Multiple Flash Techniques for Wedding Photographers- Part 9 (More about modifiers)
Mar 24, 2017 22:18:47 #
Thus far, we have discussed the 3 major kinds of light modifiers besides the basic parabolic or built in reflectors that come, right out of the box, with our flash equipment. There are the small compact clip-on or add on devices that we place on or over our Speedlights and strobes. Then their are the soft boxes and umbrellas. What about the others- there are so many models! It can really get confusing so it good to get down to the basics and dispel the myths and advertising hype. The all have cool names; Apollo, Octopus (sorry Octo-box), Hazy-Light, and more! Essentially, they are all soft box/umbrella hybrids- sorta combinations of shoot through umbrellas and round soft boxes. Is the term "round box" an oxymoron- aren't boxes supposed to be square or rectangular? Remember hat-boxes- they used to be round? In any event, there is a great deal of overlap in the final effects that are obtained with most of theses modifiers. I have to admit that I have collected quite a number of modifiers over the years bit I usually end up using 2 or 3 of them for most of my work.
Here's a few examples: A small shoot-through umbrella in front of a Speedlight will yield the same effect as a simple disc type diffusion panel placed about 12 inches in front of the flash unit. A soft box or an umbrella of similar size and reflective surfaces will result in very similar lighting effects, of course, depending on how they are employed. Some umbrella manufacturers have made advertising claims pertaining to wrap-around lighting, however, the real wrap-around effect is a function of multiple lights placed on more than one off-camera position. There are umbrella shaped soft-boxes where the shoot-through scrim has a "hole in the middle" with a transparent plastic insert. Theses are useful because this design creates a "hot-spot" which enables FEATHERING with a large soft light source- very interesting.
This is a good time to bring up the subject of UNSEEN SECONDARY LIGHT! This is a lighting principle that is little known and seldom discussed and it has allot to do with light modifiers and photographic lighting in general. When working in a small to average size room with any light source or modifier combination, a certain amount of light, besides what strikes the subject, will strike and bounce off white or light colored walls and ceiling. In the olden days, especially in studios, when continuous (hot) lights were in common use, the photograph could SEE the effect of all of the extraneous reflected light. Seeing this effect figured in to adjusting the fill light ratio which in turn, effects the contrast and mood of the resulting image. In a multiple lighting portrait setup, with as many as 5 or more lights in use, this could add up to a significant level of additional fill, therefore necessitating less illumination from the fill light source in order to arrive at the desired ratio. This is especially critical in low-key portraiture where excessive fill levels will wash out the dramatic effect of rich yet detailed shadows. When portrait photographers made the transition into electronic flash, the modeling lights in most studio units were comparatively weaker than the tungsten flood lamps. There was enough light to arrange the lighting position, focus and compose but the bounced light remained UNSEEN. Oftentimes, the result were disappointing in that the photographers were not able to see what the were actually getting (ratio wise) and soon realized that attenuating the fill light by reducing its power output, feathering it more or pulling it further away from the subject or adding a diffusion screen was needed to obtain the ratios they expected. In a very small camera room, sometimes the fill-light was entirely eliminated for low-key results- the unseen secondary light can sometimes enough shadow detail. Some photographers, with smaller camera rooms would paint the walls black or use retractable black screens when making low-key portraits to minimize the unseen secondary light. On the other hand, the presence of more unseen secondary light can help in high-key work where the additional fill makes for softer ratios and boosts the background illumination for cleaner whites.
Once you determine the level of unseen light in your working space and learn how to minimize it or factor it in and utilize it to your advantage, you will gain more precise control over you lighting.
Back to modifier land! This principle has lots to do with light modifier usage and selection. With umbrella usage, the bouncing light beams are not confined to the interior of a soft box before it is reflected forward toward the subject so more light it likely to "escape" and bounce around the room. Some umbrellas have a black exterior backing in their construction which blocks some of the extraneous light. That is to prevent light from striking the lens and causing flare when the umbrellas are forward of the camera position.
With soft boxes and other enclosed modifiers, the level of unseen secondary light is usually less. In very large areas, such as big halls, function rooms and churches, the level of unseen secondary light is minimal or non-existent which also has some effect on ratios and exposure.
What about all that stuff we hang on our on-camera lights- all of those Tupperware-like contraptions?
When we examine the effectiveness or uselessness of any of the small on-camera modifiers, the principle of unseen secondary light is an important consideration. Some of the modifiers will direct some internally reflected and/or diffused light forward, toward the subject and some of the light upward toward the ceiling or out of the sides in an omnidirectional fashion. In a small room, some of theses modifiers are highly effective where as in large venue, the same unit can be virtually useless except as a source of neutral density- they just eat light and offer no significant degree of softness.
Of course, in the case of Speedlights and other portable hand-held strobes, there are no modeling lamps on most of theses units so all of the lighting aesthetics are UNSEEN to us but all experienced wedding shooters know how to "shoot blind" and select the right tools and place our lights instinctively, based on knowledge and practice. Fully comprehending this and all the other important principles help us obtain the best results from our gear under a wide variety of circumstances.
As a little exercise, check out the popular gear pictured below and give your opinion as to how you think some of it may preform under different conditions- on and off camera.
Next edition- Improvised methods.
Best regards, Ed
Here's a few examples: A small shoot-through umbrella in front of a Speedlight will yield the same effect as a simple disc type diffusion panel placed about 12 inches in front of the flash unit. A soft box or an umbrella of similar size and reflective surfaces will result in very similar lighting effects, of course, depending on how they are employed. Some umbrella manufacturers have made advertising claims pertaining to wrap-around lighting, however, the real wrap-around effect is a function of multiple lights placed on more than one off-camera position. There are umbrella shaped soft-boxes where the shoot-through scrim has a "hole in the middle" with a transparent plastic insert. Theses are useful because this design creates a "hot-spot" which enables FEATHERING with a large soft light source- very interesting.
This is a good time to bring up the subject of UNSEEN SECONDARY LIGHT! This is a lighting principle that is little known and seldom discussed and it has allot to do with light modifiers and photographic lighting in general. When working in a small to average size room with any light source or modifier combination, a certain amount of light, besides what strikes the subject, will strike and bounce off white or light colored walls and ceiling. In the olden days, especially in studios, when continuous (hot) lights were in common use, the photograph could SEE the effect of all of the extraneous reflected light. Seeing this effect figured in to adjusting the fill light ratio which in turn, effects the contrast and mood of the resulting image. In a multiple lighting portrait setup, with as many as 5 or more lights in use, this could add up to a significant level of additional fill, therefore necessitating less illumination from the fill light source in order to arrive at the desired ratio. This is especially critical in low-key portraiture where excessive fill levels will wash out the dramatic effect of rich yet detailed shadows. When portrait photographers made the transition into electronic flash, the modeling lights in most studio units were comparatively weaker than the tungsten flood lamps. There was enough light to arrange the lighting position, focus and compose but the bounced light remained UNSEEN. Oftentimes, the result were disappointing in that the photographers were not able to see what the were actually getting (ratio wise) and soon realized that attenuating the fill light by reducing its power output, feathering it more or pulling it further away from the subject or adding a diffusion screen was needed to obtain the ratios they expected. In a very small camera room, sometimes the fill-light was entirely eliminated for low-key results- the unseen secondary light can sometimes enough shadow detail. Some photographers, with smaller camera rooms would paint the walls black or use retractable black screens when making low-key portraits to minimize the unseen secondary light. On the other hand, the presence of more unseen secondary light can help in high-key work where the additional fill makes for softer ratios and boosts the background illumination for cleaner whites.
Once you determine the level of unseen light in your working space and learn how to minimize it or factor it in and utilize it to your advantage, you will gain more precise control over you lighting.
Back to modifier land! This principle has lots to do with light modifier usage and selection. With umbrella usage, the bouncing light beams are not confined to the interior of a soft box before it is reflected forward toward the subject so more light it likely to "escape" and bounce around the room. Some umbrellas have a black exterior backing in their construction which blocks some of the extraneous light. That is to prevent light from striking the lens and causing flare when the umbrellas are forward of the camera position.
With soft boxes and other enclosed modifiers, the level of unseen secondary light is usually less. In very large areas, such as big halls, function rooms and churches, the level of unseen secondary light is minimal or non-existent which also has some effect on ratios and exposure.
What about all that stuff we hang on our on-camera lights- all of those Tupperware-like contraptions?
When we examine the effectiveness or uselessness of any of the small on-camera modifiers, the principle of unseen secondary light is an important consideration. Some of the modifiers will direct some internally reflected and/or diffused light forward, toward the subject and some of the light upward toward the ceiling or out of the sides in an omnidirectional fashion. In a small room, some of theses modifiers are highly effective where as in large venue, the same unit can be virtually useless except as a source of neutral density- they just eat light and offer no significant degree of softness.
Of course, in the case of Speedlights and other portable hand-held strobes, there are no modeling lamps on most of theses units so all of the lighting aesthetics are UNSEEN to us but all experienced wedding shooters know how to "shoot blind" and select the right tools and place our lights instinctively, based on knowledge and practice. Fully comprehending this and all the other important principles help us obtain the best results from our gear under a wide variety of circumstances.
As a little exercise, check out the popular gear pictured below and give your opinion as to how you think some of it may preform under different conditions- on and off camera.
Next edition- Improvised methods.
Best regards, Ed
Mar 29, 2017 14:37:09 #
I think "seeing the light" is the reason why I always want to stick with my studio lighting. There's still a huge difference for me when just placing speed lights, vs closely looking at the subject with the modeling lights. Even though you can guess pretty close as to how the light will look, I still love "seeing" the light before I ever press the shutter.
With, or without modeling lights, the control of the modified light makes a big difference, as long as you don't put the lights clear across the room. Then they do nothing, but eat up your flash power, and burn through your batteries.
Again, thumbs up on another informative segment.
With, or without modeling lights, the control of the modified light makes a big difference, as long as you don't put the lights clear across the room. Then they do nothing, but eat up your flash power, and burn through your batteries.
Again, thumbs up on another informative segment.
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