THE MYSTERY OF REVEALED by Charlie Borland All text and images Copyright © Charlie Borland

LESSON 2: FLASH ON In this lesson we are going to look at a few more options available on many of today’s state-of-the-art flashes. Also covered will be some fun shooting techniques such as Flash Key, Flash Fill, and Bounce Flash.

A flash is composed of two areas; foreground and background. The background is ambient light where the flash has little impact. The foreground is controlled by the flash and this is why the camera meters both areas differently. The flash meters the subject for proper while the camera meters background. Often this can result in dark backgrounds as many photographers think of flash photography as shooting in dark or low light. But there are many ways to have both areas of the photograph perfectly exposed.

I was asked to photograph Latin restaurants for a magazine story and one image they needed was Salsa dancing. I had fun using flash and long speeds to get colorful blurring showing the dancing.

Where is the flash measured? I have researched this endlessly to be as accurate with this class as I can but very little information is available from camera manufacturers to actually provide a definitive answer. Most these days are fully functional auto focus cameras with integrated systems that allow for very accurate flash operation. Many of the newer ETTL systems meter for a flash exposure using either the selected auto focus point or use a center weighted evaluative system to determine accurate flash exposure. For a basic flash exposure make sure that your subject is centered in the frame or the AF point selected is on the subject.

In the older ETTL systems it was always understood that the autofocus point was where the measurement was made. There was an averaging area around the autofocus point to assist in determining proper flash exposure and I taught that the autofocus point is what matters. Since they came out with ETTL-II this has apparently changed and the metering pattern is more evaluative. I believe the autofocus points still gets the center of attention but the camera evaluates the rest of the zones within the scene and determines output accordingly. This evaluative approach is not equal or even all the way across the viewfinder but is weighted towards the autofocus point. On Canoins you have the option to select average and this makes all of the zones within the metering matrix provide equal measurement of the light.

Here is an example: you're in evaluative and you have a person on the left side of the scene with the autofocus point on them and a normal wall behind them while on the right side of the background is a pitch black hallway. When using evaluative the place of emphasis is the autofocus point area on the subject for proper exposure. The meter will place most emphasis on the subject in the area surrounding the subject such as the wall behind them. If you choose the average option then equal importance is given to all the zones within the viewfinder and what may happen here is that the black hallway may unfairly influence the metering and cause an overexposure because of the heavy emphasis given to the black area.

Flash Range-ETTL Each flash unit has a certain range of flash ability based on the total power it has. Remember, the higher the the more flash output and the greater range that it can send light emitted from the flash. The range of your flash is important for a number of reasons.

If you have little experience using your flash unit and are photographing your child’s school play and set the camera to f/22 because the camera sales person said all your pictures will be great, you will be disappointed. When you set your f/stop to f/22 and begin taking pictures, you will notice that the flash is taking a long time to recharge. The reason is you are using the total amount of the capacitor’s charge for those pictures and it needs time to recycle. Your batteries will not last long either.

What you should do is try to gauge the distance from your position to the child on stage and then observe the flash’s range as illustrated on the back of the unit. These examples show this flashes range based on the f/stop set on camera: The image on the left shows the 550EX set on E-TTL, 28mm lens and of f/4.5. The range that the flash can accurately expose the picture is a range of 5 – 50 feet. The middle image at f/9 has a range of 3 – 20 feet. The right image at f/22 has a range of 1 – 8 feet.

Left, the SB800 shows the flash range in meters. At f/3.5, ISO 100, the flash has a range of .6 meter to 5.7 meters. If you wish to change to feet, press the SEL button for 3 seconds and when the menu shows, it is the third item down.

The points to consider in regards to the flashes range are: distance from camera to subject, , and the flashes output ability. I prefer to use the widest aperture necessary on my flash to achieve the needed amount of depth of field, if any, and this preserves battery power and increases the flashes range. So If I determine that f/4 will give me enough depth of field because my subject is fairly one dimensional, I will use it. If f/11 appears to be better suited for the necessary depth of field, then I will use it, but I will also check the flash and make sure that my subject to flash distance falls within the range of the flashes ability.

Unfortunately, not all flashes provide the range information, like the Canon 430EX. You actually would need to review your manual where this information is provided.

(By the way, to change the scale from meters to feet on Nikon visit pages 68-700 for the SB800: Press the SEL button for 2 seconds. Press the + or - button or the wide (three trees) or tele (one tree) button on the multiselector to choose the desired custom functions and then press the SEL button. Press the + or - button to highlight the desired setting. Press the SEL button for 2 seconds to return to the normal mode.

For Canon: Turn on the Speedlite and hold down the Custom Function (C.Fn) button on the back for a few seconds until the C.Fn menu appears. On the 430EX II, use the +/- buttons to change the display to “Fn 00.” On the 580EX II, use the Select Dial to change the display to “Fn 00.” Press the Select/Set button once. The function number will blink on and off. If your Speedlite is currently set to display meters, what you’ll see is “Fn 00”, followed by a separate, blinking “0”. Turn the Select Dial clockwise (580EX II) or press the rear “+” button (430EX II) to change the rightmost 0 to a 1. Press the SET button again to lock-in the new setting.)

ISO The ISO setting on your camera can extend the range of your flash just as it contributes to faster and f/stop combinations in normal outdoor shooting. For example, if your camera is set to ISO 100 and the exposure combination for your subject happens to be 1/60th @ f/11, when you change the ISO to 200, your exposure combination changes as well and you could use either 1/125th @ f/11 or 1/60th @ f/16th. You can use this to extend the range of your flash unit also.

Here are two examples showing how ISO affects flash range. The image on the left is ISO 100 and the range is up to 18’ at f8 and 24mm lens (indicated on back of flash). The image on the right is ISO 200 and the range of the flash goes up to 25’.

Increase the ISO, and the flash will have an increase in effective range.

Nike asked me to photograph Lance Armstrong, as he was reviewing and designing a series of watches that would bear his name and endorsement. I chose to use ambient light and bounce flash for a natural look that did not require long shutter speeds. Nike used a series on ‘hang tags’, which accompanied the products.

Flash on Manual Mode During this lesson, we have covered all the options available for using flash in an automated capacity. There are however, many advantages to using flash in a manual capacity. As mentioned in Lesson 1, you have Manual SHOOTING Mode and here I will be talking about Manual FLASH Mode which means that ETTL is disengaged. Unlike what I mentioned previously, where the camera’s Manual Exposure Mode was for the camera while flash stayed on E-TTL, Manual settings on the flash are different. Essentially, you are turning off E-TTL and the flashes automatic features, instead using its manual features. This allows you to adjust flash output manually. There are several ways to use manual flash mode; calculate it yourself, or some flashes have the calculations pre-determined. Check your manual.

Manual settings are very effective when you seek to have a consistent output for a series of photos. When you do switch to manual flash, the ETTL/ITTL features are disabled and the flash will emit exactly the same output each flash based on the settings you choose. For example, if you have a subject that remains the same distance from flash/camera and you plan to photograph a series of images, then switching to manual makes sense. If you are set up to photograph Hummingbirds at a feeder, the flash will remain the same distance for each exposure once you’ve tested. You start by looking at the back of the flash and reading what the flash says is the effective distance based on that power setting. Let’s say full power says 20’ and your subject is 10’, you then adjust to ½, ¼, or whatever power setting indicates proper exposure at 10’. Next take a test exposure and check your camera’s LCD/Histogram for the proper exposure. If the exposure is off, adjust the f/stop accordingly until it is correct.

On the left is a great example of manual flash (and 15mm lens). I set the lens to f11 and then tested the flash at ¼ power but the picture was to dark. So I set it to ½ power and got this shot. Because the flash was on manual power I was able to shoot lots of poses and was confident that each was a proper exposure. I could have done this with the Infra red triggering system that comes with the system, but I am so used to and confident of my wireless setup (more in alter lesson) that I went with it. By going wireless I did not need to use my TTL cord which does not allow the flash to be further than 3’ (max) from the camera.

Many photographers prefer to use manual flash output because there is never a question of what they will get for exposure. A wedding photographer for example, who has tested and used their flash many times, know that when they have the wedding party lined up and are 20’ from the group with the flash unit set to full power, the flash unit will provide an exposure of f/8 at ISO 100. If they need more depth of field, they can set the digital ISO to 200 and be at f/11. If you would like to establish your own series of tests to determine proper Manual settings, start with the math.

The Canon 550EX has a stated GN of 139. So, if you have a person stand exactly 10’ from the camera and use ISO 100, set the f/stop to f/14 and take a test, it should look great. Now have them move 20’ from the camera. Based on the Inverse Square Law the new f/stop should be 75% less of the first or around f/7.1. Take another test. It should also be right on the money, but if not, make note since using your flash on Manual requires testing to determine accuracy. While you are shooting in Manual, you have to do these calculations in your head to make sure your exposures are correct. Wedding photographers usually have their exposure settings locked deep in their brain and know that if the subjects are 10’, 15’, 20’, or more feet from the camera, they know exactly what f/stop will deliver the correct exposure. If you are more comfortable figuring out settings and adjusting accordingly, then manual flash mode is for you. If all of this MATH warps your brain, forget it then, because manual flash can be determined by a few simple test exposures and looking at your LCD and Histogram and making adjustments accordingly.

Is Manual Flash hard to use? No, it just requires a little testing because it is no longer using automatic flash like ETTL. Here I took a self portrait and knowing that the flash was close to my face, I set it to manual flash mode and at the lowest manual power setting, 1/32nd and then shot a test at f11. My face was dark, so I opened up the aperture to f8, re-tested and had a good exposure. Since my arm extended the same length each test, I new that manual flash mode would be consistent.

For this camping image, I place a small flash just out of camera’s view on the left and set it to Manual and ¼ power. The flash was then consistent and I was able to bracket my flash exposures by changing my f/stop for brighter and darker flash exposures.

Double check your flash’s manual to determine how to set your flash to manual mode. Some flashes have different manual modes. It is recommended that you experiment with each one of them to become more comfortable with your flash and its capabilities. Keep in mind that 1/1 is full power; ½ is ½ power; ¼ is ¼ power, and so on. What is nice about the flash’s manual output ability is that you can have the flash output pre-set, then determine through some quick tests the correct f/stop. Once those tests are complete, and you are ready to take the picture, you can bracket your shutter speed for interesting effects.

Exercise To test and understand Manual Flash Mode, try this test. Put the camera on the , set the camera to manual shooting mode and set it to f8 @ 1/125th. Note that these are just random settings I chose. Do this right after sunset so the ambient light is low and this will allow you to better see the test results. Set the flash to manual flash mode and start with it set to ½ power. Have a person or pick a subject that is, say 10’ from the camera. Take a picture. Is it over-flashed (to bright) or under-flashed (to dark)? If it is too bright you can do two things to bring it under control. 1) Change the power setting on the flash to ¼ power from ½ power. 2) Adjust your fstop to f11. Take another test and if it is still too bright, make the same adjustment again. If the first test was to dark, then change either the power on the flash to Full power or adjust the fstop to f5.6. Take another test and if it is still to dark, make the adjustments again until the flash exposure looks correct.

Flash Range-Manual Mode You can use your flash in manual mode and adjust the power output at a variety of settings. It is helpful to know the distance from camera to subject as the flash will indicate the proper f/stop based on that distance. Here is how it works on the Canon 550EX, you press the Mode button on the flash several times until the ETTL in the upper left is replaced by M for Manual. When M shows up, it also shows the power setting for the flash. If it says 1/1 then that is full power, ½ half power, and ¼ quarter power, and so on. Next, notice the f/stop and the feet index below that.

In this series, the image on the left indicates full power (1/1) and a subject at 10’ would require f/16, or if you want f/16 your subject needs to be 10’ from the camera. In image 2, the f/stop is changed to f/8 and now the subject can be 20’ from the camera. In image 3, the setting is f/5.6 and at full power the subject can be 30’ away. If you change the output level, you will notice that the flash changes the shooting distance accordingly.Here is where you can get creative. Need f/8 for a subject 15’ away, change the output level until the flash shooting distance indicates f/8.

An example: you are photographing a bird’s nest each day to watch the chicks hatch. You measured the distance from your best vantage point to the nest and let’s say it is 30 feet. You then can adjust the setting on the flash and camera to achieve the proper setting for 30 feet. Based on these photos, image 3 shows that you would choose f/5.6 as your aperture based on 30’ distance to the nest.

You can also adjust a flash output using the power ratios. The method for doing this is to press Mode button and then use the minus (-) button to lower the flash output. In this example, the flash output has been manually adjusted to ¼ power. If I set the f/stop on the camera to f/8, the flash says the subject must be 10’ from the camera for proper flash exposure. Change the f/stop and the distance scale will change providing the information you need based on ¼ power. I use this feature when I am on assignment and am photographing the same subject many times, I just adjust the flash output in manual mode until it indicates the f/stop I have chosen. The 580-EXII can be adjusted in 1/3 stops as well.

For the Nikon SB800, you press the Mode button until it displays M followed by your desired aperture. Next, press SEL and use the + or – buttons to select an increase or decrease in the output levels. This means that you can adjust from 1/1 or full power, ½ (1/2 power), ¼ (1/4 power), and so on. (The SB 800 can be adjusted in 1/3 stop increments while in manual mode, and you should read your owner’s manual, if you wish to use this feature). As you adjust manual output levels (1/1, ½, etc), the flash indicates the Flash Shooting Distance, which tells you what distance your subjects needs to be for proper exposure. If your subject distance is already determined, then adjust the output levels until the correct distance is reached. In other words, if your subject is 15’ from the camera and the flash indicates 25’ when the output levels is 1/1, then adjust the output level until 15’ is indicated on the flash. A very cool feature of the SB800 is the Distance Priority in Manual Mode. This allows you to set the distance value and aperture, and the flash outputs the proper amount of light each time. You still have full control over your shutter speed and manual features. I hear the wedding photographers applauding! To use this, press the Mode button and select GN, press SEL until the distance display is highlighted, use + or – until you have the desired distance entered. Then select the f/stop you plan to use. With this feature, if you have exceeded the flash distance ability, you will get a warning indicating as such, and will need to either adjust aperture or ISO.

There are many variables you can use in Manual flash and these are determined by the flash output you choose, anywhere from 1/1 full output to 1/128. If a certain f/stop is required for depth of field and your subject is 12’ from the camera, just adjust the power output in manual until the proper ratio indicates 12’ on the flash LCD. An example on my 550EX, I selected f/7.1 and for proper flash at 12’ the Manual output on the flash is 1/8th power. Change the f/stop to f/13 and the power output required is ½ power.

Flash helped me freeze this swimmer in an indoor pool where the lighting was not very bright. FEC - Flash /FOLC-Flash Output Level Compensation One very valuable feature on your flash/camera is the FEC, or Flash Exposure Compensation. On the Nikon SB800 it is called FOLC-Flash Output Level Compensation. For , we will call it FEC from here on out, but it stands for the same procedure no matter whether using Canon or Nikon. There may be times when you wish to reduce the total output from your flash unit to create a flash-fill light quality. (We will cover flash fill and how to use it shortly). There may also be instances where your flash output is fooled by the tonal values in the scene; either to dark or to light, and you wish to add or reduce the light output to compensate for these situations.

There could also be situations when an increase of flash output may be suitable for an ‘over-flashed’ look. FEC is adjustable usually in 1/3 stop increments, but some flashes are ½ stop. Keep in mind that FEC only controls the output from the flash and does not affect other exposure settings on the camera for background or ambient. The way you use this feature will vary by camera and you must check your owner’s manual. For the sake of demonstration I will describe it using my Canon. You can set the FEC anywhere between -2 stops to +2 stops and in 1/3 increments.

You hold down the FEC button as indicated in figure 1 and you can see the index (figure 2) indicates that flash is set at full output because the small mark is centered in the scale or “zeroed” as I like to call it. Continue to hold the FEC button down and spin the Quick Dial (image 3). Figure 4 indicates where the index should be for -1 stop of flash output. Figure 5 indicates where the index should be for +1 flash output. Note that there are 1/3 marks between 0 and -2 and +2. These marks indicate 1/3 stops of output. For example, the mark just left of -1 would be -1 1/3 reduction in flash output and so on. You can go as far as +/- 2 stop in flash output. A -2 output is so weak that the flash can barely be noticed on your subject so I rarely go that low. These three images illustrate the use of the FEC. Image 1 is Normal flash output, the middle image is FEC +1 stop of output, and the right image is FEC -1 stop flash.

To adjust FEC on Nikon equipment, the adjustment is made in the flash. And remember, Nikon refers to it as Flash output level compensation. This is available in iTTL, Auto Aperture flash and Distance-priority manual flash operations. You can also control the flash output directly on many flashes. The Canons have this ability. You can choose to control the FEC either on-camera or on-flash. I use the FEC on the flash when using it on a different camera like my EOS-3 film camera. To change FEC on the SB800, press SEL button until you have highlighted Flash Output compensation value. Press the + or – buttons to increase or decrease the output values. If you are using any other camera, please read your users manual to determine if and how FEC operates on your camera. Here are three photos showing FEC at work. The camera exposure settings are set and in Av mode. In image 1, there is no FEC, it is set at 0. Image 2 has -1 FEC and image three has -2 FEC. The difference is the opposite of when we used EC to change the background exposure. The ambient light stays the same, but the flash output changed in each image.

Why use FEC? FEC is useful in all flash photography. You may be photographing a party outside for example and the sun is out. Since you are moving quickly getting shots, you chose Av mode because it is all automatic and you don’t have to think about metering the light with your camera in Manual mode. You want your flash to act as a fill light, meaning weaker light than the sunlight. So you set the flash to FEC -1 and you can walk around snapping away. The camera is set to pick a shutter speed based on your chosen aperture, so you don’t have to think about that. By setting the flash to -1 FEC, the flash will output enough light to fill in the shadows no matter what you are shooting. It is all automatic, yet a good quality light with the fill flash.

When to use FEC! As mentioned in the previous paragraph, the best time to use FEC is when flash is the secondary light source and you are using it in conjunction with another light source such as the sun or indoor lighting. If the flash is the only light source, whether direct or bounced, using FEC, especially in a minus FEC capacity, only darkens the photo because the flash is the only light source and the subject is being under-flashed, creating a dark picture. So use FEC in conjunction with other light sources for best results and in Aperture Priority Mode.

KEEP THIS IN MIND: WHEN THE FLASH IS THE ONLY LIGHT SOURCE YOU DO NOT WANT TO USE –FEC AS IT JUST CREATES DARK PICTURES.

FEC Exercise Here is an exercise for helping understand FEC better. Have a person or subject stand in the garage with the garage door open and lights off. You want bright light outside but not entering the garage or hitting the subject. Meter for the outside light and adjust the cameras settings as such for proper exposure for the outside. With flash off take a test exposure and the subject should be close to silhouette. Now turn on the flash and take another picture with no FEC meaning ZEROED. Next take another picture with -1 FEC and another at +1 FEC. Your four pictures should show no flash with the silhouette, a proper flash exposure, an exposure where the subject looks under-flashed, and the last where the subject looks over-flashed.

FEL- Flash Exposure Lock The purpose of FEL (FEL=Canon, FV=Nikon) is to lock in your flash settings, which then allows you to reframe the picture and still maintain an accurate flash exposure. Most if not all of today’s ETTL systems measure the flash exposure at either the AF point selected in the camera or center weighted. If your system uses the AF point and you are shooting a person and you point the camera at them, focus on them and then move the camera to the side to reframe, the auto focus point has moved and the flash will re-meter to make an accurate flash exposure at the new area where the AF point is. Of course, since the flash AF point was moved this results in an inaccurate exposure of the main subject.

This works the same for the center weighted systems, if you point the camera at a scene with the subject placed on the side of the frame, the flash and camera will meter the center of the frame rather than the subject and this could result in an inaccurate exposure. By using FEL you can lock in the metered settings prior to moving the camera and your auto focus flash output will remain the same. Not all cameras have FEL so be sure and check your manual to see if your camera does. For those systems that do use the selected AF point there can be problems. If the AF point is not on the intended subject, the focus will be off and so will the flash exposure. Here is an example:

Here you can see the AF point on the back wall (left side). She is out of focus and over-flashed. The image on the right has the AF point on her and the flash exposure is correct. This means you should always have your AF point on the subject that you want correctly exposed with flash. If you need to reframe the composition then use FEL to lock those settings in before moving the camera.

Exercise: To test your flash and camera system, place the focus point on the subject and take a fully flash image. Take a second exposure by placing the AF point on the background (background should be at least 10’ further). Compare the two images. If they look like above then your camera is metering the flash off the selected AF point. If they look the same, the flash is using an evaluative form of measurement.

This photo of a woman gardening was taken at a retirement community. The harsh sun was behind her and created harsh shadows. I placed a flash remotely to the left to fill in the front of her.

FEB- Flash Exposure Bracket Flash exposure allows you to take a series of three different pictures with the flash output bracketed over and under the main flash exposure while the background remains the same exposure. This does not affect your main exposure, just flash output. Depending on make and model, the bracketed exposures can be in 1/3 or ½ increments. So the camera will take a normal flash-output image, then the next will be under exposed and the third over exposed depending on the settings you chose. Check your cameras manual to see if this option is available and in what order the pictures are taken.

This image of the 550EX (Same for 580EXII) screen shows the settings for FEB. On the right is the index of Fb-1 which shows that it is in FEB mode. Also, on the left is the symbol for bracketing with a +2/3 next to it. This indicates that the flash will output a normal flash, the next exposure will output an under-flash by -2/3 and the third exposure will have a flash output of +2/3. There is no difference in the final pictures whether using FEB on-camera or using the FEC in 2/3 increments in the flash. The pictures will be the same, however, using FEB is quicker-you just take three quick pictures while on-camera FEC requires a manual adjustment. The SB800 does not come with FEB and if you are using any other brands or models, be sure and check your manual regarding this feature. However, the Nikon D2X (and most models thereafter) does offer it. Adjustments can be made to exposure and flash or just flash only. First, you need to choose what type of bracketing you want through the Customer Setting Menu (e5) AE & flash or Flash only. Then, while holding down the BKT on the dial of the left, top side of the camera, rotate the main command dial to choose the number of shots in the bracketing sequent.

Red eye There are many times that you will photograph in low light situations where flash is required. This could be a family gathering or a business event, but, either way you are indoors and the light level is low and requires flash. Often when you take a picture, the result is eyes the have a red center known as red eye. This happens more with cheap cameras where the flash is very close to the lens.

Red eye is the result of the pupils being wide open from the rooms low light and when you take a picture, the flash fires and the light goes through the pupil and bounces off the blood vessels in the retina of the eye. This is a sort of Angle of Incidence issue as the lens and flash are so close that the light bounces back at the same angle.

There are several other ways to reduce this potential problem and they include removing the flash from the camera. You might see press photographers or even wedding photographers using flash brackets that place the flash next to the camera rather than on it. You can also have them look at a bright light should there be one. This will dilate the pupils as well.

Another method is the red eye reduction features of your system. The camera, as you are pressing the shutter release, fires a small flash-type light to get the pupils in the eye to close down from the brightness. The flash then fires the full amount of flash for the picture and usually the red eye problem is gone.

Red-eye reduction is not always needed as it can be quite bright where you may be shooting. You can turn red eye reduction on and off in the cameras menu. There are also some technical considerations to take into account. If your subject is not looking at the camera when the reduction lamp comes on then it will not work because the pupils need to be reduced in size by the pre-flash. If you are using the latest Nikons, you go to the Flash Sync modes and select either Red- eye reduction or Red-eye reduction with slow sync. These modes works with both the SB800/900 and SB600, along with some of the older flash models. To choose the sync mode, press the flash symbol button on the left, topside, and then rotate the main command dial until the desired mode is highlighted. Check your camera’s system to see exactly how Red Eye Reduction works or if it is available on your particular model.

I was photographing gardening themes and really liked the backlit flower petals. To reduce the contrast I used auto flash fill.

Auto Fill Reduction Many flashes automatically apply Auto Fill Reduction when photographing in bright light. This basically means that the flash is doing the work for you by not over flashing the subject. This also means that you may not need to use FEC if you just need some fill light. E-TTL has improved fill flash by making it more subtle when ambient light levels are bright. One point to remember is that any FEC you apply manually will be in addition to any auto fill reduction that the camera may apply. Another factor is that some cameras have a custom function that allows you to turn off Auto Fill Reduction and this allows you actually get the flash fill you set on camera. Check your manual to figure out what you have and how you can turn it on or off. Otherwise, AFR is something that you really need not pay attention to. If you are outside in bright light shooting and you take a picture that you feel is over-flashed, then go in and apply your own FEC to achieve the balance you want.

Flash Key In all lighting there is a light that is the main or ‘key’ light. Often this is the brightest light, but not always. The “key” light is always the dominant light and flash key means that the flash is the main light. When you take the disposable camera to the birthday party and snap a picture, or you have set your on P for program, turned on the flash and snapped the same photo, the result usually is a flash key photo. This means that the subject has been flashed (using either camera) and with little regard for the background. These are the “happy snaps” that we all take at various events we photograph for the sake of recording the event. The result is often a flashed subject and dark background.

You can use flash key to create very interesting . The idea is to flash the subject at the flashes full output and visually separate them from the background. This is done by using the cameras recommended shutter speed or purposely choosing to under expose the cameras recommendation for the ambient background light. Even more interesting is to use an ambient exposure that is darker than what the camera suggests and this allows the subject to stand out even more.

These images of my friend and model, Fletcher show the benefit of flash key. On the left is exposed at the cameras recommended setting no flash. Notice that the subject does not stand out much from the background. The image on the right is at full output and it makes Fletcher stand out more from the background. This is lighting the subject in a flash key manner. The importance to this image technique is that we made him stand out by using flash key only.

For this couple images I used the flash in both. On the left the flash lights her for proper exposure and the background is set at the recommended meter settings. On the right a -2 EC darkens the background and makes the flash more dominant in the exposure. The importance in this series is that the she stands out from the background more using -2 EC making the background darker and the flash the dominant light source. The image left is another example of flash key. The camera is set on a tripod and the AF point on the girl with flash set to full output. The exposure mode on the camera is set to Av so the camera will select the ambient shutter speed. Because the background is quite dark the meter can be fooled, so I tested several different shutter speeds, check the LCD, and chose the test with the best neon tube exposure. It was -1 stop under cameras suggested shutter speed or -1 EC.

The image right could technically be called flash fill because I am filling in the shadows, but the flash being set a full output is close to the ambient brightness and this makes it close to the same ambient brightness and has more of a key light look.

How to use flash key If you are in Manual shooting mode and flash is set to ETTL, you meter the scene. Next, adjust your shutter speed to a minus setting to darken the background exposure. If your metered settings are f/11 @ 1/60th for example, then change the shutter speed to 1/125th. You then have made the flash the main or key light by underexposing the background exposure. (Remember, shutter speed does NOT affect flash exposure) If you are using Aperture Priority mode, then use EC (Lesson 1) to dial a -1 shutter speed for the same result. To make the flash output the key light (brighter than ambient) you adjust the shutter speed (faster) until you like the darkness you have achieved.

Key Point: To achieve flash key, adjust your shutter speed (EC) to create a darker background.

Flash fill Flash fill is a very useful tool for photographers. Both film and digital cannot record the range of contrast in a photo scene like our eyes can. In very bright situations, the perfect exposure will favor the highlights in the scene and often to the detriment of the shadows. Flash fill can add light to the shadows areas reducing the harsh contrast created by bright sun or ambient light. It can also brighten up dull images that are taken in flat light. In fact I always recommend the use of a flash whenever shooting people and most subjects in full sun and in flat light. Subjects will benefit in both ambient light situations. In flat light you use more FEC like -1 1/3 or -1 2/3.

The subject may have on a hat or be outside when the sun is high overhead, creating what is called raccoon eyes. Backlit subjects can also benefit from flash fill by outputting flash into the shadow side. By using a flash to bounce light into the shadows, the contrast can be reduced. Wildlife photographers are known to use flash simply to add a ‘catchlight’ to an animals’ eyes.

This photo shows simply the benefit of flash fill.

Think of flash fill as the use of two light sources, the available light and the flash light. The available ambient light becomes the key light or main light while fill flash is the secondary light. By adjusting the output from the fill flash, the contrast ratio is manipulated.

Key point to fill flash: Adjust your flashes exposure, not the cameras.

-1/3 -2/3 -1 -1 1/3 -1 2/3 -2 no flash This series shows flash fill at different settings from flash -1/3 all the way to flash -2 and no flash. I usually use -1 to -1 2/3 for people outdoors. The ambient brightness helps determine which setting I use. For example, if the sun is very bright I will use -1 and if the light is soft I will use -1 2/3 for a little ‘bump’ of light into the shadows.

This travel photo in Mexico uses flash in incredibly bright and harsh sun. I chose a -1 fill flash to fill in the backside of the bike, fish, and boat. These two images show a very good and needed use of flash fill. The flash was positioned just to the right of the camera using the TTL cord. This is why we use flash. It makes or breaks some photos

Here I was photographing canoeing and the early morning sun is about 2:00 o’clock from the camera at 6:00. This is a contrasty light that is almost backlighting. I chose FEC on the flash here to open up the shadow side of the subject.

In another example of flash fill, I am using it when the light is very flat. This image was taken for Shape Magazine as this woman had lost lots of weight. In very flat light, the contrast can be so low that a flash fill can bump up contrast a little. Here I chose -1 2/3 flash fill to fill in the same Raccoon eyes you get in harsh sun. I chose this approach because fashion/glamour lighting is often flat and even with the subtle Raccoon eyes, the flash fill benefit’s the subject.

This example was shot for a clothing catalog and to reduce the contrast from the late setting sun, I chose to use flash fill at full output with no FEC. It is still flash fill because I filled in the shadow side of her and the sun is a bit overexposed on her right side, creating what I call an edge light. This image, for the same clothing catalog uses the flash at -1 stop FEC output to fill in the underside of her as she performs a Yoga pose.

I shoot a lot of adventure and flash fill is so important to make many images work. Here, high in the mountains, the sun is very contrasty at this altitude. Flash fill allows me the ability to fill in the shadows on the subject.

How to use Flash Fill The simplest way to create flash fill is to use FEC on your camera and/or flash and the description on how to do that is earlier in the lesson. On the Canon and in AP mode, you press the FEC +/- button on the camera and turn the Quick Dial for the desired amount of flash fill. Here we are showing a -1 flash fill.

To change FEC on the SB800/900, press SEL button on the flash until you have highlighted Flash Output compensation value. Press the + or – buttons to increase or decrease the output values. For a -1 flash fill, set the flash output to -1. If you are using any other camera, please read your users manual to determine if and how FEC operates on your camera.

You want to use flash fill at a setting that provides you enough flash output to benefit your photo but not so much to over-flash your subject. I generally use -1 flash fill for most situations in very bright light. If in flat light I will use -1 1/3 or - 1 2/3 flash fill so it is not real obvious flash was used. Anything less than -1 2/3 will have little impact on your photo. Basically you won’t see any flash contribution to your photo when the fill is at -1 2/3 or less like -2. Also, I have been calling this flash fill output which is the same as FEC, adjusting the flashes output beyond the metered settings.

Important: Flash fill is a very valuable tool and needs to be used properly. Flash fill is used in conjunction with another light being the main light source. This can be the sun, or an indoor ceiling light, but flash is always the weaker light source because when you use the word FILL as in Flash Fill, you are using it to ‘fill in’ or supplement the other light source. For example, let’s say you are indoors and going to take a snap of two people. There is some room light, but not much. If you take just an ambient room exposure and it says ½ second shutter speed, you don’t really want to hand hold that. So you hookup the flash to take some pictures and wonder if you should you use flash fill set at a –FEC. No, because the flash is really the only light source. So in this case, you would use the flash at full output and a minus EC on the shutter speed so you can hand hold the camera and flash. If you use –FEC all you do is create a dark picture because you are under-flashing the people and the ambient level is also underexposed.

Diffused Flash It is no secret that on-camera flash directed at the subject produces a very harsh and contrasty light. This is often necessary to get the photograph. But there are some things that you can do to soften the light some for a more pleasing effect.

The first is to use a diffuser on the flash head. This is a unit that attaches to the flash head (flash head is pointed at subject) and it diffuses the light output. This can be done many ways from commercial products to a home made apparatus. The goal is to have the flash output the light through something that softens and diffuses the light. There are many manufacturers making flash diffusers such as Lumiquest, Stofen Omni Bounce, Gary Fong’s Lightsphere, The Shell by Argraph, Bounce Screen by Metz, Honl, Strobies by Interfit, and I am sure there are more. If you have the SB800/900 it comes with a diffuser for the flash head that is similar to the Stofen Omnibounce diffuser.

These flash diffusers work best closer to the camera than farther. This makes them great for people, macro work, a still life setup, and subjects that average 5- 8 feet from the flash. Part of this is due to the fact that the diffuser reduces the flash output and reduces the range your flash can output light. Depending on the power of your flash, you may be able to use them at greater distances. On average, most brands I have looked at reduce a flashes output by 1 stop or 50%.

Another thought to consider is that there is a direct relationship between the size of the light source and the softness of the light. A very simple example is the outdoor skies. When the sun, a very small light source, is shining on a clear day, the light is hard and shadows and highlights are distinct. Bring in a cloudy bright day and the sun is diffused and the shadows and highlights are very soft. If you take your flash and place something to diffuse the light output, you will have softer light that is lower in contrast.

Flash diffusers are a very useful addition to the camera bag and can be used in many applications. I use them primarily when a client asks me to photograph a business meeting or social event. I know I will be in close proximity to the subjects, but when I am not, I can quickly remove the diffuser. They are perfect for wedding photographers and in the same situations where subjects are close to the camera.

Here is an example of a home made diffuser I use. (if you have the budget then buy a commercial diffuser, but if you are a DIY kinda person this might be a great option.) You can purchase sheets of white ‘frosty’ plastic from the art store and in a variety of densities. This image shows a light density (I can see through it somewhat) and this means that the light output will be softened somewhat. A denser white will soften the light even more. I purchase the material and then cut it to wrap around my flash head and held on with rubber bands. On an older flash I once had, I purchased a perfect piece of frosty plastic and attached it to the flash by adhering Velcro strips to both the flash and the plastic. If you plan to do a lot of event photography, a sound system will be necessary since you will be moving quickly when photographing this way.

This magazine cover was photographed using a diffused flash right next to the camera on the right. The flash was a key light while the ambient was the fill light.

Bounce Flash One of the most popular methods of diffused flash is to bounce it, but not like taking the flash and bouncing it off a wall or backboard, that would cost you money. The best method of bouncing flash is off the ceiling and the reason we do this is it takes a small light source, the flash, and turns it into a large light source. As long as you have a low enough ceiling, this is a fabulous method for using flash. By bouncing the flashes output into the ceiling, you are in effect creating an overhead light that is large and diffused. This not only allows you to light your subject, but also to light up the room as well. Remember though, the ceiling must be white. If it is any other , then the light will assume that color as it bounces off. A green ceiling will fill the room with green light. However, if you are desperate to bounce and the ceiling or wall is not too colored, you can shoot raw and make adjustments in the raw conversion.

The technique is simple, just adjust you flash head to point straight up and take your picture. If your subject is farther away then you can the flash head towards them somewhat and this moves the bounce spot closer to them.

Here is an example of the bounce flash position and a diagram illustrating how the light spreads.

The second photo and diagram show the flash head position tilted towards the group for more distance.

I also use what is called a bounce . This is an attachment to the flash that catches some of the bounced light and sends it directly at the subject. What happens is the flash creates a soft overhead light and the result can be subtle Raccoon eyes like the sun creates midday. The bounce reflector catches some of the flash out put off the reflector and sends it straight to the subject like an on- camera flash. Because it is weak, it nicely fills in the shadows created by the bounce. The SB800/900 and 580EX both have built in white cards next to the wide angle attachment. These are really more for creating catch-lights in the subjects eyes than acting as a bounce card and are pretty ineffective compared to either the home made bounce card or a commercial version. The unit seen here actually sends a fair amount of the light into the front of the subject.

In the following photos you see a home made reflector that was cut from white foam core board. You can make a reflector from any white board.

This series shows the bounce reflector front, side, and attached with rubber bands, as well as the diagram illustrating the spread of light. The red indicates the bounce reflector. I have a reflector made from white Plexiglas plastic with Velcro added to adhere it to the flash unit.

This next series of photos shows the bounce at work:

No flash, just available light.

These images show on-camera direct flash. The result is a harsh and contrasty light. This image shows the result of bounce and it has illuminated the room and the subject. Notice the shadow under the chin?

Here are the images with bounce flash and a bounce reflector. Again, notice the shadow under the chin and the eye sockets. They are weaker as the bounce card pushes some of the flash light into those shadows.

Swivel heads Most of today’s flashes allow the head to be swiveled and this allows you to point the flash in a variety of directions. If the photo is a vertical then the flash is on the side and the ability to swivel the head allows you to bounce light for any type of image. This photo, taken for a magazine article, used two flashes. One on the guy and one on the van behind and they were triggered with a wireless remote. Lesson 3 covers wireless flash photography.

Here is another example of flash fill taken during a day they were closed and shooting a TV commercial. You can see the sun was up high casting a big shadow on their face and if I took this without flash the shadows on there faces would have been so dark the pictures would not have been useful. Summary Here is a simplified look at using flash and all its wonderful abilities. First, what are you photographing? Consider what the subject is and how best to add additional light from the flash. Do you need flash key or flash fill? Do you have the ability to bounce light off the ceiling? If your subject is off center, use FEL to lock in your exposure. If flash is to contrasty, make a diffuser.

Use flash key when the light level is low or when you want the subject to jump out. Then set your flash at normal and underexpose the shutter speed 1-2 stops from the meter reading. By making the background darker than the metered reading, the subject will stand out from the flash light it.

Use flash fill when the light level is very bright and you want to fill in the shadows on the subject. Then focus on the subject and adjust your level of flash output (FEC) anywhere from full flash to minus at your chosen flash output. This will fill in the shadows and lower the contrast on your subject. Using a -1 fill flash is very common.

Watch these Video Clips Understanding 580EX #2 Understanding SB800 #2 Understanding FEC