bounce flash photography

how do you meter for TTL flash & ambient light?

In taking these kinds of candid images, I set the camera so that there is enough light recorded on the test shots without flash. No real metering technique, but I judge by the LCD to see that there will be enough detail in the background. It is kinda the dragging the shutter technique, but not as specific perhaps. I just want some ambient light to register.

Then I simply use TTL flash to expose correctly for any subject which is turned away from the main source of ambient light – the window. Without flash, these kids’ features would be in deep shade relative to the rest. But the TTL flash lifts the exposure to where I want it to be … with everything well exposed.

It really is that simple, and this technique allows me to shoot fast, and get great candid shots by concentrating on the photography and not the specific settings all the time.

I used the Black Foamie Thing ™ to flag my flash and not hit people behind me in the face with a strong burst of flash.

The back-ground is quite well-lit, because in bouncing flash behind me, the background inevitably opens up a bit. Again, this is the inverse square law helping us out with bounce flash photography.

camera settings: 1/125th @ f4 @ 1250 ISO  (FEC not recorded.)

So back to the question, how did I meter for the ambient light here? I didn’t. And I certainly did not meter for the white tones via the histogram method. The reason is – I don’t want to expose correctly for my ambient light. The light levels are too low – ie, I won’t get enough depth-of-field, at a good shutter speed, at a useful ISO … with good quality light on my subject. So I purposely want to under-expose for the ambient light. And then I add TTL flash. The TTL flash here is a dominant light source, and not mere fill-flash. Hence, carefully metering for the ambient light here isn’t all that useful.

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when you need extreme bounce flash to photograph the wedding processional

As mentioned in the article on photographing the wedding processional, in my opinion, the wedding processional in the church is likely the most challenging part of the day in terms of our technique. People are moving towards you – admittedly at slow pace, unless the bridesmaids are nervous. Then they can easily just zip right up to the front! The light levels are low, and the light is most likely uneven. Adding flash to this is a reliable way to get clean open light on your subjects, but bounce flash can be a bit of a challenge.

As an example, with this wedding in Temple Israel of Lawrence, in New York, the light was really low. Not just that, the temple itself was cavernously huge. Yet, a few test shots showed that I could get the kind of light that I like, using just on-camera bounce flash.

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bounce flash photography

bouncing your on-camera flash behind you

A comment posted to the article, directional light from your on-camera flash, asked a lot of questions about bounce flash photography. While most of these have been answered over time in various articles, it might be a good thing to pull it all together in directly answering those questions here.

An uncomplicated portrait of Anelisa that shows the specific elements that I work toward with bounce flash:
catchlights in the eyes
directional light which can be observed here as that gradient of light across her cheek
- no hard shadows from direct flash

I most often do this by bouncing my flash behind me, or towards the side.

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Ulorin Vex bounce flash portrait

bounce flash portrait & Photoshop retouching technique

When we were done with the studio shoot with Ulorin Vex, we still had a few minutes left, so I thought I could do a bounce flash portrait as well. Just for a comparison of sorts to show that on-camera bounce flash can give interesting results too. Here is the low-key portraits we did with the Profoto set-up.

The only semi-interesting background I could find in the studio (that wasn’t a white wall), was this grungy green door to one of the store-rooms. I thought it might work as a gritty urban setting. I shot about eight frames in the tight corner, but didn’t like what I saw on the back of my camera, so called it a day. We were done.

Looking through the images again today, cleaning up my hard drives, I hovered over the first image I took and thought it might hold some promise still if I worked it a little bit in Photoshop. Here is where I started …

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bounce flash photography / lighting at wedding receptions

This photograph from a recent wedding got a few comments and questions in the album on Facebook. The questions really hinged around “where did all that light come from?” or whether I had used off-camera flash.

The purple and blue light in the back-ground is from the up-lighting from the entertainment / DJ company. The light on the couple entering the reception room … is all one on-camera bounce flash.

Where did the light come from? From behind me, because that is how I get the best light from my on-camera flash …

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bounce flash photography

An image from the archives – a jazz trumpet player during a session in a club, lit by on-camera bounce flash. Since it’s a perfect example of how I use on-camera bounce flash so that it looks nothing like on-camera flash, I’d like to use it to illustrate this summary of on-camera bounce flash technique:

The light in this image is nearly all from my flash. The red hue in the background, and spilling onto part of the trumpet and his skin, is from the strong red lights in the night-club. To eliminate this, I under-exposed the ambient light, by choosing my camera settings accordingly.  (See the comparison photo below.)

By under-exposing the ambient light, the flash becomes the main source of light … and this allowed me to control the quality of light.

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wedding photography: using high ISO and flash to retain ambience at the reception

Chatting with other photographers at the recent WPS convention in Chapel Hill, NC, I was again struck by how there are so many different ways of approaching lighting. In this case, lighting at the wedding reception. The one photographer I was chatting to, set up multiple speedlights around the reception room, and then controls which are fired, from his on-camera Master speedlight.  Very impressive.

In recent years, the wedding reception venues where I’ve shot on the East Coast of the USA, have moved away from being the dark-hole large rooms, by adding up-lighting, and making the places generally more vibrant and colorful. Coupled with the astonishing high-ISO capability of the last two generations of cameras, I really haven’t felt the need to set up additional lighting to lift the general light levels, like I would have in the past, as described in this article:
- wedding photography: TTL flash with off-camera manual flash
A wedding from earlier this year, at the same venue … where I was able to effectively light the entire place with just an on-camera speed light.
- bounce flash photography & the inverse square law

By using a higher ISO, and carefully bouncing my flash, I could get away with a much simpler set-up of a single on-camera speedlight.

Here’s an example of a recent wedding, where the reception was in a glass-house style conservatory. By shooting against the DJ’s lights, I was able to NOT have a dark background, but something colorful instead.

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bounce flash portrait – a consistent technique

WPPI 2012 took place during the past week – as always, a crazy-hectic and exciting event. I once again presented a Master Class at WPPI. But I also took time to present a private mini-workshop to the first 3 people that signed up. We went over a condensed version of my full-day workshop, covering most of the material in the 4-hr long mini-workshop. Like last year, I called on my favorite model in Las Vegas, Shawna. Actually, she has since moved to L.A. but she was quite happy to make the trip back to Las Vegas to be our model.

The start of the practical part of the flash photography workshop is always on-camera bounce flash. For this article, I thought I’d use some of the demo photos, to show that there is a consistent technique here.  A consistent approach that guarantees at least a successful basic portrait with nice light and a pleasant background.

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on-camera flash modifier system – Spinlight 360

For the past few weddings I have photographed, I’ve been testing out a new flash modifier – the Spinlight 360. I’ve been putting it through its paces, checking whether I like it and whether it would hold up during actual shooting of an event. And I do. So *this* post is the public premiere of this device. The auspicious announcement of the Spinlight 360

Instead of just diffusing flash, or having a bounce card, the Spinlight 360 also encompasses the idea behind the black foamie thing – that it is all about the direction of light, not just how your flash’s light is dispersed from on top of your camera.

I’ve had many people suggest I should sell the black foamie thing, but for me the BFT has always been about the technique, rather than the actual device. And I loved that it was so cheap and easily crafted. But it has its limitations when there is nothing to bounce your flash off, and you really need a bounce card to act as a larger surface to create softer light. Also, the BFT wasn’t easy to adjust from horizontal to vertical position. But with the Spinlight 360, you can easily rotate the black card which flags your flash. It is flexible and adaptable.

So here it is – a versatile modular on-camera flash modifier.

More info on the Spinlight 360, and info on how to order one.

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materials for the black foamie thing / black foamy thing

As regular readers of the Tangents blog know, I use the black foamie thing (BFT) as a truly inexpensive flash modifier to flag my on-camera flash to give me lighting indoors that truly look nothing like on-camera flash. The BFT consists of a small piece of black foam held in place by two hair bands. Simplicity itself.

I’m frequently asked where the black foam can be sourced … well, here are the Amazon affiliate links to order the black foam, as well as hair bands.

 
All the links to articles relating to the black foamie thing.

Of course, there is also a Facebook fan page for the black foamie thing.

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