What is a flash diffuser for? 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 work of the light sphere.
Sooner or later, an amateur or professional photographer faces the choice of buying a flash diffuser. So that the 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 must have noticed in flashes at professional photographers strange hats, especially often this accessory can be seen in photojournalists and photographers taking wedding pictures. What is it for? The flash of the camera during the release of the shutter gives the strongest pulse of light, this light illuminates the scene or object that is being shot.
And everything would be fine, but along with a powerful stream of light, such an unpleasant effect as flare and harsh shadows appears, this effect is most common when the subject is in close proximity to the photographer. In this case, a flash diffuser is simply necessary. It will reduce the strength of 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 lit objects will not be sharp, and the background will be lit more evenly. If shooting takes place in a studio, photo umbrellas and lightboxes act as diffusers, and when shooting in a studio, the photographer always has enough time to adjust the flash output.
If not much time is allotted for shooting, then there is simply no time to install bulky accessories and adjust the flash. In this case, a portable diffuser is simply indispensable.
Do not think that this accessory will be useful only for professionals, because the diffuser is essentially a small lightbox that will allow, for example, portrait photography get rid of harsh shadows. Many amateur photographers very often engage in portrait photography.
Those who do not want to spend money on this rather useful accessory can make their own diffuser. It is enough to take a piece of thick white paper and use an elastic band to fix it on the flash. Alternatively, you can use a white bag, inflate it like a balloon and fix it on the flash.
The uniformity of illumination 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 representative at all, 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 acceptable option for yourself. Universal compact and inexpensive diffuser - inflatable. It is inflated to the desired size through the 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, the frame, which is made of durable materials. Such diffusers are made of heat-resistant material, rubberized Velcro is used as a flash mount. This diffuser is suitable for any flash.
There is another type of diffusers - lightspheres. The Lightsphere is a spherical flexible diffuser that is either opaque or completely transparent. The lightsphere is usually elastic, so it fits easily into any bag.
The internal textured surface of the diffuser increases the dispersion of light, it will be even "softer". This design uses a transparent material, thereby reducing light loss and increasing softness through good dispersion. Such a diffuser will be indispensable in dynamic scenes, shooting large groups, in poor lighting conditions.
Often use a matte lightsphere. It allows you to get warm diffused lighting. The peculiarity of such a diffuser is that it allows you to get studio-quality pictures. The resulting soft light is difficult to distinguish from the light produced in the studio using softboxes, backdrops, umbrellas and light panels. This lightsphere the best choice for shooting outside the studio. It will also be useful for those who like to shoot close-ups.
And yet, which of the diffusers 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 nozzles for diffusers, there are two of them: yellow and chrome.
The nozzles allow you to quickly and conveniently switch the light, this simplifies the shooting process, if you need to get a warm light, use the yellow nozzle. You should use the yellow lightsphere attachment when shooting outdoors in the early morning, when shooting at sunset, especially when the sun is behind the subject being shot. Also, this attachment will be useful when shooting under a canopy or interior shooting with tungsten lighting.
Now consider the cases in which a chrome nozzle is used. This nozzle increases the intensity of light, while maintaining dispersion. This property helps to achieve more powerful illumination over a greater distance, while not losing image quality.
The principle of operation of a lightsphere with such a nozzle is that a powerful beam of light passes through the central hole and goes up. The reflective chrome plate sends the light forward, while the lower part reflects the light flow into the diffuser, thus increasing its brightness.
I'm a big fan of flash shooting, usually I use external flashes, but sometimes I have to use the regular built-in flash as well.
The built-in flash is great for nature, close-ups, etc., here are a couple of photos using the built-in flash:
But when it comes to shooting people, the built-in flash starts to behave very harshly, this manifests itself in extra shadows from a person, extra strong highlights on people's faces. To soften the light from the flash and make the picture is softer even with the built-in flash, you can use all sorts of diffusers. I got my hands on this one:
He has three different light-diffusing surfaces: white, blue, and orange. White serves conventional light diffuser, and the color ones work as color filters for the flash. If everything is clear with a white diffuser, then in order to, you will need to work hard when adjusting. My set, when using the orange (yellow) nozzle and the automatic, gives a terrible greenish-yellow tint. Yes, and the blue nozzle from this set is a rather useless thing.
Such a 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 leading number of the flare drops sharply, that is, the flash can fire at a shorter distance. Below is an example of a shot with and without a diffuser at full flash output, you can see how much flash power increases if you remove the diffuser:
With continuous shooting, the flash has to work hard, it overheats it faster and you have to wait until it cools down. A simple diffuser for the built-in flash is easy to make yourself from improvised means, I have.
Personally, I'm more inclined to use diffusers on , like these:
Usually, even for me, I use native diffusers and I don’t like to carry extra accessories with me, since various photo trifles are often lost during intensive shooting. In 2012, I sowed 4 front lens caps, a couple of protective filters and flash batteries, although I treat technology very carefully.
Conclusions:
The diffuser can help to achieve a softer image when using the regular built-in flash, very useful when taking portraits.
Help the project. Thank you for your attention. Arkady Shapoval.
Why is this needed? The fact is that the built-in flash often casts strong shadows. Although, compared to my Olympus VG-170, the Nikon D5200 flash gives much better lighting, besides, do not forget that you can adjust its power, which also gives 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. From what materials at hand they are not made and by what means they are not attached to the flash: both scotch tape, wire and even metal plates with bolts are used :) The Internet is replete with similar 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, this is dangerous (though interesting) and long.
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 from what to make it?
Below I have personally tested some variants of such diffusers:
1) Nikon D5200 battery cover. Just threw it on the flash.
2) You can attach with an elastic band just such a porous film, in which the goods are usually wrapped during shipment.
3) It's not my idea anymore. Table tennis ball.
4) Plastic disposable tableware. This example saw was used for macro photography.
5) And this is my idea! We buy a small binder and insert an album sheet into it, or better a square piece of disposable tableware(on the picture). I think from the photo figure out how to mount.
(!) By the way, regarding options 3, 4, and 5 - the flash not only hits the subject well, but also hits the photographer's eyes great, be careful. Wear welding goggles :)
Below are examples of photos taken with different diffusers. Shot on a Nikkor 18-55mm, manually adjusted the flash output to create approximately the same lighting.
1)
Built-in flash. Notice the shadows and light reflections on the shell.
2)
Battery cover. Not much use.
3)
Porous film. Slightly better than a regular flash.
4)
Pin pong ball. 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 pin pong ball.
Conclusion: As for me, I would use a plate purely for macro, well, you won’t run around in public with this plate, especially at a wedding :))) and the option with a binder looks much more presentable, you need to keep 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 - straight ahead. Such a hard light creates its own special pattern, which, unfortunately, is not distinguished by beauty and elegance.
The first problem with the light from the built-in flash is the destruction of all the drawing shadows. That is, the picture or the person becomes “flat”. Experienced photographers probably dislike this effect more than anything. 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 might not completely eliminate this problem, but it would greatly reduce it.
The third problem with such light is a deep shadow on background. Of course, it is better when the background is dim and your subject is clearly visible. But, that doesn't mean you have to shoot in a cave! A flash diffuser would not be able to completely remove this effect, but it would mitigate it considerably. 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 times when there is no choice. Either you take a photo with the built-in flash, or there is no 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 to owners reflex cameras, but even to the owners of soap dishes. The fact is that general structure not very different, and the work of automation, if you do not go into technical nuances, comes down to the same thing.
Before we proceed directly to the manufacture and fastening of 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. The reflector not only allows some of the soft light to pass onto the subject, but also reflects some of it in a particular direction or directions. This effect can make the picture even more harmonious and even add drawing shadows. True, not everything is as good as it might seem at first glance. Built-in flashes are of very low power, so their momentum 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 improvised objects and materials. The main thing is that they could not only delay the light, but also partially let it through. Consider the most original examples diffusers and reflectors on the built-in flash.
Very simple, but not the most successful version of the diffuser. If you are going to shoot something not very dynamic, then the shown design can be supplemented with small wings, which from the sides will direct part of the light onto the subject. This light will be minimal, but it will give its effect.
Do-it-yourself flash reflector. This copy is made of foil, while the author provided for fastening to a hot shoe in it. In general, very a good option, at 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. The iron holder is best covered with black electrical tape. This will prevent the hot shoe contacts from shorting. If they closed, nothing terrible would happen, just the flash would not work and the reflector would have to be corrected. When using the maximum flash output of the built-in flash, the camera collects energy for a long time for its flash. Such 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 do not think that using an external flash is not correct, you will get rid of this problem. Not at all. Due to the high-intensity flash, the light from which spreads over a relatively small area and is close to the subject, you will get uneven lighting, it will create deep, contrasting shadows.
In addition, flash can distort object 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 model and you want it to be. Shooting interiors, or macro shots, won't give you satisfactory results either.
A larger flash lamp is nice, it spreads the light over a wider area, but the results can still be completely different from what you expected.
An important point in shooting is the angle at which the flash shines on the subject. It is when choosing the right angle of light that many make a mistake. When the flash shines directly on the subject, it looks artificial and is 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 the subject.
Flash separate from the camera
The key to improving the quality and flexibility of flash lighting is to reduce light intensity and increase softness. Your task is to make the lighting more natural.
To achieve natural lighting, you should separate the flash from the camera, and set 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. It will also give your image more depth and in this case, the appearance of red-eye does not threaten you.
Among Nikon and Canon products you will find the necessary ttl cables. Moreover, the cables of these companies maintain a balanced measurement 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).
When using equipment from other manufacturers, you will have to purchase two adapters - one for the camera and flash, and the other in order to connect them.
If you hold the camera with one hand and the other is free at the time, and you won't be embarrassed by the fact that you will become 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 flashes are best used with a bracket.
double flash
Using a flash when photographing an object that is closer than 60cm away 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 too much light. To eliminate excess intensity when shooting close-ups, it is best to use a diffuser. With it, you can scatter light.
Take care that no matter how long the lens obstructs the flash, and if possible, set the angle so that the flash points slightly downward.
This solution is far from ideal, but you will get much better results if you use either a diffuser or if you mount your flash off camera (with a reflector on the opposite side to fill in the shadows), you can also use a pair of wireless TTL flashes located on different sides of the subject.
First picture:
In our first shot, we illuminated the figurine of our wonderful little angel with a single lens, without a Canon Speedlite 550EX diffuser. As you can see, the result is an overly intense flash of light directly on the object, which creates a shadow behind the statue. Thus, the angel turned out to be somehow flat.
Second picture:
This time we used two flashes in one frame, it was the same 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 diffuse, there are fewer shadows, and there are no too obvious contrasting differences in lighting. The second result is much more pleasant.
Third picture:
Here we used a flash and a reflector. A white reflector was placed in front of the light source to fill in some of the shadows caused by the flashes. In general, the difference between the second and third frames is small, 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 onto the subject in a non-direct way. This is possible if your flash allows you to tilt the lamp up and down (usually it can be fixed at 45°, 60°, 75° and 90°) and rotate around the horizontal axis.
The idea is that by turning or tilting the flash, you bounce the light off the flash onto a wall, ceiling, or even a mirror. Reflecting the light in a mirror is a very good idea as you get even more light evenly distributed over the total area premises.
Thus, the dark shadows will turn out softer, smoother and more natural, the lighting will be even and not too intense than with a rough flash in front of the subject. For best results, tilt the flash head at least 60°. The downside may be that the subject will look a bit flat.
Another problem can be the appearance of unwanted shadows under the subject, which, in the case of a portrait shot, emphasize the bags under the eyes and create a shadow under the nose and chin. It also greatly reduces flash output, which can typically result in two or three stops of light being lost.
As long as the flash sensor is still pointing at the subject, the TTL flash will automatically increase its power to compensate for weak light, but if this is not enough, then you will most likely need to increase the aperture, increase the ISO and / or move closer to the subject.
If you are using manual flash you will need to increase the exposure.
white card
To improve flash performance, use a pivoting white card mounted near the flash lamp, this card will reflect the light directly onto the subject when the flash is tilted upwards.
A map is a great way to add bright highlights to the 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 immediately come with a reflector, but this does not always happen, so you often have to make a reflector yourself. A white plastic plate will do the job best. In extreme cases, you can use plain white cardboard or a leaf. The "white card" must be attached to the turning part of the flash.
At first glance, it may not be clear how a small plate can help in creating 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 buy a mini flash reflector, clips around the flash bulb and bounces the light forward, softening it with minimal light loss.
If a homemade bouncer doesn't suit you, you can choose from LumiQuest's 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 pleasant lighting. Usage scattered light off camera for even more natural results.
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 domed 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). Usually 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 make a diffuser on your own, spending a minimum of money on it. To create, you will need a tape of tracing paper, or soft fabric, which should be fixed directly to the light source. There are a lot of different tips on the Internet about this, we recommend that you look for the one that is right for you.
To make the diffuser effect more powerful, you can use a miniature softbox such as the LumiQuest Softbox or mini Softbox. Lastolite also makes the softbox in three different sizes to fit any brand of flash.
For the most soft lighting without contrasting shadows, in addition to the diffuser, you should also use a wide-angle diffuser. With the help of such a diffuser, you will achieve a more directional, but soft lighting. This method is great for big plans and portrait photography.
In general, diffusers can reduce flash power by about two stops, and without a diffuser, this number can be up to five stops.
Products such as the LumiQuest UltraSoft overcome this problem by combining a mini reflector and diffuser, working together to attenuate light output by two stops.
Wireless flash system
Using two or more flashes greatly expands the possible lighting options. To avoid the unpleasant consequences of using the flash, such as too bright lighting, contrasting shadows, etc. it is best to use multiple flashes so that they compensate for each other. You can connect several flashes using a cable, it is also possible to make a wireless connection.
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