotary part of the flash (using an elastic band, for example).
- Diffuser: also diffuses hard light. This is a plastic box (something similar to a food container), translucent, matte. It can be white, green, gold. Some flash models are equipped with a diffuser in the form of a matte plate that retracts into the flash body.
- Softbox: special nozzle, consisting of a reflector and a diffuser. A softbox for an external flash is also needed to create a smooth, scattered light, but it is ineffective when shooting at a distance of more than 3 m, when shooting long shots.
Sometimes all these accessories are sold with a flash, but otherwise they can be bought separately or replaced.
Summing up
- When using an external flash, remember not to shine the light directly on the subject.
- Use light shaping attachments (or replacements) to create even, soft light.
- Several external flashes connected by wires or a wireless system will help you create beautiful shots with various special effects.
How to work with flash on a reportage? Everything you need to know to shoot a beautiful reportage.
With the construction of the frame, everything is more or less clear - the laws of composition are the same for all genres, and the correct exposure can be set simply experimentally.
But with a flash, everything is somewhat more complicated - novice photographers do not understand what settings to set on the flash and in what mode to shoot.
This is exactly what we will talk about today - about working with a flash in a reportage shooting.
Many beginner photographers don't use flash at all for reporting. Just because they don't understand how to work with it. After all, it is much easier to use only natural light.
I will say right away: a flash on a report is a necessary thing. Just like without a camera and optics, without a flash, a reportage photographer simply cannot shoot with high quality.
In our post “How to choose a flash”, we already covered the basics of choosing a flash, and in my previous article “Sporty Photographer's Equipment”, I talked about flash accessories. If you are interested in learning about soft boxes, reflectors, boosters and strobe frames, you are in the right place.
Today we will talk about the practical use of flash in the report.
On the set
So, you have arrived at the event, there is still half an hour before the event, there is time to "shoot".
First, let's look at the flash modes.
The report usually uses two modes:
TTL
Nikon has a TTL system called i-TTL, Canon has e-TTL.
The essence is the same - the camera itself sets the flash power, based on the analysis of the illumination of the frame. An almost universal mode suitable for most shooting situations.
Its main disadvantage is that if there is a lot of white or black in the frame, the flash can give out too weak or too strong puff. But this is not due to the operation of the flash, but to the complexity of the frame analysis.
This problem is solved by manually adjusting the operation of the TTL flash.
With experience, you will already anticipate situations when you need to manually change the flash output.
Are there 4 men in black coats in the frame?
Feel free to set the flash power to a step and a half less.
After all, the camera perceives the abundance of black in the frame as the "darkness" of the picture and gives a more powerful puff, completely highlighting black tailcoats and terribly burning people's faces.
Similarly, with a group of girls in white dresses or a person against a white wall in light clothes - a flash in TTL mode will give a weaker puff than usual, so you can safely “lift up” half a step-step of power
Manual mode
Working in manual mode (manual) requires a certain experience in reportage shooting and a good sense of the frame.
There are photographers among my reporting friends who constantly shoot with a flash in manual mode, but, in my opinion, it is worth working with a manual flash only in some situations.
First of all, manual mode is convenient for shooting in "static" conditions. A typical example is conference photography: all the subjects are sitting in the same places, almost motionless, the lighting conditions do not change, and you can safely set the flash output in manual mode.
Very often, photographers who hold the flash in their hand “on the go” work in manual mode (more on that below). When the photographer holds the puff in his hand, the conditions are essentially the same, and you can safely work on manual settings.
But I would not advise novice photographers to switch to manual for responsible shooting. In a reportage, the most important thing is not to miss a good shot, and when working in manual mode, without shooting experience, it is very easy to “ruin up” a photo.
We figured out the shooting modes, but this is only half the battle. The most important thing in working with flash is to get beautiful lighting in the frame.
Why does shooting with a soapbox produce such terribly boring, flat shots?
Everything is very simple - the flash works "on the forehead". That is, the light from the flash shines directly on the people in the frame and as a result - there is no “light pattern” and a three-dimensional picture, but only a miserable flat light.
Therefore, the main rule of shooting with flash is work with reflected light.
Point the flash at the ceiling or at the wall - let the light bounce off it and "fall" on the people in the frame.
Volumetric light is the key to a good reportage frame
You will immediately notice how much more interesting the frame becomes with reflected light.
What to do when there is nothing to reflect from?
There are two options:
1) Puff "in the forehead", and then add life to the frame with processing (tools like Shadow / Highlights are especially helpful). But this is a terrible way out of the situation, since the light will be flat anyway.
2) Shoot "on the go". Many photographers use this technique: they put a large soft box or "burdock" on the flash, connect it to the camera with a sync cable and hold it at arm's length from the top left. Thus, they themselves put the light on the subjects of the shooting.
This method has one main disadvantage - it works really well only for big plans, a group portrait in this way makes little sense to cover.
As I already wrote in an article about flash accessories, all “fong jars”, mugs and other reflectors with diffusers can help indoors, but you definitely shouldn’t expect a miracle from them.
We figured out shooting indoors: if possible, we use a reflection flash, bad conditions - we hit “point-blank” or take the flash in our hand.
Now let's talk about what to do with puff on the street.
On the street
Many novice photographers are sure that a flash is not needed at all on the street. This is not entirely true. Or rather, not at all. A flash is needed, you just need to use it wisely.
For the most part, outdoor flash is used for two purposes:
1)
To highlight the shadows on the faces of people in the frame
On the street, “burdocks”, diffusers and other flash attachments are practically useless. To highlight the shadows, you can safely peel "in the forehead."
2) When shooting against the sun
Shooting against the sun is a classic outdoor flash technique.
Since today we are talking about working with a flash on a reportage, we definitely need to talk about two things: radio synchronizers and color filters for flashes.
Radio synchronizers
We have already written in detail about what they are and how they work in our previous articles.
Working with radio synchroizers is already a different, higher professional level for a reportage photographer, which requires more shooting experience.
Therefore, at first, just get used to working with a flash on a reportage shooting, "shoot" to the manual control mode. And only then it is worth thinking about radio synchronizers.
As a rule, radio synchronization of flashes is used in a report in two cases:
1) When the photographer holds the flash in his hand "on the go."
For such shooting, radio synchronization is essentially just an alternative to a flash-to-camera cable. Radio synchronization allows you to do without unnecessary wires, which is very convenient.
2) The second use case is setting flashes on the set to better illuminate the frame.
A typical example is filming conferences or seminars.
The room is full of spectators and the speaker behind the podium. It's good when everything is in order with the lighting on the site - you can make a beautiful general shot of both the speaker and the auditorium.
Great room with good video light
If you work with a modern platform (for example, Digital October in Moscow), where all the amenities for the work of a photographer are created, everything is fine, there is nothing to worry about.
But when shooting in an ordinary hotel room, where most corporate conferences take place, the photographer faces one problem. The flash cannot evenly illuminate the entire room, and shooting without a flash does not allow low lighting.
And if you want to take a beautiful photo of the speaker and the auditorium, you simply won't be able to achieve uniform illumination of the frame - the light from the flash is not enough to highlight the speaker.
What do professional photographers do in such cases? Use radio synchronizers!
There was no additional stage lighting in the hall, so a flash with a radio synchronizer had to be installed between the speaker and the auditorium.
The photographer puts one flash with a radio synchronizer next to the speaker and can easily move around the auditorium - the speaker's illumination in the frame will remain unchanged.
An important point. Try to position the flash above the audience in the audience. You can put it on a table, cabinet, or ideally bring a flash stand with you.
If the flash is on the floor, the speaker and the hall will be lit from below, and this gives "demonic" shadows on the face and looks bad in the frame. Although if you are filming a conference of Satanists - everything is ok.
But putting light on the speaker is not always necessary. Very often, additional flashes are needed just to highlight the very room where the event takes place.
On one of the recent shootings, I specifically took three very revealing shots for this article. We filmed a conference big company, and one of the meetings was held in a large, elongated room.
Here's what the shot turned out if you shoot with one on-camera flash.
Terribly sad. The corners of the room fall into darkness - the on-camera flash cannot illuminate the entire room.
It has become better, but now the right corner noticeably falls into the shadow.
By adding a third flash, we got the desired picture.
Of course, there are no racks and flashes in the frames for the client - only a well-lit room.
small digression. Many organizers often do not understand why professional photographer worth the money and for what he gets them at all. For such working moments.
A reportage professional is ready for any difficult situation and knows how to get good shots even in bad shooting conditions. He has everything necessary equipment to work in difficult shooting conditions and most importantly - he knows how to use it.
The client does not know about it (it is not necessary for him to know about it), he just always receives quality and beautiful pictures. This is the professionalism of a photographer.
But back to our topic.
Another option for using radio synchronization in a reportage is to organize a mobile studio.
Let's say you're filming a small party at a restaurant. Find a corner with a beautiful interior, put your flash on a stand and set up a beautiful key light.
Let the flash with a synchronizer stand on the stand - after all, most of the time you will be shooting classic reportage shots.
But if guests want to take beautiful staged photos, you will have all the conditions for this.
Of course, you can set the flash on the stand to light trap mode, but then it will fire every time one of the guests takes a picture with their camera. Working with radio synchronizers, you have full control over the shooting process.
color filters
Color filters for flash, or as they are also called color gels, are an indispensable thing in reportage photography.
In fact, these are simple color films. You can buy specialized sets of ready-made flash gels, or you can just buy several different sheets of color film and cut them into rectangles. The effect will be the same, but 5 times cheaper.
As a rule, gels are used in two cases:
1) To bring the color temperature of the light from the flash closer to the conditions of the room where the shooting takes place.
How does it work in practice?
Very simple. Let's say you are shooting in a room where all the walls are yellow-orange, and the room is lit with yellowish lamps.
If you shoot without color filters on the flash, the entire foreground will be illuminated by colder light (from the flash) in the frame, and the entire background will be yellow-orange.
The fact is that since the light from the flash is colder than the color temperature in the room, you will have to choose which light to set the white balance to: either the cold light from the flash (then the backdrop will be excessively “warm”) or the main lighting in the room (then people in the foreground will be bluish-cold).
Putting a color filter on the flash, we roughly equalize the light from the puff with the lighting in the hall. The only thing left for us to do is to manually select the appropriate white balance, as a rule, this is a figure in the region of 3000 Kelvin.
2) The second case when gels are used is in order to create a color contrast between the foreground and background.
Let's say you're shooting in a boring (lighting) room, and you want to somehow "revive" the picture. A very effective technique is to make the foreground warm and the background cold.
Do not confuse this technique with the first point - there we are struggling with the problems of lighting a room that does not look good in the frame. Creating a contrast of "cold / warm", we do it consciously and only in those conditions that allow it to be done.
Typical example:
We shot for Mercedes at one of their showrooms. Good, spacious room, but boring in terms of lighting.
Here's what we got by simply putting an orange color filter on the flash:
This is a test shot with me in the foreground and the dealership in the background. How did this picture come about?
To begin with, we set the color temperature on the camera in the region of 2500-3000 K. Thus, the daylight became bluish-cold.
But then the foreground should have turned blue. That is why we used the gel on the flash - the flash shone orange on people in the frame, but thanks to the cold WB, we get natural colors in the frame.
How does this apply to reporting?
For example, you shoot during the day in a room with large windows. Excellent - we put the gel on the flash, set the “cold” BB and go ahead - the client will definitely be pleased with the “unusual” shots.
Also, gels are often used to illuminate the model with colored lighting, but this is a separate conversation and not about reporting.
Another technique for using flash gels is to add bright, colored colors to boring room lighting.
Six months ago, Anton Marakhovsky and I filmed one corporate event in a completely dull (by lighting) room.
In order to somehow enliven the picture, we put one flash with a purple filter in the interior of the restaurant, and the second (with orange helium) on the music column near the stage.
And this is only part of the techniques for working with flash in a reportage, the basics that you need to know to work at events.
Another big and very interesting topic- Art photography with flash. But that's a story for a completely separate article.
There are some basic rules when shooting with hot shoe flash. How do I properly adjust flash settings? How do TTL modes affect photos? What is flash sync and, more importantly, what is the difference between first and second curtain sync? Where to set flash values? What is flash zoom? All these questions and more will be answered in this article.
Flash modes.
When using the hot shoe in manual mode, you basically set the flash power. Most flashes allow you to set the maximum or minimum power, or something in between. Like cameras, flash has modes. This refers to power and is measured in partial units: 1 (or full), 1/2, 1/4, 1/8, 1/16, 1/32, 1/64 and so on. Simply put - full power, half, a quarter and in the same spirit. Moving one step on this scale (full power to half power, half power to quarter power) is one switch. The same as in exposure, shutter speed or aperture settings.
Depending on your specific flash, its model or brand, you can set it to half or even a third, as in the shutter speed or aperture settings. On some flash units, the flash output is set directly on the flash and displayed on the flash LCD.
Other flashes, especially smaller ones, can only be configured through the camera menu, as they are fully controlled by the sensors. Properly setting the flash compatible with your camera can make your photography life much easier. It's about not only about additional convenience, but also about extended functionality.
When changing the flash output values, it is important to remember that you are not changing the amount of light the flash emits. The amount of light is always the same. By lowering the power, you are really only changing the duration of that light. So, increasing the power will cause the flash to burn a little longer.
Another fact is that the amount of light at full power is different for different brands and models, and the range of power settings between maximum and minimum is also different. For example, the Canon 580 EX is much more powerful than the Canon 430 EX and offers a range of power options all the way up to 1/128, while the 430 stops at 1/64.
For Canon flashes, E-TTL stands for "Evaluative Through-Lens Measurement). When the flash is set to ETTL mode, the flash actually emits light before shooting. This is a pre-flash. The measured amount of light returns through the lens and compares it with the original amount emitted from the camera Based on these two criteria, the camera calculates what level of flash power to set to obtain the appropriate exposure.
The following pictures show two different flash modes. In the first - the flash is set in manual mode at 1/2 power. The second is ETTL mode, which means that the camera will automatically set the desired power according to the given lighting.
Remember, in manual mode, you are responsible for all the flaws. This means that whatever flash power you set, it will be so from one shot to another, until you yourself, with your own hands, change its values. In TTL mode, the camera uses the flash to determine the amount of power needed for a particular scene and changes these settings as needed. Thus, if the distance to the subject or the lighting changes, the flash will detect this and the camera will change its settings.
Flash sync
Flash timing was originally dependent on the shutter speed at which both the camera and the flash could function properly. It was quite difficult to achieve this. Now flash timing is more about how the flash performs in relation to your exposure. This is best demonstrated by imagining a long run, about 6 seconds. The flash can be fired immediately at wide aperture or in front of the second curtain when the shutter starts to close. For the first curtain, synchronization will occur at the moment the shutter opens. For the second - at the moment the flash is activated.
Both methods are good and create a certain effect in the final image.
If your subject and camera are still, the timing of the flash won't matter. If there is movement, the flash in the first mode will illuminate the subject and capture at the point when the shutter is fully open, and then the ambient light will illuminate any movement occurring in the rest of the exposure.
In the second mode, you can record motion until the second curtain closes completely and the subject is captured with flash. So, you can get all the stages of movement in the picture.
If the subject is moving from left to right, use first curtain sync, the blur will be to the right of the captured subject if you set a suitable shutter speed. When shooting on the second curtain - the blur will be to the left of the subject. If you have problems with this, slow down your shutter speed. Don't be afraid, 1/2 second or more is not scary. Both pictures below were taken in the second mode.
Flash Zoom (Flash Zoom)
Flash zoom means how wide the light will spread. Some flashes do not have zoom options. IN automatic mode flash zoom detects the focal length from the lens and adjusts the latitude of the light accordingly.
To do this, the flash changes the distance between the actual flash tube (the light) and the diffuser (the plastic at the front of the flash). If you use a zoom lens, some flash units may change this distance again because zooming in or out cannot match the new focal length. If you're using a simple lens, you obviously only need to adjust the flash.
Different brands and models of flashes offer different zoom ranges. For example, the Canon 430 and 580 series offer focal lengths from 24mm to 105mm when using a full frame (35mm) compatible EOS DSLR lens. If you are using DX(APS-C) cameras, the range will be 15mm to 65mm.
You can also set the flash to manual zoom. Thus, it is possible to change the zoom area and the spread of the flash light depending on the focal length your lens. You can also use manual flash zoom for creative purposes by changing the angle of view of the flash zoom. This will illuminate a certain area of the frame.
Flash direction.
Some flash models offer you the ability to bounce light off ceilings, walls, or reflectors to soften its effect on the subject. These flashes have a tilt and/or rotating head that can move up, down, left, right and vice versa. The tilt and freedom of the pan depends on the specific model. For example, the Canon 580 series can tilt from 7 degrees (down) to 90 degrees (up), while the 430 series can tilt up to 90 degrees.
A rotating head flash is very handy, it gives you the ability to manipulate the light in such a way that the light surrounds your subject from all sides, not just one. Reflected light from walls and ceilings can make a shot appear more natural by softening shadows. This usually results in a more pleasing contrast.
If you're in a place where the ceilings are too high for the light to bounce, you can try running your hand right in front of the flash to throw some light forward. Some flashes have a special built-in card for this purpose. You can make it yourself by attaching it to the flash with an elastic band.
Typically, the flash is set so that the light is about half the distance from the subject. If the subject is very close to the wall, you can set the flash head to the top corner where the walls and ceiling meet. Another way is to point the flash head towards the wall, directly behind you, so the light will bounce back onto the subject.
Decide to buy
There are many models and brands. Some may offer all the features and functionality we just talked about, and some may not. Of course, the more features available, the easier it will be for you to control the flash, experiment with it, and just create. Of course, the flashes in question are expensive.
Major camera manufacturers such as Nikon and Canon have their own line of flashes that are perfectly compatible with camera bodies and provide a wide range of options. But the price tags will surely push you to look for a cheaper analogue for your camera. Sometimes cheaper flashes actually have good features. If you are not sure that you are ready to invest a lot of money in this business, buy cheaper, this will save you from unnecessary expenses.
Post your flash photography tips in the comments! Well, if you want to learn how to get professional photos with a regular flash like in glossy magazines, then click on the picture below!
Lighting is one of the most difficult aspects of photography and one of the most important. The external flash is one of the most effective ways ensuring proper exposure, but using it correctly is also quite tricky. In this article, we'll go over some of the flash techniques, accessories, and more. We will also offer you a cheat sheet, which contains the most common lighting methods.
The main feature of built-in flashes is that the quality of their light leaves much to be desired. Because the flash is a high-intensity light source and the light comes from a small area close to the lens, it produces flat, hard lighting that creates deep, unattractive shadows.
It also kills fine texture, whitens skin tones, and causes red-eye. A complete set to make any shot look terrible.
External flashes mounted on the camera are not much better. The light emitting area is slightly larger, the flash is further away from the lens, but it also produces hard light.
This type of lighting, where the flash is fired directly at the subject, is known as head-on flash. Although the image usually looks artificial and ugly with direct flash, the competent use of such light can give an absolutely stunning effect.
However, most of the time you will need to avoid such lighting.
Shooting with an off-camera flash
The key to significantly improving the quality of lighting: increasing the size of the light source and changing its direction for a more natural effect.
To do this, you need to completely untie the flash from the camera, for example, using a sync cable. This will give you much more freedom in setting the light and completely eliminate red-eye.
Nikon and Canon are releasing TTL - sync cables that allow you to completely transfer all information from the camera to the flash.
For some cameras, you will need to purchase additional adapters for the hot shoe and for the flash, and a cable to connect them.
If you want to be hands-free, you can buy a flash bracket that attaches through the tripod socket on your camera and allows you to point the flash at different angles.
Powerful hammer flashes are used to illuminate large objects such as buildings, usually in combination with a bracket.
Studio lighting simulation with two flashes.
Using the built-in flash to illuminate objects closer than 60 cm from the camera is a bad idea, as the power of the built-in flash is too high.
Positioning the flash above the lens causes most of the light to come over the subject. At short distances, it is better to use an external flash with a diffuser and a wide-angle adapter.
Make sure that the telephoto lens does not block the light from the flash, and also tilt the flash head down slightly.
This solution is far from ideal. You'll get a much better result if you use off-camera flash with a reflector on the opposite side of the subject to fill in the shadows. You can also use a ring flash for macro shots or, as in this case, a pair of TTL flashes placed on either side of the subject.
First picture.
Here we are illuminating the subject with a single Canon Speedlite 550EX flash mounted on the camera, without a diffuser. It can be seen that the lighting is flat, and an unpleasant shadow appears behind the figurine.
Second picture.
This time we used two Canon flashes. One on the camera as a control. The other is located slightly to the side of the subject and is controlled by the master flash from the camera. Its light reflects off a large white sheet. This gives softer lighting and emphasizes volume.
Third picture.
Here we additionally set a reflector on the left to fill in the shadows. The difference is small, but the improvements are still noticeable.
Shooting with reflected light
The direct light from the flash is very hard and looks artificial. He needs softening.
There are several ways to do this, and one of the most effective is the bounce method. This is very easy to do if your flash has a flash head that can be pointed up and rotated horizontally.
The idea is to direct the light onto a reflective surface such as a ceiling, wall or even a mirror, which will spread the light over a large area and increase the effective size of the light source.
It brightens the shadows and gives a soft, natural light, as opposed to direct flash. To achieve the best results, you need to choose the optimal angle of the flash head. The disadvantage is somewhat flat lighting and lack of glare in the eyes.
Also shooting at close range can accentuate bags under the eyes and create shadows under the nose and chin. Also, this method significantly attenuates the light of the flash, usually by two or three steps.
Flash in TTL mode automatically compensates for the weakening of light by increasing the power, but if the power is already not enough, you need to open the aperture more, increase the ISO, or get closer to the subject.
If you use a manual flash, you will have to manually adjust its power.
Another important point is that the reflective surface where you point the flash must be neutral, otherwise you will get an extraneous cast in the image.
Using the white card
Good flashes have a retractable white card built into the flash head. This allows a small amount of light to be reflected towards the subject when the flash head is pointing up.
Using a white card, you can add highlights to the subject's eyes and fill in shadows.
Some flashes have a low power second flash that can illuminate shadows when the main flash head is pointed upwards.
If your flash doesn't have a white card or a second flash, try using a piece of paper instead of a white card, securing it with a rubber band.
Bounce flash cannot be used outdoors or indoors with colored ceilings and walls.
One solution is also to buy a mini reflector that fits around the flash head to soften the light and direct it forward. These can be, for example, LumiQuest reflectors.
If your flash does not have a swivel head, removing it from the camera will allow you to direct the light in any direction. You can also use it on an umbrella stand for almost studio lighting.
Using a diffuser
The diffuser is a good alternative to bounce flash. It distributes the light over a larger area and directs it towards the subject, softening it.
This minimizes red-eye, softens harsh shadows, and creates softer lighting. Using a diffuser with flash off-camera gives an even better result.
You can buy various types of diffusers, such as Sto-Fen Omni-Bounce, LumiQuest and others.
You can also diffuse the light through fabric or paper, or make a homemade diffuser for your flash.
For better softening of light, it is advisable to use mini softboxes, for example, LumiQuest, Lastolite, etc. Lastolite makes Micro Apollo mini-softboxes in three different sizes, they are attached to the flash with Velcro.
For the softest, shadow-free lighting possible, you can combine the use of diffuser and bounce light by pulling out the wide-angle adapter from the flash head for even more even illumination.
This method is great for close-ups and portraits. Diffusers also reduce light output by up to two stops, and if shooting in bounce light, the total light loss can be up to five stops.
Products such as LumiQuest UltraSoft overcome this problem by combining a mini-reflector and diffuser in one closed design, resulting in only about two stops of light loss.
Using the wireless control
Using two or more flashes will greatly expand your options. To avoid problems with wires, it is better to use wireless flash control.
Nikon and Canon support TTL wireless control of up to nine remote flash units via a master flash unit. However, they can be divided into three groups.
The flash mode, output, and power compensation value can be set individually for each group and for the commander flash. If you want to use all your flashes, you can fire them using the infrared trigger on the camera's hot shoe.
This gives you the freedom to create any type of lighting, emphasizing the shapes, textures, tones and colors of objects. The disadvantage is the limitation on the distance to 10 meters.
As a rule, only high-end flash models can be used as commanders. If your flash does not allow this, you can use more simple ways, for example, connect a light trap to its PC connector.
Crib
The portraits below were shot using an 80mm lens and a single Nikon SB-800 flash. We used various ways lighting. Thus, you can choose the right one for you.
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