Flash Basics – Flash Photography

Flash Basics – Flash Photography

Flash Basics – Flash Photography

Basic principles of the camera: (forget the flash) The use of a flash-gun mounted on a shoe, directed at the subject, is a very flat light, perhaps the worst of all. There are ways to change the camera flash to control our lighting.

We can diffuse the flash using a clip on plastic domes (think of Tupperware colored pots without dying that fits the head of the flash), or we can bounce our ceilings, walls of flash, reflectors, etc.

Light balance between existing light and flash is quite simple. Remember the shutter speed controls for ambient light or ambient light and the aperture controls the flash effect. The camera mode is set in the aperture selection (aperture priority) to the desired depth of field (ie, for F8 weddings does the job).

Get a reading of the subject and take note of these settings. Now select M (manual) mode and use the settings you obtained in Av mode. Set the flash to the shoe, use a manual flash. Try the first maximum sync speed (typically 1/250 sec or 1/500 sec), then downward by adjusting the shutter speed and checking the monitor until the ambient light is correct.

As for power control, I like to start a quarter of the energy, so I can lower two stops at 1/8 and 1/16 power, up to half the power and full power. (My flash gun only extends all power to 1/16). For indoor shooting, use the same method: If the ambient light bed @ 1/125 F4, it is necessary to set the aperture F4 and set the shutter speed to 1/500 (if the camera’s maximum sync speed or 1/250 @ F5.6 if its maximum sync speed, and bounce off the roof.

Adjust the flash power until it appears on the monitor. This gives a 3: 1 ratio as the basic starting point. A great advantage, especially when people are photographed, is to make the camera flash off, so each time you enter to get different angles, your light will remain constant. If you flash the camera, you should adjust the settings every time you move to the point design definition point.

The flash can be triggered by radio transceivers (Pocket Wizards) or via PC cables. For development, or cross lighting, you can place the object between the sun and the flash outside the camera, using the sun as your fill and flash as the main or “key” light.

Ideally, we used the inner images may not show the flash, so, for this to happen, a change is necessary. I use a black computer mouse pad, which forms half an attachment and the rubber bandaged at the bottom of my flash when I rebellious ceilings, etc., this does not guarantee direct light on the subject.

You can choose, of course, to use the automatic mode for flash or TTL (through the lens), I prefer the manual mode. The problems occur when using the flash with fluorescent lighting, you get a deep green burning in your images, the solution is to use a gel (green window) in the flash window and a magenta filter (FL-D) in the lens.

These filters will lose a light stop, but the only lens cleaner will suffice if the flash is not used. Why it works is green at the color temperature of the flash window equals the foreground and background, and magenta in the lens absorbs the green of the two sources to neutralize the image.

Most cameras allow you to select the front of the flash curtain configuration and rear lights (before the curtain on the shutter opening, while the rear curtain flash (or second) fires just before the shutter) And for most types of photography, before the curtain is going to work. If the subject is in motion, however, the back, flash the second curtain is the way forward.

The reason is that if you use a curtain in front of a moving subject, which defines motion blur, especially against a black background, or at least dark, appears before and not behind the subject, giving the impression that the subject it dates back to.

On the other hand, if you were to use the rear curtain flash (second) to indicate a portrait, and you try to capture a certain mannerism, you do not want the flash to disappear too late and lack of emotion.

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