Gary Fong Lightsphere
Feb 1, 2019 10:28:01 #
Hope someone can help with the issue I’m having involving over exposed pictures when using the Gary Fong Lightsphere inside attached to the Canon Speedlight 430exll and shooting with the Canon 77D on auto setting.
Feb 1, 2019 10:33:41 #
superkool wrote:
Hope someone can help with the issue I’m having involving over exposed pictures when using the Gary Fong Lightsphere inside attached to the Canon Speedlight 430exll and shooting with the Canon 77D on auto setting.
Try adding an example problem image as a <reply> to this post and store the original file. Add an explanation of your problem / question based on the example image.
Feb 1, 2019 10:45:12 #
What is the flash setting - ADI or TTL on the camera, and the flash? Have you tried a shot without the Gary Fong attachment?
Feb 1, 2019 11:41:27 #
superkool wrote:
Welcome to the forum. I use a Gary Fong Lightsphere indoors with no issue. It must be your settings. Welcome to the forum.Hope someone can help with the issue I’m having involving over exposed pictures when using the Gary Fong Lightsphere inside attached to the Canon Speedlight 430exll and shooting with the Canon 77D on auto setting.
Feb 1, 2019 14:05:38 #
superkool wrote:
Hope someone can help with the issue I’m having involving over exposed pictures when using the Gary Fong Lightsphere inside attached to the Canon Speedlight 430exll and shooting with the Canon 77D on auto setting.
It the LS pointing straight up, or is the strobe head tilted towards the subject? Are you following Fong's recommendations?
Feb 1, 2019 17:07:52 #
superkool wrote:
Hope someone can help with the issue I’m having involving over exposed pictures when using the Gary Fong Lightsphere inside attached to the Canon Speedlight 430exll and shooting with the Canon 77D on auto setting.
Ditch the Fong thing and just bounce - you'll instantly get better results.
Feb 1, 2019 17:08:18 #
Gene51 wrote:
Ditch the Fong thing and just bounce - you'll instantly get better results.
Fell for one a few years ago and never liked the results.
I always get better results bouncing.
Feb 1, 2019 17:49:15 #
I saw one in use about 10 years ago and seriously considered getting one.
After thinking about it I decided not to spring for one. I just use the speedlight bounced from the ceiling and it works fine without any additional expenditure.
The lightsphere, like many other diffusers, works by sending the light in all directions. Some of the light will bounce back to the subject but most of it will be lost. So it's not conservative of energy.
While it's true that the same can be said of bouncing the light from the ceiling, at least that doesn't cost anything.
As far as the overexposure reported by the OP, I wouldn't expect it would be dependent on the lightsphere. Straight bounce would probably do something similar. The camera is supposed to detect the light from the subject from the preflash and adjust the flash energy accordingly. If there's overexposure occurring I would think there's something wrong with the flash, not the modifier. There could be not enough energy in the preflash (which would call for more light in the exposure), or the control of the flash energy could be not working right.
To test this I would try some test shots with direct flash, not using a modifier.
After thinking about it I decided not to spring for one. I just use the speedlight bounced from the ceiling and it works fine without any additional expenditure.
The lightsphere, like many other diffusers, works by sending the light in all directions. Some of the light will bounce back to the subject but most of it will be lost. So it's not conservative of energy.
While it's true that the same can be said of bouncing the light from the ceiling, at least that doesn't cost anything.
As far as the overexposure reported by the OP, I wouldn't expect it would be dependent on the lightsphere. Straight bounce would probably do something similar. The camera is supposed to detect the light from the subject from the preflash and adjust the flash energy accordingly. If there's overexposure occurring I would think there's something wrong with the flash, not the modifier. There could be not enough energy in the preflash (which would call for more light in the exposure), or the control of the flash energy could be not working right.
To test this I would try some test shots with direct flash, not using a modifier.
Feb 1, 2019 22:23:29 #
Most light modifiers, many different brands, incarnations, and types, will work well if you understand the principle on which they work, realize there advantages and limitations and know exactly how to use them.
Of course, you can simply bounce your speedlight off a ceiling or wall and achieve good results if you are familiar with the technique, that is if there is, in fact, a nearby bounce surface and it is not totally light absorbent or colored.
I mention this because Gary Fong started off as a wedding photographer and many of his original designs were intended for use where practical bounce surfaces were not always available, accessible or in a close enough proximity to the on-camera light or the subjects. Wedding photographers find themselves working in large churches and ballrooms with extremely high or. Many reception venues may have brightly painted or decorated, mirrored, or even dark of blag walls and ceilings. The modifier has to be self-contained to simulate any kind of indirect lighting or diffused lighting. At some weddings, the ceremony, reception or the place selected for formal portraits and groups may be out of doors- perhaps the entire event. The reception may take place out of doors at night. Again, any modifiers have to be self contain and self-reliant.
When the Fong modifiers began to appear on the market, most portable on-camera flesh units were quite different for today's speedlights. Many of the units in common use had larger (usually about 4 inches) interchangeable parabolic reflectors. Many models and diffusers were designed to work with those systems. Theses older configurations enabled bare bulb operation whereby the greater volume of light is emitted from the sides of the flash tube. In a mini- softbox kind of modifier, the light for the flash tube could strike all 4 inside surfaces of the modifier and be further diffused by the scrim or panel at the front of the device. speedlight will enable some diffusion but the will not produce the same effect. All these scoops, light benders, bounce cards have similar effects- the will spread the light to accommodate a wider field of view and soften generally soften the allover effect.
The level of softness is dependent on the size of the light source relative to the size o the subject AND the distance for the light source to the subject. The larger and close the light sour the softer the effect. As the relative size diminishes and the distance increases the softening effect is lessened. Working close to the subject with a modifier that doubles the size of the speedlight source will show a significant degree of softness when compared to the effect of a direct speedlight. From say, 10 or 15 feet away, with the same setup, the softening effect may be negligible and all you are doing is reducing the effective light output.
Some modifiers are designed to send some of the light upward toward the ceiling and some light forward to illuminate the eyes. This helps negate the "raccoon eyes" effect from reflected light from striking the subject from directly overhead. The can be also avoided by using partial bounce where some of the light strikes the ceiling and the edge of the beam strikes the subject.
The principles involved with all of these devices in techniques are mainly based on the ANGLE OF INCIDENCE and INVERSE SQUARE LAW theories. The angle of incidence is equal to the angle of reflection. It's simple enough- if the light from your speed light strikes the ceiling at 45 degrees it will be reflected back at the same the same angle. It gets complicated or ineffective if somehow the subject is not at the right place or angle to receive the bounce light or in effect if the light is going nowhere where you need ti. This can result in aesthetically unpleasing lighting and even underexposure.
The inverse square law has to do wit fall off of light. If we expose for the light fro the flash striking the subject at a certain distance, areas behind the subject are usually going to be underexposed resulting in an unnaturally dark or black background. When we bounce light from the ceiling or high on a wall we are in, effectively increasing the depth of lighting because the reflected light is coming from a greater height and is a larger source than the direct speedlight.
Much of this is pretty basic but sometimes folk doesn't realize how all of this pertains to selecting a modifier. If you just randomly chose a modifier, just clip it on your speedlight, you may be disappointed. If you carefully consider how and at what angle the raw beam from the speedlight or flash tube strikes the modifier surface(s) or any external surface, and determine where is gonna land you be able to determine the best distances and surroundings it will best function.
Exposure: There is always going to be
some light loss with indirect or bounce lighting. If you calculate your exposure by guide number- manually you will have to recalculate and compensate accordingly, If you are using auto-flash (not TTL) you will have to make certain the sensor in the speedlight is not obstructed or facing in the wrong direction. If you are bouncing from a wall or ceiling you can swivel or tilt the flash head but the body of the flash unit has to face forward in the same direction as the lens. If you are using a TTL exposure system, the exposure should remain correct as long as there is sufficient indirect light for correct exposure and all Most light modifiers, many different brands, incarnations, and types, will work well if you understand the principle on which they work, realize there advantages and limitations and know exactly how to use them.
Of course, you can simply bounce your speedlight off a ceiling or wall and achieve good results if you are familiar with the technique, that is if there is, in fact, a nearby bounce surface and it is not totally light absorbent or colored.
I mention this because Gary Fong started off as a wedding photographer and many of his designs were intended for use where practical bounce surfaces were no available, accessible or in a close enough proximity to the on-camera light or the subjects. Wedding photographers find themselves working in large churches and ballrooms with extremely high or. Many reception venues may have brightly painted or decorated, mirrored, or even dark of blag walls and ceilings. The modifier has to be self-contained to simulate any kind of indirect lighting or diffused lighting. At some weddings, the ceremony, reception or the place selected for formal portraits and groups may be out of doors- perhaps the entire event. The reception may take place out of doors at night. Again, any modifiers have to be self contain and self-reliant.
When the Fong modifiers began to appear on the market, most portable on-camera flesh units were quite different for today's speedlights. Many of the units in common use had larger (usually about 4 inches) interchangeable parabolic reflectors. Many models and diffusers were designed to work with those systems. Theses older configurations enabled bare bulb operation whereby the greater volume of light is emitted from the sides of the flash tube. In a mini- softbox kind of modifier, the light for the flash tube could strike all 4 inside surfaces of the modifier and be further diffused by the scrim or panel at the front of the device. speedlight will enable some diffusion but the will not produce the same effect. All these scoops, light benders, bounce cards have similar effects- the will spread the light to accommodate a wider field of view and soften generally soften the allover effect.
The level of softness is dependent on the size of the light source relative to the size o the subject AND the distance for the light source to the subject. The larger and close the light sour the softer the effect. As the relative size diminishes and the distance increases the softening effect is lessened. Working close to the subject with a modifier that doubles the size of the speedlight source will show a significant degree of softness when compared to the effect of a direct speedlight. From say, 10 or 15 feet away, with the same setup, the softening effect may be negligible and all you are doing is reducing the effective light output.
Some modifiers are designed to send some of the light upward toward the ceiling and some light forward to illuminate the eyes. This helps negate the "raccoon eyes" effect from reflected light from striking the subject from directly overhead. The can be also avoided by using partial bounce where some of the light strikes the ceiling and the edge of the beam strikes the subject.
The principles involved with all of these devices in techniques are mainly based on the ANGLE OF INCIDENCE and INVERSE SQUARE LAW theories. The angle of incidence is equal to the angle of reflection. It's simple enough- if the light from your speed light strikes the ceiling at 45 degrees it will be reflected back at the same the same angle. It gets complicated or ineffective if somehow the subject is not at the right place or angle to receive the bounce light or in effect if the light is going nowhere where you need ti. This can result in aesthetically unpleasing lighting and even underexposure.
The inverse square law has to do wit fall off of light. If we expose for the light fro the flash striking the subject at a certain distance, areas behind the subject are usually going to be underexposed resulting in an unnaturally dark or black background. When we bounce light from the ceiling or high on a wall we are in, effectively increasing the depth of lighting because the reflected light is coming from a greater height and is a larger source than the direct speedlight.
Much of this is pretty basic but sometimes folk doesn't realize how all of this pertains to selecting a modifier. If you just randomly chose a modifier, just clip it on your speedlight, you may be disappointed. If you carefully consider how and at what angle the raw beam from the speedlight or flash tube strikes the modifier surface(s) or any external surface, and determine where is gonna land you be able to determine the best distances and surroundings it will best function.
Exposure: There is always going to be
some light loss with indirect or bounce lighting. If you calculate your exposure by guide number- manually you will have to recalculate and compensate accordingly, If you are using autoflash (not TTL) you will have to make certain the sensor in the speedlight is not obstructed or facing in the wrong direction. If you are bouncing from a wall or ceiling you can swivel or tilt the flash head but the body of the flash unit has to face forward in the same direction as the lens. If you are using a TTL exposure system, the exposure should remain correct as long as there is sufficient indirect light for correct exposure and all settings are correct.
So...do worry about brand names, advertising hype or scuttlebutt. Do a little bit of the theory and geometry and that will help you make the choice or even MAKE your own modifiers.
So...do worry about brand names, advertising hype or scuttlebutt. Do a little bit of the theory and geometry and that will help you make the choice or even MAKE your own modifiers.
Of course, you can simply bounce your speedlight off a ceiling or wall and achieve good results if you are familiar with the technique, that is if there is, in fact, a nearby bounce surface and it is not totally light absorbent or colored.
I mention this because Gary Fong started off as a wedding photographer and many of his original designs were intended for use where practical bounce surfaces were not always available, accessible or in a close enough proximity to the on-camera light or the subjects. Wedding photographers find themselves working in large churches and ballrooms with extremely high or. Many reception venues may have brightly painted or decorated, mirrored, or even dark of blag walls and ceilings. The modifier has to be self-contained to simulate any kind of indirect lighting or diffused lighting. At some weddings, the ceremony, reception or the place selected for formal portraits and groups may be out of doors- perhaps the entire event. The reception may take place out of doors at night. Again, any modifiers have to be self contain and self-reliant.
When the Fong modifiers began to appear on the market, most portable on-camera flesh units were quite different for today's speedlights. Many of the units in common use had larger (usually about 4 inches) interchangeable parabolic reflectors. Many models and diffusers were designed to work with those systems. Theses older configurations enabled bare bulb operation whereby the greater volume of light is emitted from the sides of the flash tube. In a mini- softbox kind of modifier, the light for the flash tube could strike all 4 inside surfaces of the modifier and be further diffused by the scrim or panel at the front of the device. speedlight will enable some diffusion but the will not produce the same effect. All these scoops, light benders, bounce cards have similar effects- the will spread the light to accommodate a wider field of view and soften generally soften the allover effect.
The level of softness is dependent on the size of the light source relative to the size o the subject AND the distance for the light source to the subject. The larger and close the light sour the softer the effect. As the relative size diminishes and the distance increases the softening effect is lessened. Working close to the subject with a modifier that doubles the size of the speedlight source will show a significant degree of softness when compared to the effect of a direct speedlight. From say, 10 or 15 feet away, with the same setup, the softening effect may be negligible and all you are doing is reducing the effective light output.
Some modifiers are designed to send some of the light upward toward the ceiling and some light forward to illuminate the eyes. This helps negate the "raccoon eyes" effect from reflected light from striking the subject from directly overhead. The can be also avoided by using partial bounce where some of the light strikes the ceiling and the edge of the beam strikes the subject.
The principles involved with all of these devices in techniques are mainly based on the ANGLE OF INCIDENCE and INVERSE SQUARE LAW theories. The angle of incidence is equal to the angle of reflection. It's simple enough- if the light from your speed light strikes the ceiling at 45 degrees it will be reflected back at the same the same angle. It gets complicated or ineffective if somehow the subject is not at the right place or angle to receive the bounce light or in effect if the light is going nowhere where you need ti. This can result in aesthetically unpleasing lighting and even underexposure.
The inverse square law has to do wit fall off of light. If we expose for the light fro the flash striking the subject at a certain distance, areas behind the subject are usually going to be underexposed resulting in an unnaturally dark or black background. When we bounce light from the ceiling or high on a wall we are in, effectively increasing the depth of lighting because the reflected light is coming from a greater height and is a larger source than the direct speedlight.
Much of this is pretty basic but sometimes folk doesn't realize how all of this pertains to selecting a modifier. If you just randomly chose a modifier, just clip it on your speedlight, you may be disappointed. If you carefully consider how and at what angle the raw beam from the speedlight or flash tube strikes the modifier surface(s) or any external surface, and determine where is gonna land you be able to determine the best distances and surroundings it will best function.
Exposure: There is always going to be
some light loss with indirect or bounce lighting. If you calculate your exposure by guide number- manually you will have to recalculate and compensate accordingly, If you are using auto-flash (not TTL) you will have to make certain the sensor in the speedlight is not obstructed or facing in the wrong direction. If you are bouncing from a wall or ceiling you can swivel or tilt the flash head but the body of the flash unit has to face forward in the same direction as the lens. If you are using a TTL exposure system, the exposure should remain correct as long as there is sufficient indirect light for correct exposure and all Most light modifiers, many different brands, incarnations, and types, will work well if you understand the principle on which they work, realize there advantages and limitations and know exactly how to use them.
Of course, you can simply bounce your speedlight off a ceiling or wall and achieve good results if you are familiar with the technique, that is if there is, in fact, a nearby bounce surface and it is not totally light absorbent or colored.
I mention this because Gary Fong started off as a wedding photographer and many of his designs were intended for use where practical bounce surfaces were no available, accessible or in a close enough proximity to the on-camera light or the subjects. Wedding photographers find themselves working in large churches and ballrooms with extremely high or. Many reception venues may have brightly painted or decorated, mirrored, or even dark of blag walls and ceilings. The modifier has to be self-contained to simulate any kind of indirect lighting or diffused lighting. At some weddings, the ceremony, reception or the place selected for formal portraits and groups may be out of doors- perhaps the entire event. The reception may take place out of doors at night. Again, any modifiers have to be self contain and self-reliant.
When the Fong modifiers began to appear on the market, most portable on-camera flesh units were quite different for today's speedlights. Many of the units in common use had larger (usually about 4 inches) interchangeable parabolic reflectors. Many models and diffusers were designed to work with those systems. Theses older configurations enabled bare bulb operation whereby the greater volume of light is emitted from the sides of the flash tube. In a mini- softbox kind of modifier, the light for the flash tube could strike all 4 inside surfaces of the modifier and be further diffused by the scrim or panel at the front of the device. speedlight will enable some diffusion but the will not produce the same effect. All these scoops, light benders, bounce cards have similar effects- the will spread the light to accommodate a wider field of view and soften generally soften the allover effect.
The level of softness is dependent on the size of the light source relative to the size o the subject AND the distance for the light source to the subject. The larger and close the light sour the softer the effect. As the relative size diminishes and the distance increases the softening effect is lessened. Working close to the subject with a modifier that doubles the size of the speedlight source will show a significant degree of softness when compared to the effect of a direct speedlight. From say, 10 or 15 feet away, with the same setup, the softening effect may be negligible and all you are doing is reducing the effective light output.
Some modifiers are designed to send some of the light upward toward the ceiling and some light forward to illuminate the eyes. This helps negate the "raccoon eyes" effect from reflected light from striking the subject from directly overhead. The can be also avoided by using partial bounce where some of the light strikes the ceiling and the edge of the beam strikes the subject.
The principles involved with all of these devices in techniques are mainly based on the ANGLE OF INCIDENCE and INVERSE SQUARE LAW theories. The angle of incidence is equal to the angle of reflection. It's simple enough- if the light from your speed light strikes the ceiling at 45 degrees it will be reflected back at the same the same angle. It gets complicated or ineffective if somehow the subject is not at the right place or angle to receive the bounce light or in effect if the light is going nowhere where you need ti. This can result in aesthetically unpleasing lighting and even underexposure.
The inverse square law has to do wit fall off of light. If we expose for the light fro the flash striking the subject at a certain distance, areas behind the subject are usually going to be underexposed resulting in an unnaturally dark or black background. When we bounce light from the ceiling or high on a wall we are in, effectively increasing the depth of lighting because the reflected light is coming from a greater height and is a larger source than the direct speedlight.
Much of this is pretty basic but sometimes folk doesn't realize how all of this pertains to selecting a modifier. If you just randomly chose a modifier, just clip it on your speedlight, you may be disappointed. If you carefully consider how and at what angle the raw beam from the speedlight or flash tube strikes the modifier surface(s) or any external surface, and determine where is gonna land you be able to determine the best distances and surroundings it will best function.
Exposure: There is always going to be
some light loss with indirect or bounce lighting. If you calculate your exposure by guide number- manually you will have to recalculate and compensate accordingly, If you are using autoflash (not TTL) you will have to make certain the sensor in the speedlight is not obstructed or facing in the wrong direction. If you are bouncing from a wall or ceiling you can swivel or tilt the flash head but the body of the flash unit has to face forward in the same direction as the lens. If you are using a TTL exposure system, the exposure should remain correct as long as there is sufficient indirect light for correct exposure and all settings are correct.
So...do worry about brand names, advertising hype or scuttlebutt. Do a little bit of the theory and geometry and that will help you make the choice or even MAKE your own modifiers.
So...do worry about brand names, advertising hype or scuttlebutt. Do a little bit of the theory and geometry and that will help you make the choice or even MAKE your own modifiers.
Feb 2, 2019 07:13:32 #
I have a friend who uses this unit on a Cannon, truthfully I can't see a big advantage over a regular flash.
Feb 2, 2019 07:21:56 #
catchlight..
Loc: Wisconsin USA- Halden Norway
Gene51 wrote:
Ditch the Fong thing and just bounce - you'll instantly get better results.
Feb 2, 2019 07:35:13 #
superkool wrote:
Hope someone can help with the issue I’m having involving over exposed pictures when using the Gary Fong Lightsphere inside attached to the Canon Speedlight 430exll and shooting with the Canon 77D on auto setting.
The Fong Lightsphere works very well when used right.
I strongly suggest you experiment with it at various settings etc.
Bouncing off an open grid black "ceiling" is pretty silly to try and many other venues it is way too high or an odd colour.
So it is eminently usable and valuable.
I have used mine in many locations and it works quite well as long as I stay in the parameters of it's performance characteristics.
Those who condemn it just don't know how to use it.
Follow directions and before you do serious photos play with it over and over until you understand it.
Enjoy.
Feb 2, 2019 08:07:02 #
cullumjt
Loc: Central Florida
I have used it for portraits with great success, both indoors and outdoors. I have the same flash, but my camera is a Canon 7d2. I use the suggested settings on the card and the pictures are always perfectly lighted. Much, much softer and even light over raw flash, which I would never use for portraits. It’s a bit cumbersome, but it definitely works for me. Alternately, there is a portable bounce umbrella called Soff Shoulder. I agree with architech1776 above; if used within its parameters, you should be very pleased with the results.
Feb 2, 2019 08:26:16 #
Actually I did spring for a modifier a few years back. I had been using bounce flash without a modifier for several years and got into a few venues with high ceilings my first modifier was just a piece of card stock with a rubber band attaching it to the speedlight. Cost about 5 cents. Used it in a hall with 30 foot ceilings and it did a fair job considering.
After that I used a black foamie thing for a while which allowed me to aim the speedlight slightly forward without getting direct light from the flash when bouncing it. Had some advantages. Then I got a Spinlite 360. That was a plastic gadget that attached to the speedlight with velcro. It came with some white cards and some black cards and a couple other diffusers. You could put the white card on the light to diffuse some of the light forward, or you could just rotate the card to the front to block the light and use it to bounce from the ceiling. Used that for a few years but eventually found it cumbersome and just went back to direct ceiling bounce (most of the venues I worked had low to moderate ceilings and my camera bodies got better at low light performance).
I really never did much outdoors with flash.
After that I used a black foamie thing for a while which allowed me to aim the speedlight slightly forward without getting direct light from the flash when bouncing it. Had some advantages. Then I got a Spinlite 360. That was a plastic gadget that attached to the speedlight with velcro. It came with some white cards and some black cards and a couple other diffusers. You could put the white card on the light to diffuse some of the light forward, or you could just rotate the card to the front to block the light and use it to bounce from the ceiling. Used that for a few years but eventually found it cumbersome and just went back to direct ceiling bounce (most of the venues I worked had low to moderate ceilings and my camera bodies got better at low light performance).
I really never did much outdoors with flash.
Feb 2, 2019 08:27:08 #
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