Why do you need a flash diffuser? The principle of operation of the diffuser. How to make a useful camera accessory yourself? Types of diffusers. What is a light sphere and what is it for? Scheme of the light sphere operation.
Sooner or later, an amateur or professional photographer faces the choice of purchasing a flash diffuser. To ensure that your purchase does not disappoint in the future, you should carefully study the principle of operation of the diffuser and what functions it performs in tandem with the flash.
Many people have probably noticed in flashes professional photographers strange caps, this accessory can be seen especially often among photo reporters and photographers taking wedding photos. What is it for? The camera's flash produces a powerful pulse of light when the shutter is released, which illuminates the scene or object being photographed.
And everything would be fine, but along with a powerful stream of light, such an unpleasant effect as flare and sharp shadows appears; this effect most often occurs when the subject is in close proximity to the photographer. In this case, a flash diffuser is simply necessary. It will reduce the luminous flux by increasing the area of the light source.
Thanks to this, the light in the picture will be distributed evenly, and the quality of the photo will be at the proper level. The shadows of illuminated objects will not be harsh, and the background will be illuminated more evenly. If shooting takes place in a studio, photo umbrellas and lightboxes act as diffusers; also, when shooting in a studio, the photographer always has enough time to adjust the flash power.
If you don’t have much time allotted for shooting, then you simply don’t have time to install bulky accessories and adjust the flash. In this case, a portable diffuser is simply irreplaceable.
Don’t think that this accessory will be useful only to professionals, because a diffuser is essentially a small lightbox that will allow, for example, portrait photography get rid of harsh shadows. Many amateur photographers often engage in portrait photography.
Those who do not want to spend money on this rather useful accessory can make the diffuser themselves. Just take a piece of thick white paper and use an elastic band to secure it to the flash. Alternatively, you can use a white bag, inflate it like a balloon and fix it on the flash.
The uniformity of lighting in this case will depend on the size of the package; the larger the better. The package has a number of advantages: it costs a penny and takes up little space in the bag, but, of course, such an addition to the flash does not look at all representative, for this reason many refuse to use it.
Universal factory diffusers look much more representative, and in the price category you can always choose an option that suits you. A universal, compact and inexpensive diffuser - inflatable. It is inflated to the required size through a valve, usually its size does not exceed 22*15 cm, it has a matte surface and is attached to the flash with a rubberized tie.
There are universal diffusers and a frame made of durable materials. Such diffusers are made of heat-resistant material; rubberized Velcro is used as a fastening to the flash. This diffuser is suitable for any flash.
There is another type of diffusers - light spheres. A lightsphere is a spherical flexible diffuser, either matte or completely transparent. Lightsphere, as a rule, is elastic, so it fits freely into any bag.
The internal textured surface of the diffuser increases the dispersion of light, it will be even “softer”. This design uses transparent material, thereby reducing light loss and increasing softness due to good diffusion. Such a diffuser will be indispensable in dynamic scenes, shooting large groups, and in poor lighting.
A matte light sphere is often used. It allows you to get warm diffused lighting. The peculiarity of this diffuser is that it allows you to get studio-quality images. The soft light produced is difficult to distinguish from the light produced in the studio using softboxes, backdrops, umbrellas and light panels. This light sphere the best choice for shooting outside the studio. It will also be useful for those who like close-up photography.
And yet, which diffuser is better? There is no answer to this question; each is good in its own way, depending on the selected shooting parameters. Ideally, you need to have two diffusers - transparent and matte. Separately, I would like to highlight the two diffuser attachments: yellow and chrome.
The attachments allow you to quickly and conveniently switch the light, this simplifies the shooting process; if you need to get warm light, use the yellow attachment. You should use the yellow light sphere attachment when shooting outdoors in the early morning, when shooting at sunset, especially when the sun is behind the subject. This attachment will also be useful when shooting under a canopy or interior photography with tungsten lighting.
Now let's look at the cases in which a chrome-plated attachment is used. This attachment increases the light intensity while maintaining diffusion. This property helps to achieve more powerful illumination over a greater distance, without losing the quality of shooting.
The principle of operation of a light sphere with such an attachment is that a powerful beam of light passes through the central hole and is directed upward. The chrome reflective plate sends light forward, and the lower part reflects the light flow into the diffuser, thus increasing its brightness.
I'm a big fan of shooting with flash, I usually use external flashes, but sometimes I have to use a regular built-in flash.
The built-in flash is great for nature, close-up shots, etc., here are a couple of photos using the built-in flash:
But when it comes to photographing people, the built-in flash begins to behave very harshly, this manifests itself in unnecessary shadows from a person, unnecessary strong highlights on people’s faces. To soften the flash light and make softer shot Even with a built-in flash, you can use various types of diffusers. I came across this one:
He has three different light-diffusing surfaces: white, blue, and orange. White serves ordinary light diffuser, and color ones work as color filters for flash. If everything is clear with the white diffuser, then in order to do so, you will need to seriously work on adjustments. My set, when using the orange (yellow) nozzle and automatic, gives a terrible greenish-yellow tint. And the blue attachment from this set is a rather useless thing.
This diffuser is inserted into the flash shoe as shown in the example above. The diffuser itself is made of ordinary plastic and does not inspire any confidence. This is what the camera looks like with the diffuser installed. I took the orange version for clarity.
When using such diffusers The flare guide number drops significantly, that is, the flash can operate at a shorter distance. Below is an example of a shot with and without a diffuser at full flash power; you can see how much the flash power increases if you remove the diffuser:
When shooting serially, the flash has to work as hard as it can, this overheats it faster and you have to wait for it to cool down. It’s easy to make a simple light diffuser for the built-in flash yourself using available materials, I have it.
Personally, I am more inclined to use diffusers on, for example these:
Usually, even for me, I use my own diffusers, and I don’t like to carry unnecessary accessories with me, since during intensive shooting, various photo trifles are often lost. In 2012, I sowed 4 front lens caps, a couple of protective filters and batteries for flashes, although I treat equipment very carefully.
Conclusions:
A diffuser can help achieve a softer image when using a regular built-in flash, very useful for portraits.
Help the project. Thank you for your attention. Arkady Shapoval.
Why is this necessary? The fact is that the built-in flash often casts strong shadows. Although, in comparison with my Olympus VG-170, the Nikon D5200’s flash provides much better lighting, and don’t forget that you can adjust its power, which also has its advantages. Still, hard shadows do not please us. In order to make the shadows softer and the flow of light from the flash more uniform, people come up with all sorts of homemade options diffusers. They are made from whatever available materials they are made from and in whatever ways they are attached to the flash: tape, wire, and even metal plates with bolts are used :) The Internet is replete with such ideas, but it is one thing to read, and quite another to try it yourself. No, I will not subject my camera to extreme loads and will not resort to radical methods, it is dangerous (although interesting) and time consuming.
But let's imagine that you urgently need to take a photo with a flash and at the same time you understand that you need a diffuser, but how and what to make it from?
Below I have personally tested some options for such diffusers:
1) Nikon D5200 battery cover. I just threw it on the flash.
2) You can attach with an elastic band this kind of porous film, in which goods are usually wrapped during shipment.
3) This is no longer my idea. Table tennis ball.
4) Plastic disposable tableware. This example was used for macro photography.
5) And this is my idea! We buy a small binder and insert a landscape sheet into it, or preferably a square piece of disposable tableware(on the picture). I think you can figure out how to mount it from the photo.
(!) By the way, regarding options 3, 4, and 5 - the flash not only hits the subject well, but also hits the photographer’s eyes well, be careful. Wear welding glasses :)
Below are examples of photos taken with different diffusers. I shot with a Nikkor 18-55mm and manually adjusted the flash power to create approximately the same lighting.
1)
Built-in flash. Notice the shadows and reflection of light on the shell.
2)
Battery cover. Not much use.
3)
Porous film. Slightly better than regular flash.
4)
Ping pong ball. It’s already better, the shadows have become softer.
5)
Plastic plate. Best result! Shadows and highlights are almost gone! Very good for macro photography.
6)
Binder with a piece of plastic. A little worse than a plate, but still noticeably better than a ping pong ball.
Conclusion: As for me, I would use the plate purely for macro, well, you won’t be running around in public with this plate, especially at a wedding :))) and the option with a binder looks much more presentable, you need to maintain your image :)
I think now it is necessary to answer the question, why do you need a flash diffuser at all? In fact, everything is very simple. The built-in flash, due to its design features, can shine in one single direction - directly in front of you. Such hard light creates its own special pattern, which, unfortunately, is not distinguished by beauty and elegance.
The first problem with light from the built-in flash is the destruction of all the drawing shadows. That is, the picture or person becomes “flat”. Experienced photographers probably dislike this effect more than anything else. And, indeed, a photo with such light is boring. A flash diffuser would greatly reduce this effect.
The second problem is that a lot of glare appears on the subject, which is then almost impossible to remove. A diffuser for the built-in flash may not completely eliminate this problem, but it would greatly reduce it.
The third problem with such light is the deep shadow on background. Of course, it’s better when the background is dim and your subject is clearly visible. But that doesn't mean you have to film in a cave! A flash diffuser wouldn't completely eliminate this effect, but it would soften it significantly. That is, the difference in the amount of light between the background and the subject will decrease significantly and the whole picture will become smoother and more harmonious.
I hope I was able to explain how the built-in flash shoots. Everything written above does not mean that you immediately need to forget about it altogether. There are situations when there is no choice. Either you take a photo with the built-in flash, or you don't take a photo at all. Of course, it’s better to do it, but try to use some secrets, such as a diffuser for the built-in flash.
Flash diffusers, however, as well as a reflector for the built-in flash, will be useful not only for owners SLR cameras, but even to the owners of soap boxes. The fact is that general structure is not very different, and the operation of automation, if you don’t go into technical nuances, comes down to the same thing.
Before we move on directly to making and attaching the diffuser, I would like to say a few words about a very similar device - a flash reflector. The general essence of this accessory is the same, with the exception of one nuance. A reflector not only allows some soft light to pass onto the subject, but also reflects some in a specific direction or directions. This effect can make the picture even more harmonious and even add drawing shadows. The truth is that not everything is as good as it might seem at first glance. Built-in flashes have very low power, so their impulse is often simply not enough to illuminate a large area.
How to make a diffuser for the built-in flash with your own hands? You will laugh, but it is very, very simple! To do this, you can use almost any available items and materials. The main thing is that they can not only retain light, but also partially transmit it. Let's consider the most original examples diffusers and reflectors for the built-in flash.
A very simple, but not the most successful diffuser option. If you are going to shoot something that is not very dynamic, then the shown design can be supplemented with small wings, which will direct some of the light onto the subject from the sides. This light will be minimal, but it will give its effect.
DIY flash reflector. This copy is made of foil, and the author has provided for attachment to a hot shoe. In general, very a good option, in which the light will bounce off the ceiling and repeat the lighting of almost any external flash with swivel head.
This design has two nuances. It is best to cover the iron holder with black electrical tape. This will prevent the hot shoe contacts from closing. If they had closed, nothing bad would have happened, the flash simply would not have worked and the reflector would have had to be adjusted. When using the maximum impulse of the built-in flash, the camera collects energy for its impulse for a long time. This type of work is not suitable for intensive shooting.
Below are a couple more options for what a do-it-yourself flash diffuser and reflector might look like.
The biggest disadvantage of built-in flashes is the quality of the light they emit. But don't think that using an external flash incorrectly will solve this problem. Not at all. A high-intensity flash that spreads light over a relatively small area and close to the subject will result in uneven illumination that will create deep, contrasting shadows.
Additionally, flash can distort the subject's texture and contours, reveal uneven and unattractive skin tones, and create red-eye, all of which make the portrait look completely different from what your subject and you want it to look like. Shooting the interior, or macro, will also not give you satisfactory results.
A larger flash bulb is a good thing, and it spreads the light over a wider area, but the results may still not be what you expected.
An important point in photography is the angle at which the flash shines on the subject. It is when choosing the right angle of light that many people make a mistake. When the flash shines directly on the subject, it looks artificial and comes out too light. On the other hand, if you want to create a more insightful image, you can experiment and try pointing the flash directly in front of your subject.
Flash separate from camera
The key to improving the quality and flexibility of flash lighting is to reduce the intensity of the light and increase the softness. Your task is to make the lighting more natural.
To achieve natural lighting, you should separate the flash from the camera and place them at a distance from each other. To do this you will need a hot shoe and a sync cable. This will allow you to use flash much more creatively. This will also give your image more depth and avoid red-eye.
Among Nikon and Canon products you will find the necessary TTL cables. Moreover, the cables of these companies maintain balanced metering and output power. Nikon's cable can be up to one meter long (Nikon TTL Remote Cord SC-28/SC-29), while Canon's is 60cm long (excluding hot shoe length).
Using equipment from other manufacturers, you will have to purchase two adapters - one for the camera and flash, and the other to connect them.
If you hold the camera with one hand and the other is free, and you don't mind being more visible, you can buy a flash bracket that connects to a tripod and attaches to the camera through a special socket. By choosing this option, you will be able to adjust the flash angle and height yourself.
Large flashes are used to illuminate large objects, such as architectural structures. Large flash units are best used in conjunction with a mount.
Double flash
Using a flash when photographing an object that is at a distance closer than 60cm is not very good idea, because the flash output from such a close distance will be too intense.
Positioning the flash above the subject also causes the lighting to become too intense. To eliminate excess intensity when shooting close-ups, it is best to use a diffuser. With its help you can diffuse the light.
Make sure that the long lens does not obstruct the flash and, if possible, set the angle so that the flash is pointed slightly downward.
This solution is far from ideal, but you'll get much better results if you use either a diffuser or if you mount the flash off-camera (with a reflector on the opposite side to fill in the shadows), or use a pair of wireless TTL flashes positioned on opposite sides from the subject.
First photo:
In our first photo, we illuminated the figurine of our wonderful angel using one lens, without a Canon Speedlite 550EX diffuser. As you can see, the result was an overly intense flash of light directly onto the subject, causing a shadow to form behind the statue. Thus, the angel turned out somehow flat.
Second photo:
This time we used two flashes in one frame, these were also Canon flashes. One flash was located on top of the figurine, the other on the side. As a result, the light turned out to be softer and more diffused, there were fewer shadows, and there were no too obvious contrast differences in lighting. The second result is much more pleasant.
Third photo:
Here we used flash and reflector. A white reflector was placed opposite the light source to fill in some of the shadows caused by the flash. Overall, there was little difference between the second and third shots, but the third result showed much softer lighting.
Using bounce flash
Even if you buy the most expensive and high-quality flash and point it at the subject, you will not achieve the desired effect. The light from any flash should always be softened, otherwise it will be unnatural and too bright.
There are several ways to do this, and one of the most effective is to be able to direct the light at the object in a non-direct manner. This is possible if your flash allows the lamp to tilt up and down (usually it can be locked at 45°, 60°, 75° and 90°) and rotate around a horizontal axis.
The idea is that you rotate or tilt the flash and bounce the light off it onto a wall, ceiling, or even a mirror. Reflecting light in a mirror is a very good idea, this way you get even more light evenly distributed on total area premises.
This way, dark shadows will be softer, smoother and more natural, the lighting will be even and not too intense than with a harsh flash in front of the subject. For best results, tilt the flash head at least 60°. The downside may be that your subject will look a little flat.
Another unpleasant aspect can be the appearance of unwanted shadows under the subject, which, in the case of a portrait, emphasizes the bags under the eyes and creates a shadow under the nose and chin. This also significantly reduces the power of the flash, which can usually result in two or three positions of light being lost.
As long as the flash sensor is still pointing at the subject, the TTL flash will automatically increase in power to compensate for low light, but if that's not enough, you'll likely need to increase your aperture, raise your ISO, and/or get closer to your subject.
If you use manual flash you will need to increase the exposure.
White card
You can improve flash performance by using a rotating white card mounted near the flash lamp, this card will reflect light directly onto the subject when the flash is tilted upward.
The card is a great way to add bright highlights to your subject's eyes and fill the frame with softer, more eye-pleasing shadows - for the most effective results, the flash should be tilted 90°.
Some flashes come immediately with a reflector, but this does not always happen, so you often have to make a reflector yourself. A white plastic plate will best cope with this task. As a last resort, you can use regular white cardboard or a leaf. The “white card” must be secured to the rotating part of the flash.
At first glance, it may not be clear how a small plate can help create the right light. Everything is very simple, the light emitted by the flash is reflected, and because of this it is scattered, while the loss of light is minimal. One solution is to purchase a mini flash reflector that clips around the flash bulb and bounces the light forward, softening it with minimal light loss.
If a homemade reflector doesn't suit you, you can choose one of the LumiQuest Big Bounce, Bouncer or Midi Bouncer products. In addition to the usual white reflectors, there are colored ones on sale; with their help you can achieve interesting and unusual effects.
Using a diffuser
The diffuser is good alternative bounce flash and works the same way. It diffuses hard, directional light, making it softer. This minimizes red-eye, reduces shadows and creates softer, more flattering lighting. Usage diffused light Off-camera allows you to achieve an even more natural result.
You can buy different types of external flash diffusers. Sometimes, the flash is already sold with it. Externally, the diffuser is a matte translucent plastic box of a dome-shaped or rectangular shape.
The diffuser does not have to be white; it is often green or gold (for example, the Sto-Fen Omni-Bounce diffuser). Typically, this type of diffuser is universal, that is, the same diffuser can fit flashes from different manufacturers.
In addition to branded purchased diffusers, you can also make a diffuser yourself, spending a minimum of money on it. To create, you will need a strip of tracing paper, or soft fabric, which should be attached directly to the light source. There are quite a lot of different tips on this matter on the Internet, we recommend that you look for the one that is right for you.
To make the effect of the diffuser more powerful, you can use a miniature softbox, such as the LumiQuest Softbox or mini Softbox. Lastolite also makes a softbox in three different sizes to fit any brand of flash.
For the softest lighting without contrasting shadows, in addition to the diffuser, you should also use a wide-angle diffuser. With this diffuser you will achieve more directional but soft lighting. This method is great for close-ups and portrait photography.
In general, diffusers can reduce flash output by approximately two stops, and without a diffuser this number can be up to five stops.
Products like LumiQuest UltraSoft overcome this problem by combining a mini reflector and a diffuser, working together to attenuate the light output by two stops.
Wireless flash system
Using two or more flashes significantly expands the possible lighting options. To avoid unpleasant consequences from using the flash, such as too bright lighting, contrasting shadows, etc. It is best to use several flashes so that they compensate each other. You can connect several flashes using a cable, and it is also possible to make a wireless connection.
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