Adding bounce flash to ambient light
Using images from a past workshop, I want to explain a simple concept with flash photography on location. In workshops and seminars I quite often describe the flash as ‘riding on top of’ the available light exposure. It’s just another way of describing the usual technique of under-exposing the ambient light somewhat, and then using flash to give correct exposure. We can thereby control the final look of the image by controlling the direction of light from our flash.
By using flash like this, we can use the flash to ‘clean up’ the light in the photograph.
This photograph of Crystal, our model at this workshop, was taken during the early evening. We were working outside, using some of the found surfaces to bounce flash off. The trick here is to find that combination of bounceable surface, a good background, and then to position your model so that the additional light from the flash adds to the final image. What I like about this specific image is how the sign (and the reflection of the sign) outside the hotel creates a halo around Crystal.
Here is the image without flash, and also a pull-back image to see what surface I bounced the flash off ..
I bounced the flash off the wall here to my left. I bounced the flash ‘towards’ Crystal, and then of course had to use the black foamie thing to flag the flash so that there is no direct flash on her.
Camera settings & photo gear used (or alternatives)
- 1/100 @ f3.2 @ 800 ISO
- Nikon D3
- Nikon 24-70mm f2.8G AF-S / Canon 24-70mm f/2.8L II
- Nikon SB-910 Speedlight / Canon 600EX-RT Speedlite
Adding flash to ambient light
The approach described here is a less rigid one. We don’t necessarily have to meter with great precision. As long as our subject is somewhat under-exposed – in this case about a stop under – then we can just add some TTL flash to the mix. The camera will control the TTL flash to give us correct exposure. Or close enough to correct flash exposure, that a mild adjustment of the flash exposure compensation (FEC), will get us there.
While I am a firm believer that a sound knowledge of exposure metering techniques are essential, it is just as necessary at times for us not to get lost in the details. There are many times where we just need to get the shot and rely on the technology to get us there.
In this example, I wanted the ambient light under-exposed a little bit. How much exactly? Doesn’t really matter to the extent that we need an exact numerical figure. I just to under-expose a little bit. Checking the camera’s exposure meter to show that the metering needle is below zero when pointed at my subject (and ignoring the brighter background), I know that I now have my ambient exposure where I need it to be. A little under-exposed. Perfect for adding a bit of flash and controlling the direction and quality of light on my subject. And in this case, it was added with on-camera bounce flash.
The other point here is that we get to correct exposure in the final image, NOT by virtue of the flash doing all the work … but exactly because the flash is ‘riding on top of’ the available light exposure.
This is exactly the case in a previous post where I showed an example of what appears to be extreme bounce flash – flash bounced into the large interior of a museum. In that example, the on-camera flash appears to miraculously light up the entire museum, when really it is just adding a stop or so of light in addition to the available light. And that’s the reason why it worked. It wasn’t because the flash “did all the work” … it was flash riding on top of the ambient light.
…to ‘clean up’ the light in the photograph… this is one of the smartest ‘concept’ I have read here. Even I’m not native spreaker of English, I am able to realize that this expression shows intelligence.
I am often surprised how the pull-back images reveal the reality. Thanks for inspiration.
Hi Neil,
the wall you bounced off the flash is here almost white. Is such a shoot possible with a more colorful surface, how to deal with the with balance then ?
thanks,
Ced
It is imperative that you shoot in RAW.
Following along of late in regards to your lighting work, I’m curious as to why one might not meter for the scene in matrix and then add some flash at a reduced manual setting to fill in?
Does it have to do with getting the background better exposed?
The reason why TTL is preferable in some situations, is explained on this page. Specifically, check my comment #63 in reply to a question about using manual flash over TTL flash.
Hum…. I little over my head (but what isn’t in photography?), but I think I understand. Maybe it’s just a bit weird to hear a professional say something like “Use the easier way. Let the camera do it’s job.” You know?
Thanks for offering the clarification. Very kind of you.
Forkboy,
the way I learned flash was iterative… ;-)
I started of with TTL but without know what or how – like 90% of all people, i guess.
Then I started reading about off-camera manual flash at The Well Known Site for Off-Camera Flash by David H. Read through the 101 pages, available in PDF and you’ll learn a lot in no time.
At last, return here to fully understand what you can do with on-camera flash in TTL-mode combined with bouncing, and how it often mimics off-camera direct flash…
I’ve been reading Neil’s blog for over 2,5 years. Every week you’ll learn something new – just keep up the pace!
Good luck,
Roel
Am I right that the FEC is hovering around 0 in this situation because the flash is more like the main light? It’s not the situation where you exposure for the ambient and pull in some flash to clean up the shadows where the fec is around -1.7 or less to almost nothing for subtle fill flash?
Evert … exactly.
I’ve been experimenting with your techniques for a couple of weeks now and am really starting to get consistant results, thanks again Neil, this is the best site on the net for flash education IMO. I found myself about to set up an umbrella the other day, then thought “why bother? pass the black foamie thing!”. In my job on a local mag I often don’t have time or space to use a brolly anyway, your technique is a lifesaver.
hi neil,
how do you angle your flash when you bounce in on walls? can you show it how you exactly do it?
thanks.
froi
frolian .. you’re going to have to work through the numerous other articles listed on this index page of articles about flash photography. It’s all in there, and with numerous examples.
Astonishing work Neil, thank you so much for all your guides and explanations. I’m just getting started in the world of off camera flash photography but boy is this the key to making images look amazing. This is imo the most important lesson about how hugely important light is and how you can make a regular dull photo look amazing by adding off camera flash.
I attended the Philly seminar and became an instant convert to the black foamy thing. One thing I am not quite clear on is how you underexpose for the avail light on inside shoots. I am assuming you take an overall reading and than increase your shutter speed to underexpose by a stop or two and than riding the flash fec as needed. As opposed to stopping down the aperture to underexpose the scene?
Russ, you could change any of the three usual settings – shutter speed / aperture / ISO – to control your ambient exposure. You could use your camera’s meter and then purposely under-expose by (approx) 2 stops.
Alternately, you could just set any combination of settings where the ambient appears under-exposed … eg, indoors with dim light:
1/80 @ f4 @ 800 ISO
Your flash (controlled by FEC) will give you correct exposure.
Also check this Flash Photography tutorial for a related discussion.
Got it Neil got it. And it was definately an Ah Ha moment! My mistake was not underexposing the ambiant enough and not getting that directional lighting. It just appeared flat. Seems like the best way is to lower the ISO instead of changing aperature and shutter if I want to keep my pre determined depth of field and shutter speed for the givin situation. Right? This also helps with noise by dropping the ISO’s. Although I shoot the D700 which doesn’t have noise!
Thanks very much it is all very clear now. You always have great tips to share see you on the circuit.
Russ
Every time i read ne of your article and then pratcie my flash photography imporoves, thank you Neil for sharing.
Hi Neil, Could you clarify the bounce in the top image-she’s facing away from the wall so I don’t see how bouncing off the wall alone would produce that lovely, soft wrap around light you have achieved? I can see how it would work in the pull back shot where she is facing into the wall though. also did you use a CTS gel for the gorgeous yellow/warm light on her?
regards
Alex
Alex, she is facing away from the wall, but her face and shoulder is angled towards the area on the wall where I bounced my flash off.
I can’t recall whether I used a gel or not.
I injured my leg the other day. Surprisingly, reading your blog I’ve turned this catatonic infinite hours into the best photograph classes I’ve had in a long time. Thanks! -maybe this post is 10 years old, who cares-.