NoSocks Loc: quonochontaug, rhode island

I'm getting a little frustrated with the diffusers that came with my SB910 and the SB700. Might anyone have a recommendation for a better flash diffuser? Something versitile that will be useful for my real estate photo sideline and that also would work for everyday indoor snaps. Thanks in advance.

Sandrea

check out Gary Fong's Lightsphere. He has vidoes on you tube and on his site showing various uses. Better than the bounce card or the little plastic covers

CaptainC Loc: Colorado, south of Denver

You did not say exactly why you are frustrated - what do they not do that you need to do?
It may be because those things are NOT diffusers (despite what people call them) they are dispersers. Their purpose is to disperse light so it bounces off other surfaces like ceilings and walls. They do not - in themselves - soften light one bit as they do not make a larger light source.
A DIFFUSE light source has light striking the subjects from many angles (which is why it has to be large). The Fong thing might help, but you could stick the flash in a 1 gallon plastic milk jug for a lot less. :-)

Dispersed light is NOT diffused light.

NoSocks Loc: quonochontaug, rhode island

Thanks Cap. My ignorance is showing. The frustration I spoke of was that the light seems harsh. I typically like softer images. I have a huge amount to learn about managing light.

NoSocks Loc: quonochontaug, rhode island

Thanks. I'll check it out. I'd rather spend a lot of money than the free milk bottle the Captain spoke of. :-)

Peterff Loc: O'er The Hills and Far Away, in Themyscira.

I think that is a very good description, dispersed as opposed to diffused. I do tend to use the Stofen Omni-bounce things, they seem to work well when bounced off the ceiling, and are much less noticeable than a softbox, but all of these things seem to have limitations. I expect it really depends upon the situation, and there is no single approach that fits every situation. In a candid situation I have found that dispersing the light gets less attention and better results than a straight flash. When I used three remote flashes placed around a room with the Stofen 'dispersers' and bounced off the ceiling, with a controller on the camera, people just didn't notice. Flash seems to disturb many people or at least be intrusive. If people are aware that they are being photographed and are OK with that it is one thing, if they are made aware by the flash and are not OK, that really changes the dynamic of the occasion. It may be that when someone becomes aware that they are the subject of a photograph they react, when there is a brief dispersed flash from an unknown direction it doesn't seem to trigger the same reaction...

Interesting!

Sandrea

I find it gives a soft light and it is collapsible - a bit handier to carry than the milk bottle

Rongnongno Loc: FL

Actually your pseudo is a clue...

Sock = foot protection...
Diffuse(r) = sock = (light) protection...

Meaning that any type of reflector from a.. err... sock over your flash to a more sophisticated solution like the wong thingy will greatly alleviate your pain...

Peterff Loc: O'er The Hills and Far Away, in Themyscira.

"The game is afoot", you mean? Gosh, excellent erudition, Ron!

Who knows how bright my toes (Tiddely pom), how bright my toes are glowing!

(With apologies to AA somebody!)

CaptainC Loc: Colorado, south of Denver

If you are pointing the flashes AT the area you want to light, that could be the problem. Since that litter disperser does not increase the SIZE of the LIGHT SOURCE, you will be getting hard/harsh shadows.

Try aiming the flash WITH the cap on at the wall BEHIND (as in the opposite wall) where you want to light. This will light up that wall into a LARGE light source and maybe that will give you softer and more diffuse light you are looking for. Worth a try.

Nothing wrong with trying soft boxes, but umbrellas are a better choice, IMO, since they are MUCH cheaper and do not control light like soft boxes - which in this case is a good thing as they blow light all over the place.

jcboy3

For real estate, big shoot through umbrellas.

For everyday snaps, if you can't bounce, then I like Rogue flashbenders (Large) or F-stoppers flash disk.

Gene51 Loc: Yonkers, NY, now in LSD (LowerSlowerDelaware)

Post an example, and state what is wrong that you would like to correct. Umbrellas, softboxes, and of all things - tupperware attached to a speedlight - is probably not going to resolve your issues. But I won't be able to tell without an example.

The usual guidance is to use very large light sources for soft light - and the further away from the subject you are illuminating the larger the source has to be. Controlling light is both science and art. The best light in architectural settings is light that does not look contrived or false. I am assuming that RE is similar. Think of lighting as supporting (augmenting) what is already there rather than replacing it. If the existing lighting has contrasty crisp and sharp shadows, that's ok. But by introducing a light from the camera's point of view might create that false look.

Post the image so I can get an idea of what you are working with and what you would like to do.

Here is Ron Nachtwey's website - someone I have mentored in this very subject in the past:

http://ronnachtwey.com/skills/luxury-interiors/

Thomas902 Loc: Washington DC

+1 What Gene51 said... I am retained as a lighting assistant by several of the top architectural photographers in my market and trust me virtually none include speed-lights in the mix... The lion's share of my work involves swapping incandescent bulbs for daylight balance replacements which are controlled by inline rheostats in order to precisely dial in illumination levels to meet the AD's visual statement. Yes it is time consuming but highly effective... Next very large softboxes are placed just out of frame and carefully blended with ambient...

However the most important component of workflow is establishing a stable shooting platform in which to take a large series of bracketed exposures... All these commercial shooters rely heavily on high end HDR applications such as Photomatix Pro to achieve the breathtaking excellence one finds in Architectural Digest (the VOGUE of this genre). I deploy Photomatix Pro for a wide range of applications and am always amazed at it vast potentials...

Ok, I've just touched on a few of the lighting issues... serious commercial architectural work predicates tilt/shift optics such as the 24mm PC Nikkor with it's huge image circle that allows one to shoot interiors and exteriors with a compelling degree of control... And yes similar effects are possible as a software solution albeit many of the assignments have the client and/or their AD on location to sign off on each task... Thus final composition must be made in real-time and only a tilt/shift lens affords this ability...

Hope this helps... or is at least food for thought...

Gene51 Loc: Yonkers, NY, now in LSD (LowerSlowerDelaware)

Finally, someone who also knows the drill. I started doing architectural and high-end interior photography in large format black and white in 1970, and it's nice to see that little has changed. And yes, it's hard to do convincing RE with ultrawide lenses. They completely distort the perspective of the room - extension distortion - providing a dramatic, but totally unrealistic perception of depth.

CO

I use the Vello Octa 8" softbox on my SB-700 flash to soften light for people shots. I recently used it to add fill light for an outdoor model photo shoot. It has an additional diffuser inside that can be folded out to make the light even softer. It's made of a heavy, stiff material that holds its shape. Vello makes those in different sizes in both rectangular and octagon shapes.