In blending flash with available light, I am often after that delicate balance where the flash is just barely perceptible. This can be with flash as an equal partner to the available light, or with flash as a subtle fill-flash. But what I've found with my Nikon D3 bodies, when used with the SB-900, that the fill-flash flash is still too much, even when turned down -3EV on the flash exposure compensation. I've found similar with the various Nikon D300 and Nikon D700 bodies that attendees to my workshops use. In other words, this isn't just my cameras - this is repeatable with other Read more inside...
Search Results for: bouncing flash behind me
Ambient exposure with TTL flash
Ambient exposure with TTL flash
A question I was asked about exposure metering in relation to flash: Let's say I use Manual mode on my camera, and have adjust my aperture and shutter speed so that my meter indicator have returned to zero. At this point I know at least i have "correct exposure". I would either choose to over expose and under expose depend on circumstances. My question is, will my picture get over exposed if fire my strobe even thought my indicator already point to zero ? I have no idea how should I integrate flash setting into my routine I always use when in M Read more inside...tutorial: Maximum flash sync speed
tutorial: Maximum flash sync speed
In previous postings I have mentioned that the specific settings for a photo aren't often of direct value to us in figuring out the method of exposure. But the one setting that is of huge importance when using flash, is your camera's maximum flash sync speed. When the ambient light levels are low, then your shutter speed can vary appropriately, depending on what you want to achieve. But once you work in bright conditions, or have your subject against a bright background, then most often it just makes the best sense to work at maximum flash sync Read more inside...bouncing flash inside large venues
bouncing flash inside large venues - adding TTL flash to ambient light
One of the ideas that has been mentioned here previously, is when using on-camera flash indoors, to approach it with a studio mind-set where possible. Instead of bouncing flash upwards towards the ceiling, or even simply behind you, the idea is to think "where would I have placed my softbox if this were a studio?" Then it is simply a matter of pointing the on-camera flash in that direction, and flagging any spill light from the flashgun. I most often use a piece of black foam to flag my on-camera speedlight. Read more inside...burning out / melting your speedlights & flashes
burning out / melting your speedlights & flashes
The obvious question that comes up with bouncing flash behind you, is that they do tend to fire at full power or close to full power. If you shoot events, where you need to take repeated shots with your on-camera flash, they do take a beating and even risk even burning out. I do hammer my speedlights, especially when I use the Quantum 2x2 battery packs. This doesn't bother me greatly, since I regard my speedlights in a way, as consumable items. They will become unrepairable at some point. Cost of doing business as an event Read more inside...using bounce flash outdoors
using bounce flash outdoors
While the bounce flash techniques described on these pages are heavily dependent on shooting indoors which provide those places to bounce flash off ... it wouldn't seem possible to use these techniques outdoors. After all, you can't bounce flash off the clouds. (Although we've all seen photographers attempt this outside.) So while there are obvious limitations in applying these bounce flash techniques outdoors, there are times when these techniques can still be quite effective. This example, also shown in the tutorial pages is of this image taken Read more inside...my choice of on-camera flash modifiers
my choice of on-camera flash modifiers
There is a fundamental principle in lighting : the larger your light source, the softer your light. Using any of the myriad of flash modifiers that are on offer, helps in achieving that - spreading the light from the on-camera Speedlight much wider, thereby creating softer light that direct flash would've given. However, (and this is a big however), these flash modifiers also throw light forward. Ultimately all flash modifiers do the same thing - they disperse a lot of light around the room, while throwing some measure of light directly Read more inside...Directional light from your on-camera flash
Directional light from your on-camera bounce flash
Most often when photographers start using their flashguns out of the directly-forward position, they move the flash head to point 45’ or 90’ upward. The idea here is to bounce flash off the ceiling. Even though this is an improvement in most cases over using the flashgun pointing directly forward, this is also most often not ideal. We can improve on this. If we consider how studio lights are set up, we’ll rarely see a light source directly overhead of our subject. Top lighting just isn’t as flattering as light coming in from an Read more inside...Flash brackets
Flash Photography Techniques The best flashgun? ~ Flash brackets ~ Off-camera flash
Using a rotating flash bracket
Rotating flash brackets are (cumbersome) devices attached between the camera and flash, which enables the flash to always be over the camera. Since the flash is always overhead of the camera with a flash bracket, regardless of whether you're shooting horisontally or vertically, there is no sideways shadow. This is especially important if you use direct flash to some extent, or a flash modifier on your camera. With most of my wedding photography indoors, I Read more inside...Bounce flash examples
Flash Photography Techniques Flash exposure compensation ~ Bounce flash examples ~ Which flashgun is the best?
More examples using bounce flash
How effective our bounce flash looks, depends largely on us being aware of the ambient light, and the direction of the ambient light ... and then adding flash to it. Either as a fill, or as a main source of light. In the photo above, the light levels in the room was very low. To have the images from this photo session be constantly sharp, additional light was necessary to lift the light levels - the least complicated, yet very Read more inside...- « Previous Page
- 1
- …
- 3
- 4
- 5
- 6
- 7
- 8
- Next Page »