Using Flash in digital photography, on camera bounce flash, video light, off camera flash, strobist flash,
Text of Using Flash in digital photography
1. The use ofFlash inPhotographyBy Chris TimothyImage by
2. The use ofFlash inPhotography1. Introduction Purpose and
considerations2. On Camera Bounce Flash3. Strobist Flash4. Video
3. Introduction- PurposeUsing Flash is key to controlling and
manipulating lightwhen available light is not the appropriate for
the shotyou hope to capture. Flash gets given a bad name
byphotographers using inbuilt factory camera ash. Youhave no
control over the direction of the that type ofash. It can only come
from one angle and height andusually hits the subject square on.
The visual effect looksat and lacks dimension and interaction
betweenhighlights and shadows. As photographers were alwayslooking
for perfect light and yet, the quality of availablelight isnt
always ideal. But if you use ash wisely, youare able to enhance or
over-ride the available light in alocation you wish to shoot in.
With careful andconsidered use of ash, you are more in control of
light,and hence the way your photos will look than if youjust
accept the ambient light. the existing ambient light.
4. Introduction- PurposeHaving the ash come from a
differentdirection to that of the camera addsreal depth and
interaction of highlightsand lows lights thus a nicer
contrast.Flash can delete an unwanted lightenvironment and add
mood, emotionand connotations to your work.Here Patrick Hoelcks
Flash has addeda nice gradient between the highlightsand the
shadows and also a naturalvignette on the background. In additionto
this it also acts as a key light to thesecondary light, the window.
It solvesthe problem of silhouetting. Flash caninteract with as
well as concur naturallight.
5. Directional Flash by Patrick Hoelck
6. In built straight on Flash
7. Introduction Considerations Camera Tech/SettingsTo use Flash
to its potential you have to consider your camera settings to
ensure youcorrectly expose. There is no specic equation to ensure
you do this correctly. However youdo need to analyse the lighting
situation that you are in and consider what effect the ashwill have
on it and ensure you leave room for it in your settings. For
example deliberatelyunder exposing to leave room for the ash to
enter the shot. Without ash With Flash 1/160 @ f3.2 @ 800 ISO 1/160
@ f3.2 @ 800 ISO with ash
8. Considerations. Exposure.Using the Light Meter In digital
SLR photography its important to understand what the light meter
isand what it does before discussing how to use the cameras
built-in meter to setand manipulate exposure and in this case use
it to helps allow for ash.The built-in light meter found in your
digital SLR camera measures the amountof light being reected off
objects through the lens and into the camera.This measurement is
then used by the cameras computer to determine what itbelieves to
be the best exposure for the scene, with that exposure being
theproper combination of shutter speed and aperture and ISO. Here
is a DSLR in built, on screen light meter. It is measured in stops.
The image of the light meter says your exposure settings are
correct. A -1 = under exposed,+1 = over exposed.
9. Using the Histogram When we use Flash there is a danger we
will wash out detail in anything which isalready bright/reective.
For example a white dress or the sky. The screen on DSLRcameras are
relatively small and it is difcult to check if a small areas has
lost detail or isbleached out. You could use digital zoom on play
mode to check. However this is timeconsuming. Another way to check
is to use the histogram to analyse your exposureresults.
10. Using the Histogram A Histogram covers the Dynamic Range of
color/tone from black to mid tones towhite. Dynamic range in
photography describes the ratio between the maximum andminimum
measurable light intensities.
11. Using the Histogram As long as the data in your graph
nishes before the edge of the graph you are ok. Ifthe data falls
off the graph you have either over or under exposed.
12. Using the Histogram Under or over exposed? So, when
shooting with ash always check you histogram graph to ensure your
shot is not under or over exposed. If you dont you will probably
loose detail in the high lights or shadows.
13. Using the Histogram Correctly Exposed
14. The Catch LightTo learn how to use Flash it is always
useful to analyse other peoples ash work. There is areally helpful
clue to analysing where they have positioned or bounced their ash
and it iscalled a Catch light. A catch light is a small white
circle in the subjects eye which tells uswhere the ash was
positioned in the shot.
15. The Freeman Light PortraitsDean Catch Celebrity
16. On camera bounce ash Image by Tom Munro
17. On camera bounce ashOn camera bounce ash is a way of
controlling your light. It turns being onlocation into a studio.
The techniques requires the photographer to re theash at/on
somewhere which reects. You re the ash where you would like astudio
light positioned. Window Subject Camera/Flash Firing the ash
18. Blocking Direct FlashIt is important when using this
technique you block any ash from hiDng your subject directly. You
do this with various pieces of equipment but you could use a black
piece of foam or even your hand. This technique allowed the
photographer to bounce the ash to his leJ creaKng soJer light than
a direct ash. The direcKon of the ash is well composed as the
subjects take on a higher saturaKon than that of the locaKon.
19. Here the Photographer has used the 70-200mm lens, a f2.8
wide open aperture and then simply has to wait for the right
expression. He is posiKoned so that there are defocused highlights
in the background to help create separaKon. The ash is bounced o to
the right into the large recepKon room. Result- slight contrast,
well lit shot.
20. Still life and T.T.Lcamera settings: 1/80 @ f4 @ 1600ISO;
TTL bounce ash. The Flash is shot to the left, reectsback and makes
a nice combination oftones, again nice interaction betweenthe
highlights and shadows. All thesame is not aesthetically
pleasing.What is TTL?TTL is a AUTO for ash, it stands forthrough
the lens. It looks through thelens and judges the light that is
enteringthe camera and powers the ash levelsaccordingly.
21. Considerations White BalanceWhite Balance is a difculty
when using on camera bounce Flash. This differs from using
aStrobist Flash. Your white balance really depends on if the ash
res at the subject directly,then you could set your shite balance
to ash, or if you bounce your ash off a wall, texture,roof, it will
bring some of the hue/colour tone from that service so your white
balance mayneed to change to match it. The images below show the
orange tones that reect from the location. Shooting on RAWwill
enable you to change the white balance after you have shot to
correct, or you can morecomplexly cool the image in Photoshop or
Lightroom to help gain the desired tones. Daylight white
22. Strobist Flash Image by Tom Munro
23. The catch light
24. Strobist FlashStrobist means off camera ash. Thismethod of
ash photography allows youto position the ash where you wouldlike
it as it is totally free of your camera.A photographer usually uses
a stand orassistant. Your ash acts as your studiolight. In this
technique you need to synca ash gun/speed light with yourcamera.
This then enables your ash togo off at the exact moment your
cameratakes a picture. There are someadvantages and disadvantages
ofshooting Strobist rather than On camerabounce ash. For example
the light willbe much harsher in strobist because allthe ash hits
your subject. It is notdiffused like bounce ash so therefore ishard
more direct light rather than soft.This results in a high contrast
25. Strobist Flash using T.T.LTo conduct this technique expose
your shot pre ash, one stop under toallow for when the ash enters
the shot. The camera light meter will helpyou in this.1/200 @F/2.5
@ 200 ISO 1/200 @F/2.5 @ 200 ISO with TTL ashPosition your subject
and ash to gain the desired shadows. Here a soft box is used to
diffusethe light. The light is being held with a Monopod rather
than a stand on this occasion. You can lter ash to match the colour
of the current light sources. Flash tends to be blue, cheap ash
lights have more green Knts.
26. Strobist Flash Alex Prager
27. Tutorial for Strobist
28. Video LightHere you cansee a circularL.E.D video lighton
the CanonFlash gun underthe ash.
29. Video LightIn addition to using various speedlights and
ashguns. Video lighing is another techniquewhich can provide great
effect. Using video light in a scenario where tungsten light is
thedominant source of light, helps in achieving a more natural
look. Video light is also acontinuous light source, making
immediate changes to thelighting intuitive what you seeis how it
will appear. You need to judge each scenario to decide if to use On
camerabounce ash, Strobist or Video lighting. On camera bounce ash
O camera Video Flash
30. Video Light
31. Video LightVideo light allows for constant adjustment of
the light. LED is usually day light colour. Its whiter than regular
bulbs which tend to have the orange warm tungsten glow.
32. Our task; Shoot 3 portraits Using; 1. On Camera Bounce
Flash 2. Strobist Flash 3. Video Lighting Your images should be
perfectly exposed. Your cameras manual seDngs/tech, light meter,
white balance and histogram should be consulted when shooKng. Your
portraits can occur in an environment of your choice of whoever you
wish. These techniques can be shot in day or night. To do this
technique correctly your images should contain a smooth gradient
and combinaKon and interacKon of highlights and shadows.