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Lighting and Using
Flash The good thing about small electronic flash units is that they are lightweight and provide light quickly and affordably. The bad thing is that all too often it is not the most flattering light. There are some things you can do to improve your results when using a small flash. TYPES of FLASH 1. On camera flash. Connection is through the camera hot shoe. This is the electrical connection that ties the flash to the camera. If the hot shoe is not used, the flash must be plugged in directly to the camera. 2. Handle (potato masher). Camera and flash mounted on a bracket. 3. Studio. Lamp heads on stands. Synchronization to camera is via a cord. SYNCHRONIZATION Flash synchronization refers to the synchronization of the flash discharge with the complete opening of the shutter. With most 35mm cameras you must set the shutter speed to the flash synchronization speed (or slower) to completely expose the film. Synchronization speeds vary from camera to camera (1/60, 1/90, 1/125). You must know what is correct for your camera. Often the shutter sync speed will be indicated by a lightning bolt next to the number or the shutter speed may be in a different color to the others. If a shutter speed faster than the recommended sync speed is used, partially exposed pictures will be the result. Half of the frame will be black. The short duration of the powerful light a flash gives off is enough to stop almost any action. Make sure your flash is charged and ready each exposure (Look for the "ready light" or listen for the beep). A "dedicated" flash is always an automatic flash and is designed to be used with a particular camera. In automatic operation, the flash sets the camera's shutter to the correct speed for flash. Do not use a flash dedicated for one camera on any other unless the manufacturer says they are compatible. The flash, camera or both may be damaged. Flash synchronization with cameras with leaf shutters occurs at all shutter speeds. CALCULATING EXPOSURE - MANUAL FLASH In the manual mode, you must calculate exposure based on the distance the flash head is from the subject (flash to subject distance). Here are three common methods of determining exposure using flash: 1. Use the chart or calculating dial on the flash body. Set the ISO to the speed you are using, measure the distance and adjust the aperture to the indicated setting...OR... 2. Use the guide number provided by the manufacturer in the instruction manual. To determine exposure: f/stop (aperture) = Guide
number at ISO 3. Use a flash meter to measure flash light. CALCULATING EXPOSURE -AUTOMATIC OPERATION In the auto mode you can select a preset aperture and work within the recommended distance for that aperture. Or you can determine the distance you need to cover and set your aperture accordingly. Be sure to set the ISO correctly. Many flash units have automatic exposure control. That is, they have an electronic eye or sensor that measures the light reflected from the subject and adjusts the duration of the flash accordingly. In theory, this should mean that most often your exposures will be correct, but in practice it is possible to get exposure errors (as with your camera meter) if there it too much light or darkness surrounding the subject. Set the ISO of your film on the calculating dial on the flash unit. You may have one or more aperture settings available for the auto exposure mode. Set the flash and aperture to the appropriate settings. Setting the flash/aperture combination gives you a distance range you can work within, be careful not to exceed these distances. MODULATING FLASH LIGHT On-camera flash may provide adequate flash for exposure but this lighting tends to produce a directional, harsh light, that flattens out detail. There are many ways to modulate the flash light to make it less harsh. (Also try to move your subject away from any walls which they may be too close to as a hard wall shadow will be the result with on camera flash). 1. Bounce the flash off of the ceiling or walls. This changes the direction and the quality of light. You will have to increase the exposure as you have increased your subject to light distance. Some dedicated flash units have the ability to tilt the flash head only, so the electronic eye will still give a correct reading when the light is bounced. Small bounce cards are made to fit on the top of the flash unit itself. Bounced light is generally more flattering than direct flash. Be aware of the following things. Make sure the angle of bounced light is not so steep that you miss your subject. If using color film the color of the wall or ceiling that you use to bounce light off will change the color of the light hitting your subject. Ceilings that are too high do not work well as too much light can be lost, nor do dark surfaces as they do not reflect much light. Open up an additional stop to take into account the light absorbed by the surface (wall or ceiling) you are bouncing the light off of. 2. Diffuse the light with a diffusion screen. Many options are available, from using a handkerchief or white tissue over the flash, to buying a "mini-soft box" that fits over the flash head. You may also diffuse the light by getting the flash off of the camera and bouncing it into an umbrella or on to a reflector card. FILL FLASH Fill flash can help reduce the harsh shadows that may result in talking pictures in bright daylight situations. 1. Set both the camera and the flash to manual exposure. Set your shutter speed to the correct sync speed for flash use. 2. Meter the scene and set your lens to the f/stop the meter indicates for your shutter sync speed. Using the flash calculator dial, determine the correct distance from the subject that the flash needs to be. This will give a 1: 1 lighting ratio. Meaning that the sunlight and the flash output are the same. For natural looking fill 1: 1 is not generally a great ratio. Cut back on the flash output by adjusting the light from the flash so that it is one or two stops less than the overall scene. There are many ways to do this. 1. Increase the distance of the flash from the subject. ("The Inverse Square law", by doubling the subject to light distance the subject only receives a fourth of the amount of light it had previously received...See page 275 in London for more on this). 2. Diffuse the flash light by covering it with a white handkerchief. 3. Cut the power back on your flash. Note that if your flash is stronger than the ambient lighting it becomes the main light and is no longer the fill light. PHOTOGRAPHING PEOPLE Generally children will not say "I hate to have my picture taken" nearly as often as people in their teens. By the time people reach 30 many will run the other way when asked to pose for a picture... usually claiming that they have an urgent dental appointment. What has happened here? No doubt they have seen many bad images of themselves in the past. Though there are some people who will never be happy with their own image, for other people it is often the case that they have just had many bad photos taken and have lost all confidence in the process and the possible results. As the photographer it is up to you to make your subject feel comfortable, at ease with you, the camera, and the process. You need to build up their confidence! You will have to find your own way of achieving this... Here are some suggestions to help you along. 1. Minimize the equipment. Know your camera and setting well enough that you can concentrate more on the shoot than on the mechanics. For a head and shoulders portrait, using the 35mm format it is best to use a more mid-range telephoto lens (say in the range of 80 to 105) rather than a normal (50 mm) lens. Certainly do not use a wide angle lens for a portrait, unless distortion of the features is something you are looking for! (Many photographers do indeed want this look). For a full length figure try a 50mm lens, groups may require a 35mm, sometimes even wider, depending on the size of the group. If possible determine your camera setting, lighting and location before you ask your subject to pose. Be open to change if for some reason it is not working... try for big variety. Use minimal equipment if possible. Outdoors this will probably include, camera, film, possibly a tripod, and a reflector card. You may want to use a flash in some instances. 2. Help your subject to relax. Talk to them before you begin. Try to establish a relaxed, easy- going environment. Get to know the subject and their expressions before your begin. Look at the angles of your subject's features. See which position/pose/angle is the most flattering for them. Be relaxed yourself. Avoid discussing controversial topics, unless a tense angry look is what you're after. Do not disappear behind the camera. Keep a communication open with your subject. 3. Look carefully at what you see through the viewfinder. Be aware of poles, tree branches, etc. which may appear to be growing out of your subject head. Check for stray hair which may wind up in the subject's eyes, mouth etc. REMEMBER COMPOSITION! Place your subject in an interesting position within the frame. 4. Give the subject helpful directions. Do not be critical, accentuate the positive. Shoot to develop different poses and expressions, do not wait until you feel that everything is perfect, as often this can lead to frustration on the part of the sitter. Give sincere compliment and encouragement. Remind your subject to breathe! 5. Look at the light and how it falls on your subject. Portraits shot in the middle of the day in full sun are not very flattering. Look for beautiful light (early morning, late afternoon). If it is not possible to shoot at these times try to shoot in open "edge-shade" using a reflector card if necessary. Overcast and foggy day are good for portraits! 6. Try to capture something of the personality of your subject. Expressions are fleeting. Be ready for that look that may be gone in an instant. Film is cheap...shoot a lot. The more you work with people the easier it becomes. LIGHTING... THINGS TO CONSIDER 1 . DIRECTION OF THE LIGHT - Where is the main light coming from in the image. Is it behind, to the side, or in front of the subject? Could you move your subject so that the light falling on them is more interesting? How does the direction of the light change the feeling of the photograph? 2. QUALITY OF THE LIGHT - is it hard (directional) or soft (diffused). Hard light can accentuate textures (and wrinkles). The sun casts directional light. Clouds diffuse that light. Directional-diffused light is where there is a noticeable direction to the light but the shadows are softer. (Window light or reflected light are examples of directional diffused light). When using artificial lighting, the dominant light is called the "main light" or the "key light". It is casting the most obvious shadow. This type of lighting most closely resembles the sunlight that people are used to seeing, with one main light source casting one set of dominant shadows. "Fill light" is an additional light source used to "fill" shadows. You may also consider using a reflector card as a source of fill rather than adding an additional light. A white reflector card also adds "catchlights" to the eyes, making them sparkle and seem more lively. LIGHTING RATIOS The lighting ratio is the difference between the lit side of the subject and the shadow side. The higher the ratio the greater the contrast. Doubling the ratio is equivalent to a one stop change between the highlights and the shadows. For example: 1 : 1 = Both sides are the same brightness. 2: 1 = The lit side is twice as bright as the shadow side (a one stop difference in meter reading). 4:1 = The lit side is four times brighter than the shadow side (a two stop differ- ence) . Many portraits are made at a 3:1 or 4:1 ratio meaning that the lit side is 1 1/2 to 2 stops brighter than the shadow side.
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