Off-Camera Flash: Creative Techniques for Digital Photographers. Home · Off- Camera Flash: Creative Views 11MB Size Report. DOWNLOAD PDF. new PDF Off-Camera Flash Techniques for Digital Photographers Full Online, new PDF Off-Camera Flash Techniques for Digital. In books like O -Camera Flash Photography and Multiple Flash OFF- CAMERA FLASH TECHNIQUES FOR DIGITAL PHOTOGRAPHERS. Use two, three, and.

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Off-camera Flash: Techniques For Digital Photographers. Файл формата pdf; размером 18,82 МБ. Добавлен пользователем fvn70 [BOOKS] Multiple Flash Photography: Off-Camera Flash Techniques for Digital Photographers by. Rod Deutschmann, Robin Deutschmann. Book file PDF easily . MULTIPLE FLASH PHOTOGRAPHY OFF CAMERA FLASH TECHNIQUES FOR DIGITAL. PHOTOGRAPHERS. MULTIPLE FLASH PHOTOGRAPHY OFF PDF.

This book covers everything from the principles of portrait lighting the nature of light, the equipment, light ratios, and classic lighting styles to dozens of different practical applications of portrait lighting business portraits, publicity headshots, high-key, one-light glamour, etc. Written by Christopher Grey. As it says on the cover, James Cheadle and Peter Travers have put together a book full of recipes for lighting and composing professional portraits.

Every image is broken down with a lighting diagram, posing and exposure information, as well as the story behind the shot. Besides all of the valuable lighting information, the book also includes post-production sections on topics such as RAW file processing, HDR, and digital makeovers. Like the subtitle says, this book aims to be your one-stop shop for identifying the top ten worst photography lighting situations, as well as multiple suggested solutions for overcoming them.

This book does a great job of showing you how to not only overcome the challenges, but to do so with confidence. Walking you through the process from start to finish, Jeff Smith covers both the artistic and technical sides of achieving positive results. Short lessons, accompanied by diagrams and examples, guide you through each step of the process—creatively and practically— without dumping too much information on your head at once.

Starting with the basics for creating professional-looking product photos, Allison Earnest walks you through the qualities of light and rendering texture, as well as how it all comes together in a step-by-step lighting setup.

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The second half of the book brings together images from actual assignments, detailing a wide variety of products and settings, as well as lighting diagrams and setup shots. A variety of lighting and exposure techniques, combined with inexpensive, compact flash units, clearly show how you can achieve professional results without a professional budget. Professional food photography, though, definitely falls into the easier-said-than-done category.

The best food photography evokes a sensory response. The viewer can practically smell and taste the food when it is photographed well, and Teri Campbell shows you how to do it— not only by sharing his detailed lighting setups and shooting techniques, but also by offering solid advice on setting up a studio, using the right gear, marketing your work, and more.

Geared more towards the intermediate-to-advanced photographer, Campbell also takes you inside his commercial shoots, as well as his post-processing techniques. While the world is full of photographers searching for a fresh point of view, Brooklyn-based Joey L.

This book features more than 85 portraits, detailed lighting diagrams, and a forward from The Strobist himself, David Hobby. For a photographer trying to tackle lighting a new genre, diagrams and step-by-step instructions, as well as photographer insights, can be extremely beneficial. Sensors get bigger while cameras get smaller. LED panels have become a new mainstay in photographic lighting in recent years.

While portable, powerful, light-weight options can bring a big boost to our lighting arsenals, they can also bring new challenges. Breaking it down in a way to help professionals and hobbyists transition from traditional strobes and hot lights to LED Light-Emitting Diode lights, author Kirk Tuck explains how changes in technology affect our views of traditional light theory, as well as how to select the right LED lights and how to use them for still-lifes, portraits, and even video.

You need to know how each subject is going to react to the light and adjust accordingly. While you can download inexpensive slave receivers for your own flash or flashes, we prefer to use a Digi-Slave Deluxe Using a point-and-shoot with your off-camera flash offers a few distinct advantages over shooting with a digital SLR.

And you get all of this in a very small package. An entire off-camera flash kit including camera, flash, tripod for the flash, and a small light modifier could easily fit inside a small camera bag or even a purse.

This, of course, calls for the use of optical slave units see page 20 or even fullfledged slaved flashes. Our personal favorite is the Digi-Slave Deluxe Set up your lights, modify them however you like. Attach an optical slave to the bottom of each flash.

Automatic shooters will find the whole process frustrating. NUTS AND BOLTS 49 One of our favorite ways of triggering our off-camera flashes when using a point-and-shoot without a hot shoe [see page 20] is to attach an inexpensive radio transmitter to an inexpensive optical slave device.

Both are then attached to the camera with Velcro. As long as the optical slave can see the flash from the point-and-shoot, it will trigger the radio transmitter, which then triggers any off-camera flash that has a receiver attached. Plus the images are downright spectacular!

You really have to try this to believe it. By simply attaching a radio transmitter Cactus is our favorite brand to an optical sensor we like to use the Wein brand and then placing the sensor near the flash attached with Velcro to the camera we can achieve percent effectiveness. Of course, each external flash unit must have a Cactus brand receiver attached as well. The leaves in the foreground were illuminated with a wireless, optically triggered, hand-held flash unit. A polarizer helped produce the deep, rich blues in the sky.

There are some obvious drawbacks to this method of dealing with flashsync speeds, of course. You may suffer however from several repercussions: Option 3: Compromising your artistic vision should never happen. You have other options. Another effective means of stripping light from an image is through the use of neutral density filters. Plus, they are a fraction of the cost of what it would take to download the other high-speed sync options discussed earlier.

Neutral density filters come in a variety of densities and in sizes to fit every lens. Our advice is to download a lot of them, for each lens you own—and get them dark. These filters have become harder and harder to find in local camera stores, but an online search will reveal a shocking number of choices.

There is also a variable neutral density filter available. This rather advanced tool allows you to spin-in the desired amount of darkness going from one density to another. Option 4: Our favorite way of stripping light is by far the easiest—and a lot more exciting than just stacking one neutral density filter upon another.

By simply crossing two linear polarizers a filter designed to strip glare from your image you can effectively spin your way into as dark an image as you want—just as if you were to use that expensive variable neutral density filter. Simply attach both filters to your lens, then spin the bottom polarizer to eliminate any unwanted glare and spin the top polarizer to slowly take away light.

They argue that this causes some degradation to the image. Our images are clean, sharp, and If you already own two linear polarizers, simply screw them together, one atop the other left. Rotate the bottom polarizer to eliminate any unwanted glare from the scene and rotate the top polarizer to take away light below.

This enables us to use the same setup for all of our lenses. Attach the ring to an already-mounted linear polarizer. Slide the Cokin filter holder with polarizer inserted onto the adapter ring, then spin the linear Cokin polarizer—instant darkness! Crossing two circular polarizers will have a different effect than crossing two linear polarizers. Instead of taking away light, a beautiful color shift occurs.

This trick tends to work best with two linear polarizers. This, again, presents a problem for the automatic shooter as he will undoubtedly be using circular polarizers. As one of the major culprits of bad off-camera flash images, glare needs to be dealt with. To do this, you need a polarizer—a simple glass filter that screws onto your lens to eliminate glare from the sun and your flashes as well. Often, we will shoot with just one hand-held, off-camera flash pointed directly at our subject—unmodified and at full power.

The photos are staggeringly beautiful, of course, but only because we used a polarizer. Without it, the image would be a glared mess and completely unusable. There is a lot of confusion in the photography community today about the use of polarizers—and for no real reason. A polarizer When using just one unmodified light aimed directly at a subject, you can achieve startling results when a polarizer is used. Since the flash and the sun both produced glare from a similar angle, a properly turned polarizer stripped it all away.

The top two images show the results of shooting with a single softboxed flash placed to the left of the subject top left photo and the right of the subject top right photo. The corresponding pair of images in the bottom row show the effect of adding a polarizer. It needs to be rotated to work and you have to be at the correct angle to make it happen.

Some new photographers mistakenly believe that by enlarging their light source they are eliminating glare. Glare will occur whether a light modifier is in place or not. You can reduce the amount of glare by repositioning the light or simply by turning a polarizer. Many people mistakenly believe that a polarizer is only used to darken skies.

You have to step up and accept some responsibility here. But as a creative off-camera flash photographer, you need to be aware that there are other options. Keep in mind: All you can hope to do is mask it. A Polarizer Tip. Learn to visualize the way something could look, instead of just the way it actually appears. Then, simply work with your polarizer and off-camera flash to bring out the depth, color, and beauty of the world you envision—not necessarily the one you see.

Notice that the flash seen in the upper corner of the right image is unmodified and pointed directly at our subjects. With the aid of the polarizer, however, no glare falls into the camera. The above series of photos show how—with a little imagination, a polarizer, and a faster-than-usual shutter speed—you can turn an ordinary landscape into a beautiful image. To do this, he visualizes a darker-thanusual background. The above images show what we created while the images to the right show how the scene and subject actually looked.

In the image directly above you can see our first attempt. The light from the flash was not powerful enough.

We thought it was the perfect amount. With a simple understanding of light and how to use a polarizer with an off-camera flash, anything is possible at any time.

We realize that many photographers believe that the bright light of midday is a bad time to shoot, but they are wrong. This is a fairly obvious procedure.

Power is typically adjusted via fractions of output. Manual shooters, however, often use this option to adjust the apparent output of their flash, as well. A wider zoom position offers less light; a more tightened flash focus produces more apparent light.

Each type of modifier produces different effects. You can use snoots to direct light to one portion of the scene, while larger softboxes spread the wealth. This is why we abandoned our automatic settings long ago. Pushing beyond average is something every artist-with-a-camera should be doing. We, as the artists, need to make a stand. We have to stop being drones and start creating meaningful message—and that means doing away with some rather bad habits.

An off-camera flash photographer should be willing to go out on a limb and change the way the world looks. Sure, he runs the risk of people not liking his photos, but the whole point of adding light is to take charge of your images. Why not push things? Why not explore that creative side without limits? The only thing you should ever have to balance when it comes to off-camera flash photography is your check book. Here we see the comparison between what it actually looked like and how it appeared when the flashes fired.

A large modified light source on the right a JTL Mobile light provided our main light. A small flash attached to a mini-boom pointed down at our model added dimension. Another small flash aimed directly at the back of her head provided the desired rim lighting. We still use these—along with portable studio lights, heavy-duty light stands, and more—while in the field. An offcamera flash photographer working in close proximity to his subjects will be faced with this reality quicker than most.

The effects of his choices, good or With the help of a snoot, the wired, off-camera flash photographer is able to concentrate the full power of his flash on one particular part of the image—in this case, his background. When working in the close-up world, the background takes on a whole new flavor. It must be given the same respect and concentration due the best of subjects.

For our students, not relying on their equipment for exposure settings and contrast, saturation, or white balance choices has made their trip through messagebuilding and pure expressionism in the close-up world an enjoyable and thought-provoking experience.

The most insignificant slip or misaligned light can ruin a message completely. As an off-camera flash photographer, you have to be on top of your game when shooting things close up. Your choices and equipment are now center stage. You need to be meticulous and caring. Your close-up subjects need your experience, vision, and creativity—not just more light.

An off-camera flash gives the close-up photographer even more options and solutions; creativity becomes second nature and his tiny world expands like never before. Modifiers A creative spirit and an off-camera flash can illuminate the simple things in life and create dramatic backgrounds as well. In this image, a well-placed t-shirt was illuminated.

The blown-out white provides stark contrast between the subject an the background. An adventuresome spirit will embrace lighting scenarios that few others choose to play with. By lighting tiers of graphic information other than your subject you can set the stage for brilliant close-up images that have to be seen and photographed to be believed. Your tools and understanding of each will take you far. There are a plethora of accessories and lenses that can get you up-close and personal with the macro world.

Just make sure that these pieces will work with your chosen means of camera-to-flash communication. Auto shooters will need to ensure their close-up gear is made specifically for the brand of camera they use—keeping that communication alive. Manual shooters, on the other hand, will reap the rewards of their years of experiThere are a plethora of ways to get you up-close and personal with nature.

Which close-up alternative you choose will depend on your experience level and your pocketbook. Close-up filters, extension tubes, reversing rings, and couplers are amazing alternatives to high-end, name-brand macro lenses. Getting close is the to practice. Start with a wired, easy part; creativity with light hand-held option and work your way up from there. The flash will help solve this by allowing for a much faster shutter speed.

The addition of light also gives you the choice smaller apertures. Your vision and desire will guide you here. Keep in mind though, that when shooting in macro, your depth of field will be severely lacking. If you want more depth, you may have to back away a bit or change lenses. Things get interesting the minute you put a large flash in front of something small.

Being able to modify the light is critical. It gives you options no other tool can. Not only will it light a subject from any angle or position, but it can also illuminate a background, foreground, or even create glare when needed. Manufactured choices are quite limited when it comes to modification gear for A wonderfully the macro world. Your ingenuity will be called on more than ever. We use it quit bit when taking photographs of insects.

When placed correctly, it softens the quality of the light, making macro work even easier. This flash stick makes a remarkably controllable bounce for closeup flash work. That means that, if you can see and light the rear tier with your off camera flash, you can have a spotlight of color behind just about any subject. This rear tier could be anything—flowers, trees, cars, people, or even trash. Instead of worrying so much about a subject, we look for graphic tiers that work together.

Look closely at the options within your frame. Two flashes, one modified with a snoot and the other unmodified, were used. The rear flash was pointed directly at the background, which was made up of other plants. The best part of this design process is that it forces the photographer to see and look for more than just one thing.

We find this speeds up the process of becoming an artist with an off-camera flash immensely. Being creative with your flash means more than just modifying your flashes or freezing your subjects. Being creative It pays to know your insects when getting this up-close-and-personal.

Paper Kites Idea leuconoe are among a few species of butterfly that do not mind the extreme intrusion a close-up lens and external flashes produce. Two off-camera wireless flashes were required to create this rather stunning portrait.

DIY Lighting Hacks for Digital Photographers

One flash was used to light the insect itself, while another snooted flash was used to light the blurred weed directly behind her head. One directed light toward the left side of the flower and insect. One was pointed at the leaf behind the butterfly.

The other was directed at an upward angle toward the insect and the plant itself. Each situation will present its own set of problems, challenges, and rewards. The first was snooted and aimed at just a corner of the front-most flower. The second was modified with a large softbox and aimed at the top of the blurred sunflower in the rear. No flashes were added to the foreground tiers of information.

Think before you shoot. Imagine what would happen if you lit the background or foreground instead of just the subject. What if you intentionally placed your subject behind a bright background? Two wireless flashes were used to brighten that color. One snooted flash was placed on a small light stand above and to the left of the pineapple and another softboxed flash was put on the ground to the right of the background.

The light falling on the lone blade of grass in the foreground was natural. Push your camera, as well.

Adjust your white balance, contrast, saturation, and hue—and make sure you examine the effects in the field. Use multiple lights, widen and narrow their beams, hit only one tier—or light seven.

You can even incorporate off-camera flash into multiple exposures. Imagine what might happen if you took a multiple-exposure image in which the first exposure was as crisp as possible, then, on the second exposure, you blurred it into an unrecognizable mess—and then hit that blur with a burst of light?

In this series of images, you see the construction of a dramatic and quite wet close-up image. A macro lens was employed, as were two flashes.

One flash was modified through the use of a Lumiquest Pocket Bouncer, the other remained unmodified. Both flashes were set off wirelessly with the help of a Cactus transmitter and two receivers. RIGHT—In-camera multiple exposures take on new meaning when you can introduce a variable amount of light during just one of them. The effects of your imagination have yet to be felt.

Push your equipment and your vision to the breaking point. BELOW—Even in a rather complex, abstract close-up, the need for an off-camera flash still presents itself. The background in this photo would appear nothing like it does if extra light had not been added to it. No matter what your final design will look like, having the option to add light is valuable. Slight additions of light brought each of these images out of the shadows and illuminated the artist's true intent.

The options and rewards of creating light while in the field are as limitless as your imagination. The use of off-camera flash brings with it the freedom to take our message-building skills outside—away from the stale props and overused reflectors of yesterday.

Finally, our creative voice can shine unhindered as the world becomes our well-lit backdrop and our vision grows as the scenery changes. Off-camera flash photography has brought the studio outdoors—and with it all of the options, advantages, and challenges of unrestrained light. With the aid of family and friends, even the most problematic of shoots are quickly reined in. Not only is it dangerous, but chances are that the city will require permits. Avoid the hassle and enlist some help.

It was held by an assistant slightly off camera. A redderthan-normal white balance was incorporated to add drama and draw attention to the model more quickly. As portrait photographers using off-camera flash, each new outdoor location brings with it amazing possibilities and a chance to test our skill, knowledge, and competence.

Gear choice will be a testament to our adventurous side. Do we take one light connected with a cord or several and use wireless options? Do we ask friends or family to hold the gear or do we employ light stands, hand-held booms, or beanbags? Will we visit an exotic locale for the ambiance, or do we tackle the hustle and bustle of downtown? Or do we head to the beach, wrapping each flash in its own plastic bag search out more challenging to protect the gear from sea spray?

Creativity, as you might have guessed, and difficult situations. Drive may just lie in our answers to these questions. Every ideas—is what builds great weather condition—rain, sunshine, muggy, cloudy, even a tropical storm— photographers. If you use indoor studio lights, create a set for outdoors. Master the use of one light. Learn what it takes to support it, to modify it, and how to trigger it.

Use the flash both indoors and out. Demand as much from it as you do from your camera and subjects. Practice shooting with the flash set at full power, then modify it. Review each shot as it is taken—and if you One softboxed flash was chosen as the main light source for this image. The flash was placed on a beanbag on a nightstand and aimed straight at the family. A little hot breath on the lens gave the blur, and a polarizer stripped any excess glare.

Each bad photo now affords you experience, Softening the Light so get as much of it as you can. Learn from your mistakes and make them Direct flash, even when work for you. The placement, height, angle, softboxes. These enlarge and and power output can be adjusted independently—and you can add separate diffuse your light source mak- filters, gels, and modifiers.

Keep in mind that, when camera-flash portrait it comes to support, you get what you pay for. Choose a cheap stand or an photographer. Two lights with no modification were placed at opposite sides of our model for this series of images. In the second image, the left light was turned on. In the last image both lights were fired. The differences are obvious—and very important. Get creative with your tools—but, more importantly, get to know them before you go out and shoot.

Call in favors from family and friends, ask your kids, your wife, or your husband for help. Use tools you already have, such as tripods, monopods, and beanbags. Combine your modification tools; use a snoot on one flash and a softbox on another. Change the ways you introduce light to the scene. Drag out some of that old studio equipment and modify it to suit your new outdoor needs. You would be surprised at how far a few strips of Velcro, a pair of scissors, and some black foam will get you.

If you mistakenly add light from the wrong direction, you will create more of a problem than any polarizer can handle. The camera, in its attempt to capture average images, will actually fight the desirable effects the polarizer produces. The top image was created with one unmodified off-camera flash placed to the right of the model.

A polarizer was attached to the lens but was rotated incorrectly. In the bottom image, the exact same camera settings were used, and the same flash was fired, but the polarizer was now rotated correctly for maximum effect. Off-camera flash offers the freedom to take the shot anywhere—even if the location is a bit wet.

Here, one softboxed flash was connected to the camera via a sturdy TTL sync-cord. This allowed the off-camera operation of the flash and offered the option of high-speed syncing, a vital part of the production of this image. An angle of view was chosen that allowed the polarizer to eliminate the majority of glare from the sky.

The flash was also pushed as far from camera to the right and left as possible. Shooting downtown poses its own unique set of problems. Not only do you have the typical lighting issues any outdoor setting offers but you have the hustle and bustle of a vibrant city to work with, as well. We suggest a few scouting runs prior to the shoot itself. Traffic, both pedestrian and vehicular, can prove a nightmare for city shots such as this. Three modified flashes were used in the creation of these images.

One softbox, a snoot, and a light funnel see page 98 were employed. Two flashes were held in place by an assistant using a modified extending handle and one was handheld. The cross-polarizing technique see page 53 was employed to combat our limited flash-sync speed. When it comes to creating mood, very few off-camera flash options can beat an umbrella holding three lights.

In this image, there was a need to slightly overpower the afternoon sun. Three flashes were loaded under a studio umbrella pointed at our subject. A redder-than-usual white-balance setting was chosen to mimic a sunset, and a higher-than-usual contrast setting was used for mood.

A very fast shutter speed was chosen to darken the background. The composition and design are courtesy of every Mark Twain novel read as a kid. One single softboxed flash placed directly to the right of the model provided plenty of light to illuminate our subject. Two simple softboxed flashes were used in the creation of this image. One was held by an assistant to the left at a 90 degree angle to allow for the polarizer to cut glare.

The other flash was held by the photographer and positioned slightly to the right. One unmodified flash was chosen as the main light for this image. Both the model and flash were positioned to take full advantage of the polarizer.

The filter was turned, the shutter speed chosen, and higher-than normal contrast and saturation settings were dialed in. Two softboxed flashes, set on two light stands, were positioned at right angles from the camera. The model was caught in between. The power on the flash to the left was increased slightly. A polarizer was turned, a lower contrast setting and higher saturation setting were dialed in.

A redder-than-usual white-balance setting was chosen. A very large softbox covering one flash was set behind the camera and to the left of the photographer. The soft, cascading light easily engulfed the model. Lower-than-usual contrast and saturation settings were employed. In these images, a slightly modified extending handle added the needed light from above and to the left of our model.

Excess light was reduced by a stack of neutral density filters. A bluer-than-usual white-balance setting was chosen to ride with the nautical theme, as was a lower saturation setting.

Contrast was raised a bit incamera, as well. The entire shoot lasted ten minutes. We drove up to the location, got out, and shot—then headed to our next location.

It really does pay to scout your locations in advance. Here, a classic setup was used. Two modified and one straight flash were used. The forwardfacing flash was reflected off a small piece of plastic, enlarging the light and ensuring the elimination of any unwanted shadows. A very red whitebalance setting was chosen, a polarizer employed, and a slight in-camera hue shift was introduced to bring out the classic pin-up feel. Higherthan-usual contrast and saturation settings were also chosen. By changing these in-camera settings, the photographer can more easily express how something makes him feel.

Built-in color filters, contrast choices, and white-balance options have given the photographer the in-camera control he has always wanted— in essence, eliminating the need for postprocessing corrections and modifications. A new way of shooting has been born and a new approach to this classic art form is taking hold. In this illustration, we see the use of three off-camera flashes—all modified and aimed at different parts of our model. When creating image with more than one flash, think small.

Light as many different graphic tiers as possible and make each decision as to what to light a meaningful one. The left image shows the addition of a red gel filter in front of the flash.

The right image shows what happens when the photographer dials in a green filter. Notice the striking difference between the last two images. When a red filter is applied to the flash and a red filter is dialed-in to the camera settings, you can easily increase or decrease the apparent power output of your flash.

By lighting Colored filters and gels can individual tiers of graphic information with a flash, the skilled photographer can pull information from the shadows, using colors that were once hidden also be added to the flash, to change the very tones present in his image. Practice, fail, and practice again. Work hard at learning the art and push yourself. The off-camera flash photographer really has to understand how this type of imaging works if he wants to succeed. If you simply carry that thought process on just a little further, then it makes perfect sense that if the light itself that was illuminating your subject were red, then the light it would produce would be much, much brighter.

This proves amazingly helpful when trying to separate a subject from a background with a tonal variance such as making the background slightly darker. Simply adjust the lighting to provide for that dark back- LumiQuest offers an amazingly easy-to-use gel filter system. A holder sits atop your flash and you simply slide in the gel of your choice. Keep in mind, of course, that you also have to use the red filter in your camera.

LEFT—Here we see a perfect example of how to use this technique. Slam your subjects with as much light as is possible. Turn that power up, open up the aperture and get close to your subjects. In the bottom image on this page, light from a flash was included at full force without modification from just a few feet away. Funnels are an effective way of controlling light from a flash.

You may be shocked at how far you can go. Instead of enlarging it, narrow the beam. Use a snoot to pinpoint the exact spot where you want to add light. As usual, start your message-building process with your background, working your way forward.

When you get to a tier that needs some light, be very specific with the beam. Narrow it and slice into your image like a razor. While a normal snoot affords a direct beam from your flash to your target, a light funnel sharpens that beam even more.

The funnel is a bit longer than a normal snoot and gives you a more ergonomic way of controlling the beam. The canister can easily fit over most flashes—just slide it in place and go. Direction and power is of the utmost importance for the offcamera flash photographer.

A light funnel enables the photographer to be extremely precise with his light additions as seen in the image on the left —though, admittedly, the tool will take time to master. The flash was covered with a red gel and an in-camera red filter was employed to boost the apparent output of the flash. A large aperture was chosen to blur the background and a high-speed flash-sync option page 45 was called into play to eliminate excess light.

The entire process took less than thirty seconds. And this image was shot at noon—in bright daylight! This simple, homemade light modifier is one of the most effective ways of adding pinpoint precision to your addition of light.

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The overall goal of the funnel remains the same as the snoot: The funnel can be used in color photography as well, but its output usually needs to be curtailed with the help of some sort of modifier. A light funnel wreaks havoc with automatic settings. Your inexperience will show when photographing small animals, moving subjects, or multiple exposures as the flash just may not touch anything!

Here, a simple photograph of a small farm animal takes on an almost religious quality with the introduction of man-made mood; lighting and contrast overwhelm our senses. Two snooted flashes were used to illuminate the animal. Pairing these with the correct choice of in-camera filters, the contrast and mood of the background sprang forth.

We love the classics—not just in our photographic approach to creating art but in our movies, as well Casablanca and the Maltese Falcon are two of our favorites. Creating this type of film noir image is something we love to do and our approach is as classic as the films themselves. Therefore, we started with the background as always.

This helped drop the bright blue sky to darkness. We also positioned ourselves to take advantage of our polarizer page These two simple things should easily blacken out most skies—no matter how bright it really is.

[PDF] Off-Camera Flash: Techniques for Digital Photographers Full EBook

After aperture choice, a decision about the shutter speed followed. Next came the lighting. To mimic those classic films, we knew that two lights would be required: Each of these lights would need to be modified slightly. Because it would give a far-reaching stretch of coverage, we chose a LumiQuest Quick Bounce for our top light. For our lower light, a small LumiQuest softbox was chosen to give more of a spotlight feel. We attached both lights to an extending handle and were ready to shoot.

The extending handle was hand-held slightly above and to the right of our model. A quick test of the flash power settings led us to the perfect combination.

In less than four minutes, a series of images was created in-camera—images that in no way resembled the way the scene and subject looked in front of us. Two softboxed flashes were needed to enhance the mood of this scene. An in-camera red filter was chosen to help darken the sky and a polarizer helped crystallize the statement. Two modified flashes were used, each equipped with a small LumiQuest softbox. One flash was handheld and pointed directly at our model while the other was placed on a beanbag lying on the ground.

The flash was then aimed directly at the tombstone. Keep in mind that this is how this image was shot; no after-the-fact editing was required.

In essence, you are producing a clean strip of bright light. Next we select an in-camera red filter to drop the blue sky to black.

Here, this is even more pronounced because of the white clouds.

Our polarizer was also spun to solidify that very moody background. An assistant then directed an off-camera funneled flash down toward our model, mimicking the natural light of the sun.

The flash was triggered through the use of a Cactus brand radio transmitter and receiver. Two funneled flashes were used in all of these images. One flash, on a light stand, was directed at the wall opposite our model. The power output was adjusted to allow for only a small glow behind our subject. A very high contrast setting was chosen in-camera, as was a red filter. The choice of the red in-camera filter was specific in design: The power setting on the front flash was then adjusted to reach about three feet.

Various angles of flash were then explored. Four funneled flashes placed on the ground and aimed at the bottom of the field provided the lighting. A graduated neutral density filter ensured the mood of the sky. One funneled flash was used and handheld. An orange filter and lower contrast setting were chosen in the camera to allow some the sky to shine through. One hand-held funneled flash was pointed directly at a small group of twigs on the ground. Then, the in-camera contrast was set a bit lower than usual to allow for more detail.

A green incamera filter was also employed to bring out even more information.

Being creative means pushing your vision and your equipment further than ever before. A quick splash of light from any angle or height will freeze things when nothing else will.

It will also clear up a poorly executed pan or fill in the shadows on quickly moving subjects. You can, as always, highlight any tier of graphic information.

Plus, if you use a With the use of an off-camera flash, a new dynamic is added to motion photography—a way of incorporating both the emotion of movement with the stopping power of the flash.

With the aid of one simple corded flash, the photographer gains a multitude of options. Even at slower shutter speeds, the flash will help freeze movement. Keep adjusting the power output on the flash. Change the aperture in the camera. Move closer and further away. Review your images. Notice how even the slightest changes can weaken or strengthen the flash. Now, modify the light. Use a softbox to enlarge it or a snoot to direct it.

Get to know the magic that one flash offers before you move onto more. Be creative with your lighting setups, triggering methods, and modification rituals. Explore the possibilities of motion frozen with flash while paying attention to how things change in the rest of the image. You will use all of this experience later. Two unmodified flashes gave this image the needed boost of light it deserved.

When the pop-up flash fired, so did the other flashes. The pop-up flash did not illuminate any portion of the scene; it was only used as a triggering device for the much more powerful off-camera flashes. You have three choices when dealing with motion and using an off-camera flash: Here, one hand-held flash brings our message into the light.

Seven unmodified lights set to full power were employed to freeze the twirling model. Four were used behind an umbrella, two were set on light-stands, and one was hand held by an assistant and sometimes the photographer. High contrast and saturation settings were used along with a bluer-than-normal white balance.

Two unmodified lights perfectly illuminated the right and front side of our model. A very wide-angle lens 18mm was used. One off-camera, unmodified flash can still be quite effective in freezing detail.

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The longer focal length also allowed the photographer to move backward, dramatically changing the offered perspective.

Three unmodified flashes set to full power are attached to an extending handle in the above images. They are lightweight and easy to move on your own.

Four unmodified flashes set to full power were needed to light each corner of our model during this rather dramatic jump over the San Diego skyline.

A very light red filter was added to each flash to complement the redder-than-usual white balance setting. In-camera contrast, saturation, and hue choices were adjusted to taste. Now, increase the power of your flashes by combining them. Create as much light as possible and see what happens. Overpower the sun itself if you can.

Know what gear it takes to have complete control over every aspect of the scene. Understand the maximum amount of light you can produce with all your gear, then figure out how you can use it with all moving subjects—at any time of the day or night. Let When you stop trying to capture the world as it appears, magic can happen. Long before cameras could sync a flash with the front and rear curtain, photographers would trigger their flash in the middle of a long exposure.

The idea was to freeze a portion of the scene while allowing the rest to blur. In this image, an assistant held the flash and triggered it manually, firing at the frozen beverage sign while the photographer took the image.

This technique will open up a new world of possibilities. Be ready! The off-camera flash offers amazing options. As discussed in chapter 2, by employing a TTL cord and connecting your off-camera flash directly to your camera, you can as long as your equipment permits it use highspeed flash sync to shoot at faster shutter speeds. Aim it at a face, at a skateboard, or parts of a bicycle. Concentrate on tiers of graphic information that most photographers overlook.

Keep the size of the flash very small. With enough practice you and your assistant will be able to track even the fastest-moving subject. With flash.

You can spin the camera, zoom in and out with your lens, move your body forward and back— the options are as vast as your imagination. Then, the camera was slowly moved from one side to the other, creating the dramatic trail of colored light you see. This is a very difficult technique, but it is one that every good offcamera flash photographer should learn. In-camera art is coming to the forefront of creative expressionism today, and the off-camera flash photographer is leading the way.

But did you know that you can put these two effects together? Combined, a slow shutter speed and off-camera flash offer a chance at expressionism that only the bold and adventurous play with today.

This technique is all about blur and your ability to control it. Start with simple panning exercises—cars, bicyclists, and skateboarders make perfect targets. Yes, I know it sounds odd, but this is a book about creative techniques, right? Once you can zoom and pan at the same time, try adding your off-camera flash. Use a wired, handheld option to trigger the flash, set your camera to rear sync see next page , and shoot.

The effects will be quite interesting to say the least. While this combination proved effective for our background, our foreground subject stayed in the dark. Whether you spin the camera, zoom, or just jiggle it, blur happens.

Use that to isolate an intent. This technique will change your mind about ever putting a camera on a tripod again. Spin and Zoom. Next, a wired off-camera flash was employed to illuminate our subject.

No other settings were changed. The camera was still held very still. To get this, simply begin by dialing in a smaller aperture. Keep in mind, though, that if you use too small a hole you will be cutting the apparent output of your flash—causing you to use an excessive power setting, which may irritate your models.

Take a moment to make sure your lighting is correct. Next, grab a model and get your off-camera flash to illuminate your subject. You may want to use a light stand. Instead of holding the camera still, he spun the camera in a clockwise direction during the exposure. Even though the camera movement caused a very blurry background as seen here, our illuminated subject remains crisply in-focus. Start by slowly rotating the camera while taking the picture.

The first photo shows how it looks without the flash. The second illustrates the extreme stopping power of a flash. Notice how the off-camera flash still kept our model completely frozen during the turmoil. Now, take it up a notch.

Instead of spinning the camera, simply zoom in toward or away from your subject. What if you combined this slow-shutter, flash option with that of multiple exposures? What if you were to light a moving subject with a color-filtered flash, yet changed your white balance to favor another—and what if you did all of this while twirling the camera?

What if you were to combine old-fashioned, inthe-front-of-the-lens, special-effects filters with movement, lighting, and tiering? What if you set your camera to fire the flash at the rear of the exposure and zoomed while you exposed the sensor? What if you just played with Front and Rear Syncing your camera and flash? What do you think would happen? Both options offer very unique effects.

The images here were all shot with with the camera on rear [or second curtain] sync. For the off-camera flash photographer, there is no limit to what he can create once he gives up what he sees. The exposure time was approximately one minute. The brush-stroked color and tones appear because the camera was moved during the exposure.

An off-camera flash helped lock in the details at both the beginning of the exposure and the end. To do this, the flash was fired manually.

As an added bonus just to keep things fun the focal length of the lens was also changed during the exposure. RIGHT—For an expressionist who uses a camera, the off-camera flash is a powerful tool that allows him to brighten up select portions of his art while leaving others in total darkness. Whatever you call it, expressionism is a way of communicating how you feel. His images rarely resemble life as we know it. Instead, they portray something visible only to his eyes—a kaleidoscope of color and ideas, of shapes and feelings, of lines and emotion, of tones and passion.

They are as unique as the photographer himself. His images are not manipulated in the computer; they are created in the heart.Multiple Flash Photography.

That means that, if you can see and light the rear tier with your off camera flash, you can have a spotlight of color behind just about any subject. Your Turn What books have we missed? Push your equipment and your vision to the breaking point. Use a handful of neutral density filters to cut the light or a variable neutral density filter. Through the use of optical or radio signals, a photographer can fire his flashes from great distances without being physically connected.

It worked out pretty good too — not bad for the cost of a couple of liters of milk! You need to be meticulous and caring. HawaiianEye Top Contributor: This is why we abandoned our automatic settings long ago.