Using Flash in digital photography, on camera bounce flash, video light, off camera flash, strobist flash,

1. The use of
Flash in
Photography
By Chris Timothy
Image by Patrick Hoelck

2. The use of
Flash in
Photography
1. Introduction – Purpose and considerations
2. On Camera Bounce Flash
3. Strobist Flash
4. Video Lighting

3. Introduction- Purpose
Using Flash is key to controlling and manipulating light
when available light is not the appropriate for the shot
you hope to capture. Flash gets given a bad name by
photographers using inbuilt factory camera flash. You
have no control over the direction of the that type of
flash. It can only come from one angle and height and
usually hits the subject square on. The visual effect looks
flat and lacks dimension and interaction between
highlights and shadows. As photographers we’re always
looking for perfect light and yet, the quality of available
light isn’t always ideal. But if you use flash wisely, you
are able to enhance or over-ride the available light in a
location you wish to shoot in. With careful and
considered use of flash, you are more in control of light,
and hence the way your photos will look – than if you
just accept the ambient light. the existing ambient light.

4. Introduction- Purpose
Having the flash come from a different
direction to that of the camera adds
real depth and interaction of highlights
and lows lights thus a nicer contrast.
Flash can delete an unwanted light
environment and add mood, emotion
and connotations to your work.
Here Patrick Hoelck’s Flash has added
a nice gradient between the highlights
and the shadows and also a natural
vignette on the background. In addition
to this it also acts as a key light to the
secondary light, the window. It solves
the problem of silhouetting. Flash can
interact with as well as concur natural
light.

5. Directional Flash by Patrick Hoelck

6. In built straight on Flash

7. Introduction – Considerations –Camera Tech/Settings
To use Flash to its potential you have to consider your camera settings to ensure you
correctly expose. There is no specific equation to ensure you do this correctly. However you
do need to analyse the lighting situation that you are in and consider what effect the flash
will have on it and ensure you leave room for it in your settings. For example deliberately
under exposing to leave room for the flash to enter the shot.
Without flash
With Flash
1/160 @ f3.2 @ 800 ISO
1/160
@
f3.2
@
800
ISO
with
flash

8. Considerations. Exposure.
Using the Light Meter
In digital SLR photography it’s important to understand what the light meter is
and what it does before discussing how to use the camera’s built-in meter to set
and manipulate exposure and in this case use it to helps allow for flash.
The built-in light meter found in your digital SLR camera measures the amount
of light being reflected off objects through the lens and into the camera.
This measurement is then used by the camera’s computer to determine what it
believes to be the best exposure for the scene, with that exposure being the
proper combination of shutter speed and aperture and ISO.
Here is a DSLR in built, on screen light
meter. It is measured in stops. The image of
the light meter says your exposure settings
are correct. A -1 = under exposed,+1 =
over exposed.

9. Using the Histogram
When we use Flash there is a danger we will wash out detail in anything which is
already bright/reflective. For example a white dress or the sky. The screen on DSLR
cameras are relatively small and it is difficult to check if a small areas has lost detail or is
bleached out. You could use digital zoom on play mode to check. However this is time
consuming. Another way to check is to use the histogram to analyse your exposure
results.

10. Using the Histogram
A Histogram covers the Dynamic Range of color/tone from black to mid tones to
white. Dynamic range in photography describes the ratio between the maximum and
minimum measurable light intensities.

11. Using the Histogram
As long as the data in your graph finishes before the edge of the graph you are ok. If
the data falls off the graph you have either over or under exposed.

12. Using the Histogram
Under or over exposed?
So, when shooting with flash always check you histogram
graph to ensure your shot is not under or over exposed. If
you don’t you will probably loose detail in the high lights
or shadows.

13. Using the Histogram
Correctly Exposed

14. The Catch Light
To learn how to use Flash it is always useful to analyse other peoples flash work. There is a
really helpful clue to analysing where they have positioned or bounced their flash and it is
called a Catch light. A catch light is a small white circle in the subjects eye which tells us
where the flash was positioned in the shot.

15. The Freeman – Light Portraits
Dean Catch Celebrity

16. On camera
bounce
flash
Image by Tom Munro

17. On camera bounce flash
On camera bounce flash is a way of controlling your light. It turns being “on
location” into a studio. The techniques requires the photographer to fire the
flash at/on somewhere which reflects. You fire the flash where you would like a
studio light positioned.
Window
Subject
Camera/Flash
Firing the flash

18. Blocking Direct Flash
It
is
important
when
using
this
technique
you
block
any
flash
from
hiDng
your
subject
directly.
You
do
this
with
various
pieces
of
equipment
but
you
could
use
a
black
piece
of
foam
or
even
your
hand.
This
technique
allowed
the
photographer
to
bounce
the
flash
to
his
leJ
creaKng
soJer
light
than
a
direct
flash.
The
direcKon
of
the
flash
is
well
composed
as
the
subjects
take
on
a
higher
saturaKon
than
that
of
the
locaKon.

19. Here
the
Photographer
has
used
the
70-­‐200mm
lens,
a
f2.8
wide
open
aperture
and
then
simply
has
to
wait
for
the
right
expression.
He
is
posiKoned
so
that
there
are
defocused
highlights
in
the
background
to
help
create
separaKon.
The
flash
is
bounced
off
to
the
right
into
the
large
recepKon
room.
Result-­‐
slight
contrast,
well
lit
shot.

20. Still life and T.T.L
camera settings: 1/80 @ f4 @ 1600
ISO; TTL bounce flash.
The Flash is shot to the left, reflects
back and makes a nice combination of
tones, again nice interaction between
the highlights and shadows. All the
same is not aesthetically pleasing.
What is TTL?
TTL is a AUTO for flash, it stands for
through the lens. It looks through the
lens and judges the light that is entering
the camera and powers the flash levels
accordingly.

21. Considerations – White Balance
White Balance is a difficulty when using on camera bounce Flash. This differs from using a
Strobist Flash. Your white balance really depends on if the flash fires at the subject directly,
then you could set your shite balance to flash, or if you bounce your flash off a wall, texture,
roof, it will bring some of the hue/colour tone from that service so your white balance may
need to change to match it.
The images below show the orange tones that reflect from the location. Shooting on RAW
will enable you to change the white balance after you have shot to correct, or you can more
complexly cool the image in Photoshop or Lightroom to help gain the desired tones.
Daylight
white
balance

22. Strobist Flash
Image by Tom Munro

23. The catch light

24. Strobist Flash
Strobist means off camera flash. This
method of flash photography allows you
to position the flash where you would
like it as it is totally free of your camera.
A photographer usually uses a stand or
assistant. Your flash acts as your studio
light. In this technique you need to sync
a flash gun/speed light with your
camera. This then enables your flash to
go off at the exact moment your camera
takes a picture. There are some
advantages and disadvantages of
shooting Strobist rather than On camera
bounce flash. For example the light will
be much harsher in strobist because all
the flash hits your subject. It is not
diffused like bounce flash so therefore is
hard more direct light rather than soft.
This results in a high contrast image.

25. Strobist Flash using T.T.L
To conduct this technique expose your shot pre flash, one stop under to
allow for when the flash enters the shot. The camera light meter will help
you in this.
1/200 @F/2.5 @ 200 ISO
1/200 @F/2.5 @ 200 ISO with TTL flash
Position your subject and flash to gain the desired shadows. Here a soft box is used to diffuse
the light. The light is being held with a Monopod rather than a stand on this occasion. You
can
filter
flash
to
match
the
colour
of
the
current
light
sources.
Flash
tends
to
be
blue,
cheap
flash
lights
have
more
green
Knts.

26. Strobist Flash
Alex Prager

27. Tutorial for Strobist Flash
http://www.youtube.com/user/CamCrunch?feature=watch

28. Video Light
Here you can
see a circular
L.E.D video light
on the Canon
Flash gun under
the flash.

29. Video Light
In addition to using various speedlights and flashguns. Video lighing is another technique
which can provide great effect. Using video light in a scenario where tungsten light is the
dominant source of light, helps in achieving a more natural look. Video light is also a
continuous light source, making immediate changes to the lighting intuitive – what you see
is how it will appear. You need to judge each scenario to decide if to use On camera
bounce flash, Strobist or Video lighting.
On
camera
bounce
flash
Off
camera
Video
Flash

30. Video Light

31. Video Light
Video
light
allows
for
constant
adjustment
of
the
light.
LED
is
usually
day
light
colour.
Its
whiter
than
regular
bulbs
which
tend
to
have
the
orange
warm
tungsten
glow.

32. Our task;
Shoot 3 portraits
Using;
1. On Camera Bounce Flash
2. Strobist Flash
3. Video Lighting
Your
images
should
be
perfectly
exposed.
Your
cameras
manual
seDngs/tech,
light
meter,
white
balance
and
histogram
should
be
consulted
when
shooKng.
Your
portraits
can
occur
in
an
environment
of
your
choice
of
whoever
you
wish.
These
techniques
can
be
shot
in
day
or
night.
To
do
this
technique
correctly
your
images
should
contain
a
smooth
gradient
and
combinaKon
and
interacKon
of
highlights
and
shadows.

33. Photographer
inspiration

34. Patrick Hoelck

35. Patrick Hoelck

36. Alex Prager

37. Alex Prager

38. Alex Prager

40. Zed Nelson

41. David Hill

42. Martin Usbourne

43. Bryan Adams

44. Michael Williams

45. Mat Szwajkos

46. Charlie Gray

47. Charlie Gray