Selecting an external flash
Guru photographers often like to ask beginners the philosophical question: “What can’t photography be without?” Beginners begin to assume that without a camera (in fact, a picture can also be taken using a camera obscura) or without a photographer (there are a lot of experiments when an automatic camera was tied to animals, real masterpieces were obtained), but the correct answer to this question is light. No photo can be taken without light.
It is good when there is a lot of natural light - from the sun, moon, stars or artificial - from lamps, lanterns, searchlights. But there are not always such shooting conditions, often the photographer himself needs to provide for himself the right amount Sveta. And this is where flares come into play. However, they can come in handy in other situations - for highlighting and leveling the illumination of the frame.
Why you need an external flash
The question is not surprising, given that most cameras have a built-in flash. Why change a small, light and “free” flash to a large, bulky one, which, moreover, needs to be bought additionally? There are more than enough reasons.
First, power. External flashes are more powerful than built-in ones. If for the simplest external flashes the difference in power with the built-in ones is small, then for the top ones it is very noticeable. The guide number (a parameter that will allow you to measure flash power, we will discuss it in detail below) of built-in flashes rarely exceeds 12, while external ones can reach up to 50-60. If the built-in flash can only illuminate a small spot near the camera, then the external one can “hit” into the distance, within reasonable limits, of course.
Secondly, the design. The simplest built-in flashes are located right in the camera body, a little more advanced ones rise on a special mechanism, but they are still close enough to the lens. This is bad, because the higher the flash is above the lens, the less likely it is that red-eye will appear in the photo. External flashes are located higher and "shine" much further from the lens. In addition, they have more area scattered surface. The eye of the built-in flash is usually very small, so it “beats”, almost without scattering the light (it can be compared with a flashlight), the light of an external flash is softer (although it is also desirable to further scatter it). And from the built-in flash in the photo, a shadow from the lens can remain (this is true for cameras with interchangeable lenses, on which you can install large and bulky "glasses"), external flashes do not have such a disadvantage.
External flash units are positioned high above the lens to reduce the chance of red-eye
Thirdly, the swivel head. This is one of the main advantages of external flashes (which, however, not all models have). If you can take pictures with the built-in flash, illuminating the object only at a right angle, which is why sharp ugly shadows remain in the picture, then the external one allows you to shoot with diffused light: from the ceiling, walls, and so on. The probability of a shadow appearing in this case is small, and certainly it will not be so sharp and deep.
Fourth, an external flash is more flexible in operation. If the built-in one is firmly attached to the camera and can only take pictures from one point, then the external one can be moved forward or to the side, creating creative shots with unusual lighting. Only external flashes are used for studio shooting.
Fifthly, good external flashes in the dark can highlight autofocus. The function is not available for all models, but for many and is especially relevant for Canon cameras, which do not have a separate light bulb on the camera for illumination. However, for devices of other brands, autofocus illumination with an external flash allows you to increase the accuracy of focusing.
Sixth, external flashes have their own batteries and do not consume the camera's "battery", unlike the built-in ones.
If external flashes have so many advantages, then why don't all photographers use them? First of all, it's about cost. The simplest models cost 4-5 thousand rubles, but it makes no sense to buy them (why - we will explain below), just good flashes cost 9-11 thousand rubles, and top ones - 15-17 thousand rubles. But buying an external flash will help to significantly improve the quality of photos, not only for experienced photographers, but also for beginners, so its cost fully pays for itself.
What is the difference between external flashes
External flashes are a rather extensive class of devices, in which the difference in functionality between expensive and cheap models is very large.
The most important criterion by which flashes are divided is whether there is an automatic mode or not. A non-automatic flash cannot independently determine the pulse power - it can only be done manually; automatic - maybe for this it must support TTL mode. It works like this. Before the main pulse, the flash makes one more - very short and imperceptible to the human eye. This pulse is picked up by the metering sensors in the camera and, based on the information received, they calculate how much power the main “puff” should be in order for the picture to be well exposed. Each manufacturer has its own versions of this system (P-TTL, I-TTL, E-TTL), which differ in nuances, but, in general, work on the same principle. If you buy one flash for everyday use, then it is better, of course, to prefer automatic. Manual flashes are convenient to use in studio shooting, as auxiliary lighting devices.
Nikon Speedlight SB-400 (left) and Nikon Speedlight SB-900 (right) - the difference is clear
We have already mentioned that external flashes can vary considerably in power. Flash power is described by such a parameter as a guide number. In general, the guide number is the product of the aperture and the distance to the subject in meters, provided that the lighting is sufficient for a normal exposure. That is, if you take the guide number of the flash and divide by the aperture, you get the distance in meters that the flash can illuminate.
It is clear that this is a very abstract parameter, more suitable not for obtaining an absolute value, but for comparing flashes with each other. Let's say a simple flash Nikon Speedlight SB-400 has a guide number of 21, and a top-end Nikon Speedlight SB-910 has 34. However, compare products by guide number different manufacturers not entirely correct, because they can test with different settings. For example, the guide number of the top-end Canon Speedlite 580EX II flash is 58, which is one and a half times more than that of the best Nikon flash. At the same time, these are almost the same in terms of flash capabilities, it’s just that Nikon and Canon think differently. However, whatever the calculations, it is obvious that in the lines of any manufacturer there are flashes of different capacities.
The third very significant difference is the presence of a swivel head. The simplest external flares either do not have it at all (they can “puff” only straight ahead), or it is greatly reduced and can only rotate in one direction. In medium and advanced models, the head can rotate in two directions, which gives great opportunities for the use of reflected light.
External flashes also differ in zoom range. Yes, yes, flashes also have zoom. Diffusing elements can move in the flash body, changing their position. This is necessary in order to better form the light flux, because it is clear that in the wide-angle position of the lens you need the widest possible beam of light, and in the body - a long and narrow one. The simplest flashes have no zoom at all, medium flashes usually have about 3x, top ones up to 5-6x, they can best shoot distant objects. When using modern lenses, the flash receives information about the focal length from the camera; for using old mechanical lenses is available manual installation desired focal length.
Shooting with two flashes
External flashes are pre-designed to work not only one by one, but also in a group. According to this indicator, outbreaks can be divided into leading and driven. The master flash is installed on the camera and sends “instructions” to others when and with what power it is necessary to give an impulse, the slave ones can only execute commands. Almost all manufacturers can only have a top-end flash as a leader, and the rest as slaves the lineup. As you might guess, only flashes from the same manufacturer can interact with each other without additional equipment.
The higher the flash cost, the more additional features she has. Advanced models may have a light catcher for triggering from any impulse, have bracketing and additional elements power supply for faster recharging, equipped with an overheating sensor and large quantity user settings.
Brands and prices of external flashes
Describing the difference in functionality, we did not accidentally talk about simple, medium and advanced flashes. Usually manufacturers have the same gradation. Nikon, for example, has Nissin, Sigma, Yongnuo, Acmepower and many others. Each manufacturer has its own range. Not everyone has the “standard” three models, but at least two are present.
Metz 50AF-1
Metz is considered the best and high-quality "independent" manufacturer - its products are slightly more expensive. Sigma flashes are very popular in Russia, they are available and widespread. Nissin and Acmepower are even cheaper, but the products of these companies are slightly less functional, in addition, they are not sold everywhere. Very actively gaining Russian market Yongnuo, which is also the cheapest of the brands. Many people order flashes of this brand from China. Even with shipping, simple models cost a couple of thousand rubles.
Buying a third party flash is very attractive in terms of cost. Top-end flashes cost 9-11 thousand rubles, medium ones can be bought for 6-7 thousand. But the choice between original and non-original flashes for home use not so simple. On the one hand, you can save money on non-original ones, on the other hand, they may have compatibility problems with cameras of the next generations, they are less stable in operation and have a noticeably shorter resource. To save or not to save this issue choice on the conscience of each photographer.
Beginning amateur photographers when shooting in low light conditions often encounter situations where they fail to get an acceptable image quality. In most cases, the main reason for the unsatisfactory quality of photographs lies in the limited functional and technical capabilities flashes built into the camera. Significantly improve image quality and significantly expand creative techniques when shooting, you can use external on-camera flashes. But how to use an external flash and how to set it up?
Let's take a look at the main advantages of shooting with an external flash. Below are sample photos and a video tutorial. Working with an external flash, controlling an external flash - this photo lesson is devoted to these topics.
1. High power
Flashes built into the camera do not have a very large guide number (usually no more than 15). In contrast, on-camera flashes have a significantly higher power (guide number 36 and higher on average). Using an external flash allows you to significantly increase the distance to the subject being shot without the need to increase sensitivity, as well as reduce the time interval between shots required for recharging. This is one of the purposes for which an external flash is needed.
Examples:
Shooting with built-in flash, dark frame
Shooting with built-in flash, "flat" image
2.Rotating reflector
Most on-camera flash units are equipped with a rotating reflector. AT simple models flashes, it can only deviate in the vertical plane, in more "advanced" models - both in the vertical and horizontal planes. The direction of the light from the flash is not on the subject itself, but on some kind of diffusing surface (indoors, it is most effective to use white ceiling) gives uniform illumination of the entire frame, reducing the contrast in the illumination of the scene-important object and the background.
Example:
3. Large number of impulses
Shooting intensively using the built-in flash may result in a significant decrease in the camera's operating time due to the rapid draining of the battery. On-camera flashes, with very rare exceptions, have a power source independent of the camera. Typically, this is from two to four standard AA cells, which allows the photographer to choose the type of power source himself: alkaline batteries or rechargeable batteries. Offline source nutrition provides a large number of flash pulses and eliminates the dependence of the duration of the camera on the frequency of its use.
4. Zoom reflector
The flashes built into the camera have a fixed illumination angle. As a rule, it corresponds to the angle of view of an 18 mm lens (for APS-C cameras). This solution provides compactness, but is not very effective when using long lenses, since most of flash power is used to illuminate an area that is not in the frame. On-camera flashes, except for very low-power ones, have a zoom reflector that allows you to adjust the angle of illumination of the flash so that it matches the focal length of the lens. This increases the number of flashes the flash can fire on a single set of batteries and increases its maximum range. In many models, this external flash setting occurs automatically when the flash is attached to the camera and when changing the focal length when using a zoom lens.
5. Nozzles for creative lighting
Flashes built into cameras have limited ability to change the nature of the light produced. They give a hard light, which is why the image is very contrasty and flat. On-camera flashes, thanks to a wide range of light-shaping attachments, allow for a more flexible approach to organizing lighting. For a specific task, you can choose the necessary accessories.
Example:
6.How to use external flash with remote control?
The set of used lighting schemes can be significantly expanded if you mount the flash not on the camera itself, but at some distance from it. In combination with various light shaping attachments and accessories, this can greatly enrich the photographer's arsenal of techniques, helping him to solve even very complex creative tasks. How to connect an external flash remotely? Remote control flash can occur both wired and wirelessly. In the latter case, it is easy to organize the control of not one, but several flashes from the camera, creating lighting schemes with several light sources.
Example:
7. High speed sync
The minimum shutter speeds at which the built-in flash operates, depending on the camera model, are in the range of 1/60 - 1/250 s. These shutter speeds allow you to use the flash in most situations, but are completely unsuitable for illuminating the subject in high light. How to shoot with an external flash in bright sunlight? On camera flash models with high power, a special mode is provided for such situations - high-speed sync. It ensures correct flash operation in a wide range of camera shutter speeds, including the shortest ones. This allows you to use fill flash even in bright sunlight.
Examples:
The world famous German company METZ produces a wide range of on-camera flash units. Regardless of the level of training and the complexity of the tasks you face, any photographer can find a METZ flash that is best suited to him.
An experienced photographer knows that, under certain conditions, a flash is much more important than a camera or a lens. Even being the owner of a very fast lens and a camera with a high ISO value, sometimes you are powerless if the lighting conditions do not allow you to take a high-quality shot. And it is precisely this situation that an external outbreak is designed to help avoid.
AT this material we will focus mainly on cameras and components manufactured by Nikon. However, in general cases, all of the following is true for other manufacturers.
All more or less modern cameras in our time have a built-in flash, or, as photographers call it, a “frog”. And absolutely all cameras with interchangeable lenses, in addition to the “frog flash”, also have the ability to connect an external flash, otherwise called the “system”.
At the top of the camera body there is a special connector for attaching an external flash, which is most often closed with a plastic plug for convenience and protection from dust and other external influences. Such a connector is called a "hot shoe", less often - just a "shoe". For a stable attachment of the flash to it, the shoe has latches that provide enough reliable connection camera and flash. Special contacts are used to synchronize the operation of the flash and the camera. placed inside the shoe.
Despite the fact that the principle of operation of external and built-in flashes is similar, it differs in some details, an external flash makes it possible to take pictures that the built-in flash cannot handle. About the automatic mode of the external flash, known as TTL, it is worth talking separately, so we will omit it in this article.
So, the main advantages of an external flash are as follows:
- The possibility of continuous shooting, which is very important when reporting, when one frame may not be enough to get a high-quality picture. "Flash-frog", unlike the external one, works in frame-by-frame mode, allowing you to take only one photo at a time.
- The power of an external flash, as a rule, is an order of magnitude higher than similar characteristic built-in. So, if we consider the Nikon D5100 camera, the guide number of its built-in flash is 13, against 28 for the detachable SB-700. And the higher this number, i.e. flash output, the better the photo quality.
- An external flash recycles faster and has a higher overheating threshold, thus improving camera performance. Unlike the built-in one, the external one is capable of making not 10-20 operations before switching to standby mode, but dozens of frames more.
- A high-quality external flash has a zoom that allows you to adjust the light to the focal length of the lens, accurately dosing its amount. zoom also allows you to extend the flash range. The built-in flash is constantly fixed at some wide-angle distance, which, when used with a lens of the same name, can lead to the appearance of shadows from objects and the lens itself in photographs.
- With an external flash, there is no need to use the anti-red-eye mode. The built-in flash in this mode makes several preliminary mini-flashes, which is not always convenient and fast enough.
- The ability to rotate an external flash allows for softer, more natural lighting by bouncing light off the walls or ceiling of a room.
- An external flash can be used with optional original diffusers. As a rule, most often these are diffuser nozzles of the “burdock” type (diffuser card), or a diffuser cap. If there is no card on the flash, you can make it yourself. The built-in flash cannot be used with original diffusers, they will either homemade nozzles, or attachments from third-party manufacturers.
- An external flash, unlike the built-in flash, does not waste the battery of the camera. using their own power sources (most often AA batteries).
- A huge plus is the ability to use an external flash remotely. So you can, by placing it at a distance, highlight the object being filmed at any angle, as well. having several flashes, create even a creative lighting system.
- Some "advanced" external flashes can be used as a "master flash" to control others.
In addition to all of the above, an external flash allows you to improve the capabilities of the camera itself, because it can:
- Provide focus illumination. This is worth talking about in more detail in another article.
- Let the camera work in auto-metering mode, which is not possible with the built-in flash.
- Work in fast sync mode, up to shutter speeds of 1/8000 second. no built-in flash is able to overcome the threshold of 1/500 second. This quality is very useful when using the flash during the day.
- Possibility of using color filters. This will allow you to adjust the white balance and get an interesting color effect on the photo.
- More precisely adjust the filling of the frame with light. For example, in Nikon flashes, this is regulated by several template modes CW, STD, EVEN, and for working in backlight conditions - BL mode.
- Some professional cameras do not have a built-in flash in the package, and therefore an external one is necessary.
- Minimize the risk of lens shadow when using wide angle lenses.
- Possibility to "freeze" subjects due to a shorter pulse in the minimum power mode.
- A really good external flash has an innumerable number of settings that improve performance. This is the strobe mode, and indication of the distance to the object, and high-precision adjustment of the test pulse, and much more. To list all the possibilities of external flashes, a separate article is needed.
The disadvantages of external flashes include:
- High price for a really good flash
- A lot of extra weight and volume, which is why the photographer's hand gets tired and the space in the corfu decreases.
- External flashes could also break, and repairing their parts is not cheap.
- Some flashes can be quite noisy, like, for example, Nikon's SB-900 when turned on or zoomed.
To understand the difference between using the built-in and external flash, you need to work with both, get used to each. You should not expect the appearance of masterpiece pictures immediately after buying an external flash. At a minimum, you need to thoroughly read all the settings, which are usually detailed a little more than completely, hold the flash in your hands, get used to it. try all modes. Choosing a flash is a rather laborious task, because their variety and functionality of each of the models is amazing.
However, it is worth noting that for amateur shooting, a regular, built-in flash is quite enough. An external flash, due to its high cost and specificity, is a professional tool for which good and high-quality light is often more necessary than an expensive camera and lenses.
Based on materials from the site:
After three years of working with studio lighting, I thought I knew a lot about on-camera flash, if not everything, then a lot. Three weeks ago, I came to visit a particularly experienced strobist, who told and showed so much that I immediately realized that I had to sit down and do a rake census, and then test, test and test again.
below is enough famous things that, however, caused facepalm in those who were with me or with me. In the rake list, you can find something new with some probability. If at least this feature of using the flash turns out to be useful to you, then my task can be considered completed. Please note that the material in the technical parts concerns the operation of Canon flashes and cameras. For other brands, the general idea of use is the same, but the specifics are somewhat different.
The first joint: shooting mode
It seems that everyone knows for sure that it is best to shoot indoors in M, on the street - in M or Av. However, the moment with the fact that in aperture priority the camera almost does not take into account when working in the interior possible light flashes in the exposure calculation (that is, the exposure pair is set as if it were not there), came as a surprise to many.Just in case: when using flash in dark room exposure becomes almost negligible. If the share of natural (available) light is only a few percent of the share of light given by a flash, then shutter speed does not exist for us: the movement is frozen by a light pulse. Accordingly, there will be no difference between 1/200 and 1/30 in practice. Another thing is if the proportion of local light is at least somewhat significant: in this case, at a more or less slow shutter speed, blurring from hand tremors or from the movement of objects can clearly appear. If the camera in Av decides that a long exposure is needed, this will happen.
underexposed background
It would seem that the most logical thing to do indoors is to set the shutter speed to sync and shoot the flash at the ceiling or somewhere else. But shutter speed still matters for working out the background, especially in large rooms that are not completely flooded with pulse light. The longer the shutter speed and the higher the ISO, the lighter the background becomes. Accordingly, in any more or less large room, we always have a choice between shooting an object in black and an object in a natural light environment. And, yes, you often have to increase the ISO, which is strange when working with a flash and, as it seemed to me, could only be used to save battery power.yellow background
If the main object is a normal color and the background is yellow, this is a color temperature difference problem. The fact is that the light of the flash is higher in temperature than the light of incandescent lamps: a color conversion filter is needed, which brings its temperature to the temperature of other light sources. For incandescent lamps, this is a yellow film glued to the flash. The white balance, of course, must be set to the lamps. With gas discharge lamps, a characteristic pinkish film is needed.On the street constant overexposure
It's very simple: many people constantly forget to turn on the high-speed sync mode on the flash. The camera rests on the exposure couple, based on the shutter speed of the synchronization, and is forced to give an overexposed result. General rule: went outside - turned on high-speed sync.By the way, this mode works very interestingly: the flash strobes quickly, giving several pulses so that the frame is illuminated evenly not in one moment of the shutter being fully opened, but sequentially, in parts. Canon's press release states that in this mode, the flash consumes less power (but seems to “plant” the lamp faster). Demoded suggests that the pulse is weaker, that is, it is relevant at a distance of up to 4 meters. Ozgg clarifies that the flash does not adjust to the curtains, but always hits at 50 kHz.
flat face
In the presence of more or less tolerable external lighting in order not to make traditional “pancake faces” from the flash, you can simply enter a flash power correction, for example, one or one and a half steps down. This will highlight the shadows, but not knock them out completely. It seems obvious, but it turned out that some make exposure compensation for the entire frame, and not for the flash pulse.Fallen eyes
Head-on flash is rarely used, mainly in quick reporting or when you need to get a distant object. If you have a choice, it's usually better to deploy it somewhere, move it away from the camera, or use a nozzle.If you hit a wall or (more often) a ceiling with a flash, you will get a more or less realistic soft light, since the entire illuminated surface will turn into an independent light source for the frame.
When reflected from the ceiling, a characteristic gradient of shadows is obtained: under the objects they become darker and thicker, for example, the eyes go into shadow. In such cases, it is necessary either to deflect the flash more back, or, if it is not possible, to use special attachments. The jar of Harry Fong and its Chinese brothers proved to be good for correcting gradients.
spotlight beam
The flash usually follows the focal length of the lens and moves the lamp in the housing to go wide or narrow. For the ultra-wide angle, it is assumed that you take out the micro-pyramid card that is inside. Automation can be abandoned and, for example, when wide angle lens to compress the flash pulse into a fairly narrow beam. This is relevant for highlighting a single object or vignetting with light.Aiming in the dark
Sometimes there are situations when you need to shoot without a flash, but it is very difficult to catch the focus. If the subject is moving, you can often just miss the moment while the camera is moving around the lens. In this case, it is good to leave the aiming light (reticle) of the flash, but disable its operation. It is done from the flash control menu from the camera: flash firing = disable (not all cameras have a menu). The LEDs work, the flash does not shine.Flash not on camera
At first small review how to connect:- By wire with the preservation of the full data exchange protocol, that is, with the ability to use a flash in the machine (such a cable is usually short);
- A long sync cable is only “on the trigger”, that is, the flash will work in manual mode;
- By IR synchronization from a special device (it is obsolete: it is not suitable for the street, it is badly caught in large rooms with dark walls, does not work under spotlights);
- By synchronization from another flash or control unit from some cameras (same restrictions);
- over the radio ( the best way, if E-TTL is stored, as, for example, in the Pocket Wizard system - but this thing is outrageously expensive). An obvious plus is not only that the launch comes from 100 meters anywhere, but also that the system has an additional gizmo that allows you not to run to flashes when you need to apply local settings to them or simply turn them off. We need three types of devices: control modules for each flash, the main module for the camera and the gadget on top, which acts as a kind of "mixing console" for three groups outbreaks.
This cable allows you to simply fire the flash in manual mode.
And this one is to take her off the camera's hot shoe.
So, if the idea of \u200b\u200bbuying a cable comes up, it's better to solder it yourself. External light traps are not very reliable and you can also make them yourself. The IR transmitter is also soldered. It is really important to take either a second flash (if you need more light) or, if you shoot seriously and for a long time - the same Pocket Wizard or analogues. When choosing analogues, it is very important to understand that you need to receive E-TTL data so that flashes can work in auto modes.
Stand is man's best friend
Before I bought the first rack, I spent terrible sums on various gadgets in order to get more or less worthy result. It turned out that if we are not talking about reporting, then the most good way- it's just to take a stand, put your head on it under the flash, stick a translucent white umbrella - and synchronize with the second non-lighting (or working as a fill) flash. It won’t work for the street, but it’s almost perfect indoors.Another point: it is important to specifically direct one flash to the receiver of the other so that they fire from a greater distance. At least turn the slave flash receiver towards the main one.
Nozzles: how not to buy too much
Canon flash comes with two attachments: a white card for glare in the eyes (it reflects very, very little), and a plastic thing with micropyramids for dispersion. A number of Nikon models, by the way, immediately have conversion filters. Another nozzle can be made by yourself from a sheet of paper attached in the form of a cone behind the flash (the famous "burdock", it is also a "fan", it is also a "photon reflector").Now about what is worth and what is not worth buying:
- White plastic "box" is almost not needed
- Burdock with holes on top is good, but next option it is better
- Garry Fong's "jar" (transparent) just allows you to hit the ceiling normally and at the same time eliminates heavy gradient shadows, but you need to get used to it. Given the wild holivars about her, it’s better not to believe me and twist it in your hands yourself. There are many analogues that are 2 times cheaper.
- The large softbox on the flash leads to a softening of the light and allows you to use it head-on. Needed for reporting, in other cases, the next item is better. You can run with a flash and a soft box in your hand.
- Beauty dish (plate) or an umbrella in the light is very beautiful, but only on racks. From 2-3 light sources, a mobile studio is obtained.
- The "plafond" - a round matte nozzle - is good for shooting interiors, but not very suitable for people.
- The strobe frame (handle + flash mount) is good in different configurations, but difficult in real shooting, because it is heavy. For an amateur.
- Honeycombs are important for forming a narrow beam of light, often interesting.
"Bank" Fong, she is in the first inflexible versions - "Toilet"
Almost unnecessary diffuser in practice
Medium softbox, relevant to the drawing source in some cases
It is worth remembering that the softness of light is determined angular dimensions source (and, to a lesser extent, reflection from walls): if you take a large softbox and take it far, far away, it becomes a point. If long, beautiful gradients are needed, use large nozzles, which often mean that you need stands or assistants.
About flash
First, a quick educational program: the flash in E-TTL mode sends a preliminary pulse before the frame (or a series, by default - at 1/32 power). Based on what was "seen" in the frame as a result of the actual passage of light through all nozzles and reflections from all surfaces, a forecast is built required power. During the processing of the frame, the flash sends a calculated pulse. Automation is now very smart, so 90 percent of frames can be safely shot in a flash machine. Manual mode is needed when you want to clearly control the impulse: in this case, the flash hits with one impulse of a given power (this, by the way, is also one of the ways to start studio light on light traps).A flash can make a person squint. If so, then you need to do either FEL (exposure lock, button with an asterisk) - then the flash will be long before the frame itself - or switch to manual mode. The same FEL in combination with the rotation of the flash head, by the way, allows you to correctly expose a person from the edge of the frame against the background of a window, for example.
The automatic exposure system makes using the flash much easier, however, problems do occur from time to time. We hope this article will help beginners to understand photography equipment and shoot better.
Flash photography. Mistake #1: Not using flash
One of the biggest mistakes when using flash is not using it! More often than not, photographers don't use flashes simply because they don't know when and how to do it. That being said, very often the use of supplemental light can be helpful, it helps to fill in the shadows and balance the exposure well. Flash photography can really bring life to your portraits.
Flash photography. Mistake #2: Using flash when shooting distant subjects
Using a flash when photographing distant objects does not make the slightest sense. The flash is often turned on automatically when the camera determines that there is not enough light to shoot.
The example shows that a flash went off during a concert in a stadium. It did not illuminate the distant object, but the backs of the heads of the people in front became brighter. Even the light from a very powerful flash will not save your shot if you are shooting from a crowd. Instead, turn off the flash, raise the sensitivity, and shoot in natural light.
Flash photography. Mistake #3: Red-eye
The most common mistake when shooting portraits with a flash is the appearance of red-eye. The effect is caused by light hitting the eyes of an object, which is reflected off the retina. Most cameras offer red-eye reduction with a special mode that works with pre-flash photography, which forces the eyes to adjust to the light before the main flash fires.
This can be helpful, but is not always ideal solution Problems. Another solution to the problem is to position the flash further away from the lens so that the light does not bounce directly in front of the eyes.
Naturally, this cannot be done with the flash on the camera. An external flash connected to the camera via a wireless connection, or via a cord, will help you here. Although, in some cases, using an external flash through a hot shoe may be sufficient.
Damien Lovegrove flash photography demonstration with reader Richard Twiner.
Apprentice feature
Flash photography. Mistake #4: Flash and Air
Although flash can lighten dark shadows, it can also destroy the atmosphere of an image. In some cases, it may be more useful to turn off the flash and increase the shutter speed, and if necessary, put the camera on a tripod or increase the sensitivity.
Flash photography. Mistake number 5: The shadow of the hood
Generally, using a lens hood can be very helpful when shooting. However, if you are photographing a subject close enough, the shadow from the lens hood can spoil your shot. If you can’t change the shooting angle so that there is no shadow, then it’s better to just remove the hood.
Flash photography. Mistake #6: Too much light
Direct flash may result in very bright or very dark areas in the frame. If you are shooting a portrait, you may notice a shiny forehead or nose. The solution is to diffuse the light from the flash and there are several ways to achieve this.
One of the most common ways to diffuse light is to use a flash diffuser. Diffusers are various forms and sizes, as well as, you can make a diffuser yourself.
The diffuser can reduce the brightness of the flash light, but if you use TTL metering, the flash will automatically adjust to the shot. You can also diffuse the light from a retractable flash using a piece of tissue paper, baking parchment, or a rectangle cut out of a milk carton.
Many flashes can turn, or spin. This ability of your flash can help create diffused light, as light bounced off a ceiling or wall also becomes softer. Diffused light is also a good way to avoid red-eye.
When using reflected light, you should be careful about the color of the surface from which this color is reflected, as the photo will have the same shade as this surface. The wall or ceiling should be white or beige, not red or blue.
Flash Shooting Mistake #7: Flash Position
In most cases, the flash is on top of the camera. When photographing a subject with the camera held horizontally, there are no problems, however, when photographing with the camera held vertically, some problems may occur. One of these problems will be the lens shadow resulting from the operation of the flash.
An excellent solution can be to use a wireless connection between the flash and the camera, as well as a connection through a cord. There are brackets that allow you to raise the flash much higher than the level of the subject.
Flash photography Mistake #8: Motion is blurry
Since the flash pulse is usually much shorter than the shutter speed, blurring of a moving subject will appear when shooting. This effect appears when the flash is synchronized to the first curtain. To control this blurring, you need to determine the flash timing on the first or second curtain.
To avoid blurring the movement of the object, you should set the flash synchronization to the second curtain. In this case, the flash will fire after the shutter speed, right at the moment the frame is taken.
When synchronizing on the first curtain, a frame may turn out when the space behind the object turned out to be blurry, and the object itself is clear. Such an image can create the effect of movement and will look very harmonious.