RSS
 

Posts Tagged ‘lighting’

DynaLite Lighting company shuttered after 50 years over struggle to remain competitive

23 Jan

DynaLite Lighting, the New Jersey-based company founded in 1970, has filed for Chapter 7 bankruptcy and will shut down operations. The company’s CEO Peter Poremba revealed in the news in a statement on the DynaLite website, saying, ‘It is with sincere regret and heavy heart that I announce that DynaLite…has closed its doors.’

Poremba cites the ‘decline in the photography market’ as the reason for shuttering the company. His full statement reads:

It is with sincere regret and a heavy heart that I announce that DynaLite Inc. has filed for chapter 7 bankruptcy and has closed its doors.

For over 50 years, DynaLite has been providing lighting solutions for photographers. We are extremely proud of what we have accomplished and the careers we have helped. Unfortunately, due to the current decline in the photography market, we have found it difficult to remain competitive.

I want to thank you all for the years of support. It has been a pleasure servicing the photographic community.

DynaLite sold a large variety of products during its time, including power packs, mono lights, heads, lighting kits, portable lights, light modifiers and more. The photographic lighting industry has seen a large uptick in companies offering affordable products over the years, no doubt making it harder for some businesses to stay afloat.

Though many products are still listed on the DynaLite website, it doesn’t offer a way to directly purchase them. However, existing inventory remains available to buy from third-party retailers like Adorama.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DynaLite Lighting company shuttered after 50 years over struggle to remain competitive

Posted in Uncategorized

 

iPhone 11 models may soon support new line of third-party MFi lighting accessories

21 Dec

Apple’s latest line of iPhone handsets may soon support photography accessories launched under Apple’s Made-for-iPhone (MFi) program. According to 9to5Mac, Apple has shared new specs with manufacturers who are part of the MFi program, ones that pave the way for lighting and strobe devices that connect with the iPhone using the Lightning port rather than Bluetooth.

MFi is a licensing program that enables manufacturers to make third-party accessories compatible with Apple’s mobile devices. According to this new report, Apple recently provided these manufacturers with new MFi specs as part of a developer preview that make it possible to create lighting and strobe accessories for the iPhone.

Unlike the Lume Cube and other existing products, MFi-compatible lighting accessories will use Lightning instead of Bluetooth in order to sync with the iPhone’s flash and to deliver or draw power to/from the handset. As well, MFi lightning and strobe accessories will likely better support third-party camera apps and will likely be able to sync with the iPhone’s native camera app shutter button.

According to 9to5Mac, these new specs only support the iPhone 11 line of smartphones, meaning older iPhone model users would still have to use less capable Bluetooth-based accessories. Manufacturers will be able to launch their own MFi mobile lighting products once the specs are officially released beyond the developer’s preview.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on iPhone 11 models may soon support new line of third-party MFi lighting accessories

Posted in Uncategorized

 

10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips)

19 Dec

The post 10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips) appeared first on Digital Photography School. It was authored by Mat Coker.

christmas-portrait-locations

Everyone loves to see a nice portrait of the kids at Christmas. But it can be tough to brainstorm new Christmas portrait locations year after year.

Whether you’re photographing your own kids, or you’re a family photographer, this list of Christmas portrait locations will give you plenty of ideas including tips for lighting and composition.

1. Golden hour

Christmas can feel magical and golden hour is a magical time of day for light. You can find some evergreens for the golden sunlight to filter through and create a magical feel for your portrait. Consider using the golden sunlight as a beautiful source of backlight.

Christmas portrait locations

Golden hour is approximately the first and last hour of the day when sunlight looks almost golden. Personally, I love to work with the last 15 minutes of sunlight. I scout my location a few days in advance and take note of the exact time the sun is at its best.

2. Christmas lights in the background

Christmas lights can also be a good source of warm light. They work especially well if you prefer to stay indoors. Keep the tree back in a darker corner and use a window to light your person (this works well when photographing holiday food too).

You may find that a fully decorated Christmas tree can be a bit of a background distraction. A simple tree with lights adds a festive feel without being overwhelming.

Christmas portrait locations

The Christmas lights in the background echo the golden polka dots of her shirt. The catchlights in her eyes (created by the window light) help to bring the portrait to life.

 

Christmas portrait locations

You can see where she was positioned in relation to the window and the tree.

 

Christmas portrait locations

If you don’t have a window for a light source, you can use the flash on your camera. If you’re using your camera’s flash, there are two things to keep in mind. Keep the person away from the Christmas tree and get close to them with your camera. By staying close to them and keeping them away from the tree, the flash will light the person nicely but not overwhelm the tree with light.

3. While it’s snowing

If you live in a part of the world where there is snow, this is really fun for a Christmas portrait. But there are a couple of problems that you will likely run into.

The first is that your photo may turn out looking very dark. This is because the snow is so bright that your camera meter naturally wants to darken the photo. One way around this is to shoot in full manual mode, then you can get the exact brightness that you want. Personally, I shoot on aperture priority and use exposure compensation to get the correct brightness for my photo.

The second problem that you will run into when photographing during a snowfall is misfocused pictures. Your camera may autofocus on a snowflake in the foreground, leaving your subject out of focus. So, make sure to check your photo closely before packing up your camera. That way, you won’t be disappointed when you sit down to edit your photos and realize they’re all out of focus.

Christmas portrait locations

A darker background makes the snowflakes stand out more.

Be sure to protect your camera in cold weather too.

4. Christmas tree at home

This is a perfect opportunity to capture both posed and candid moments. Again, window light will be your friend when lighting your subject.

Notice that in the first photo I positioned the subject so that he is against a clean background. This way he stands out more and is not lost among the decor.

Christmas portrait locations
Christmas portrait locations

5. A quaint storefront

Our downtown street is filled with beautiful storefronts throughout December. These storefronts are a perfect Christmas portrait location. When using a storefront for a background, remember to frame the person neatly.

Once your subject is framed, go for a natural smile! You’ll probably have to say something funny.

Christmas portrait locations

Notice how the boy is framed in this photo. He is balanced by the tree on the left and the windows on the right. His head is in a clean space with nothing distracting protruding from it.

6. Rustic barnboard

If you like a rustic aesthetic at Christmas time, look for an old barn to use as a Christmas portrait location.

Christmas portrait locations

In this first photo, she is placed right up against the wall. I’m using a 50mm lens with an aperture of f/1.8 so the boards are a little out of focus.

 

Christmas portrait locations

I brought her a few feet away from the wall in order to make the background go more out of focus.

7. Use props

You can use all sorts of props in your photos. Sometimes a prop to sit on is more than enough to add visual interest to your portrait.

Christmas portrait locations

With an overcast sky, you can make portraits any time of day without having to worry about harsh shadows from direct sunlight.

8. Wrapping paper backdrop

Find a wide roll of paper with a nice design to use as a backdrop. Place it next to the window and you will have a wonderful natural light source.

Christmas portrait locations

9. Decorate the wilderness

It’s so much fun to bring a sack of Christmas ornaments on a hike and decorate a tree deep in the woods! Once you’ve done that, you’ve got a perfect Christmas portrait location.

Christmas portrait locations
Christmas portrait locations
Christmas portrait locations
Christmas portrait locations

10. Choose a theme

When thinking of Christmas portrait locations, consider building your portrait around a meaningful theme.

Christmas portrait locations

When my son was just two, I couldn’t resist creating a portrait inspired by Charlie Brown.

11. Storytime

Create a storytime theme using a big book as a prop. Remember that a window is a great source of light.

Christmas portrait locations

Try a posed portrait.

 

Christmas portrait locations

Once you have a nice pose, try a photographing a candid moment too.

 

12. Go to a tree farm

Perhaps you don’t have any nice scenery nearby. If that’s the case, then find a tree farm to use for your Christmas portrait location. If you don’t like the manicured look of rows of trees then go for an angle that doesn’t make it obvious that you’re at a tree farm.

10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips)
Christmas portrait locations
Christmas portrait locations
Christmas portrait locations
Christmas portrait locations

The perfect gift

Have fun trying out several of these Christmas portrait locations! When you’re finished, your printed portrait will be one of the most meaningful gifts you can give to friends and family over the holidays.

Do you have any other ideas for Christmas portrait locations? If so, please share them with us in the comments!

The post 10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips) appeared first on Digital Photography School. It was authored by Mat Coker.


Digital Photography School

 
Comments Off on 10 Christmas Portrait Locations (with Bonus Lighting and Composition Tips)

Posted in Photography

 

5 Tips for Gorgeous Nature Photography Lighting

22 Nov

The post 5 Tips for Gorgeous Nature Photography Lighting appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

nature-photography-lighting-tips

In this article, I’m going to show you how to use light to create nature photography masterpieces.

And I can guarantee that they work.

Why? Because they’re the tricks that I use myself. All the time.

In fact, these nature photography lighting tips can be your photography secret weapon. They’ll get you creative, original photos, no doubt about it.

You just have to be willing to try them out!

Let’s dive right in.

5 Tips for Gorgeous Nature Photography Lighting

Wait until last light for a breathtaking sky

Nature photographers love to shoot during the so-called “golden hours,” the hours just after sunrise and just before sunset, when the low sun casts a beautiful golden glow over the landscape.

And it’s true. The golden hours are a great time for nature photography.

5 Tips for Gorgeous Nature Photography Lighting

But if you want truly stunning nature photos, I recommend you go beyond the golden hours.

Instead, focus on shooting at the very last light, when the sun is touching the horizon.

This is the time when the sky often goes brilliant with colors. This is when you get a sunset sky, one that can absolutely blow your mind.

And this “last light” makes for truly breathtaking nature photography shots.

If you’re a landscape photographer, this probably seems obvious. Nearly all landscape photographers shoot at sunset.

But even if you’re not a landscape photographer, I encourage you to shoot at this time. Because sunsets aren’t just good for landscape photos. They also make for beautiful backgrounds in macro photography, bird photography, and flower photography.

Nature-Photography-lighting-tips

So here’s what I recommend:

Get out to shoot during the golden hours. Take some nice shots. But then stick around until the sun is touching the horizon. And start incorporating some stunning sunset colors into your images.

Note that you don’t have to stop when the sun goes down. The colors remain deeply photogenic.

So feel free to keep shooting until you no longer have the light to capture photos!

Photograph in inclement weather for moody images

While golden light is great for nature photography, it’s not the only type of lighting that works.

In fact, one of my favorite types of lighting is the opposite of golden light:

Dark, cloudy lighting. Or lighting in bad weather.

Nature-Photography-lighting-tips

At first glance, this type of lighting seems questionable. After all, during bad weather the light gets low, and it’s often hard to have enough light for good exposures.

But here’s the thing:

Bad weather creates a mood. It creates an atmosphere. And it can give your nature photography something that’s hard to find under other circumstances:

Drama.

For instance, if you photograph when the skies are stormy, you can produce dramatic, breathtaking landscapes.

And if you photograph in rain or snow, you can create a sense of isolation and solitude that can absolutely take your photos to the next level.

Nature-Photography-lighting-tips

Which is exactly what you want.

Use the broken backlighting technique for stunning bokeh

The broken backlighting technique is one of my favorite ways to create beautiful nature photography backgrounds.

Backgrounds like this:

5 Tips for Gorgeous Nature Photography Lighting

If you look at the photo above, you’ll notice how the out-of-focus areas are intensely blurred. But they don’t look disjointed; instead, they look creamy and smooth.

How do you create such an effect?

By using the light.

Here’s how it works:

Go out on a day when the skies are clear, but the sun is low in the sky. Then find something on the skyline that can come between you and the light. (In other words, find something that breaks the light.)

Trees work especially well, but any type of vegetation will give you some good shots.

Finally, find a subject that’s between you and the “broken” background. Use a wide aperture on your camera, and take some shots.

You’ll end up with beautiful backgrounds.

Nature-Photography-lighting-tips

That’s the power of the broken backlighting technique. You see, the broken backlight will be rendered as blurred pinpricks of light. And those pinpricks are just what you want for the best possible background bokeh.

You can use this for intimate landscape scenes. You can use this for bird photography. And you can use this for macro photography.

It’ll work every time.

Find backlit subjects for stunning silhouettes

Backlit photography isn’t all that common in nature photography.

But it should be.

You see, backlighting can add a lot of drama to your photos. This is often at the cost of color intensity, because the heavier the backlighting, the more underexposed your main subject becomes.

This can be a problem unless you’re willing to embrace it. By increasing the exposure, you can blow out the background but capture a beautiful foreground.

Or, even more dramatically, you can let the main subject become a silhouette.

Nature-Photography-lighting-tips

Here’s how it works:

Wait until the end (or the very beginning) of the day, when the sun is low in the sky. Position your main subject so that it’s between you and the sun. You don’t want the sun itself to be featured in the frame, so you can cover it with your main subject, or keep it just outside the shot.

You also want to make sure that your main subject doesn’t intersect with anything. Ideally, the subject should be framed against the sky, so you have powerful dark-light contrast.

Then switch your camera over to manual exposure. Choose an aperture like you normally would, but dial in a very fast shutter speed. You want your main subject to be underexposed.

And then…

Shoot. Take a number of shots, experimenting with different shutter speeds. You want to capture a beautiful background, but with a completely dark foreground. It may take a bit of testing before you arrive at the perfect shutter speed, and that’s okay.

I also want to emphasize that you can capture beautiful silhouettes of any subject. Trees, flowers, birds, and leaves all look great.

5 Tips for Gorgeous Nature Photography Lighting

You just have to make sure you get the right backlighting and a carefully positioned subject.

And your shots will look stunning.

Use dreary clouds for beautiful intentional camera movement photos

I’ve already talked about the value of dark, cloudy light. It can add mood and drama to your photos.

But I like dreary days for another reason:

They offer very little light. Which is perfect for capturing long, artistic exposures. And it makes them look incredible because the diffused light results in saturated colors.

Of course, when it comes to doing long-exposure photography, you need a tripod for tack-sharp images.

But in this case, you don’t want tack-sharp images. Instead, you want to capture a beautiful blur, like this:

Nature Photography lighting

This is sometimes referred to as ICM or Intentional Camera Movement photography. Low light is perfect for this type of shot because it allows you to keep your aperture wide while still creating blur. This results in especially artistic, abstract images.

Here’s what you do:

Start by finding a subject that’s nice and colorful. The deeper the colors, the better, though the cloudy light will help bring out the hues regardless.

Then set your camera into Manual mode. Choose a shutter speed in the area of 1s to 1/10s. And choose an aperture that will give you a good exposure, while keeping the ISO down as low as possible.

Take some photos while moving your camera up and down, and left and right. Different motions will result in differently-styled photos. So I recommend you experiment with as many options as possible!

One tip is to move your camera along lines in the scene. So if you’re photographing trees, move your camera so that it follows the trunks downward.

Note that you shouldn’t feel constrained to landscape subjects. Yes, ICM photography is often done by landscape photographers. But you can create beautiful ICM shots photographing macro subjects, flowers, and even birds.

So feel free to photograph the subjects you love!

5 Tips for gorgeous lighting in your nature photography: Conclusion

While it can be difficult to use lighting to your advantage in nature photography, it’s not impossible.

And if you use these tips, you’ll be able to capture nature shots that look just stunning!

So have fun shooting and good luck!

 

The post 5 Tips for Gorgeous Nature Photography Lighting appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on 5 Tips for Gorgeous Nature Photography Lighting

Posted in Photography

 

Visual Flow’s new presets are custom made based on lighting conditions in an image

31 Oct

Visual Flow, the company launched by DVLP and SLR Lounge, has introduced ‘The Modern Pack,’ a series of 10 presets for Lightroom and Adobe Camera Raw. The Modern Pack stands out from competitors, according to Visual Flow, because it is ‘lighting condition-based,’ meaning that it does not require the ‘perfect lighting and weather conditions’ for which other presets are designed.

According to Visual Flow, its new lighting condition-based presets use a Color Engine and camera profile technology to unify the color variations between camera manufacturers and to create the look of the selected preset regardless of the lighting conditions in the input image.

The Modern Pack presets include Black & White, Hard Light, Soft Light, Backlit, HDR Natural, Over Saturated, Tungsten, Tungsten Mix and Green Tint; further comparison examples of each preset can be found on the Visual Flow website here. According to the company, the work it put into its Color Engine means users will enjoy 1-click presets without the need for extensive manual tweaking.

Joining The Modern Pack is the non-destructive Retouching Toolkit for Lightroom and ACR, which features 26 tools and 47 retouching brushes for dodging and burning, retouching, scene enhancements,and more.

The Modern Preset Pack and the Retouching Kit are available for $ 95 each; there’s also a bundle of the two for $ 165.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Visual Flow’s new presets are custom made based on lighting conditions in an image

Posted in Uncategorized

 

How to Use Lighting and Gels for Modern Portrait Photography [video]

12 Oct

The post How to Use Lighting and Gels for Modern Portrait Photography appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Lindsay Adler Photography, Lindsay deconstructs an image that she has lit using colored gels to make it look as though she photographed it in a nightclub or bar.

?

Inspired by a red velvet couch that she has in her studio, Lindsay decided to make her studio look like it was a nightclub or bar. She takes us through the process to teach us exactly how she achieved this look.

When choosing the color of her gels, Lindsay chose red to unify the subject with the color of the couch. She then used color wheel theory and used contrasting/complementary colors, so she went with a color close to green – teal.

Lindsay uses three strobes with fairly basic modifiers – bare bulbs and umbrellas.

Lindsay states that “The shot as lit overhead by a small white umbrella (no gel). The right-hand side of the frame was lit by a large deep umbrella with diffusion and a red gel to wrap around most of the frame. Finally, a bare bulb with a teal/green gel was used to light the shadows on the left of the frame. The colors selected helped create a sense of atmosphere to the otherwise static black environment.”

During the video, you’ll find out why these choices were made to combat particular issues that arose, including the wall being a slightly reflective surface.

You’ll also see some post-production choices that Lindsay makes with the image, as well as discovering why Lindsay chose to have the model posed in this particular way.

But more importantly, you’ll learn how to make a photo like hers!

What did you think of Lindsay’s video? Did you find it helpful? Let me know in the comments!

 

You may also find the following helpful:

Your Guide to Studio Lighting Equipment

Understanding Broad and Short Lighting in Photography

5 Creative Portrait Lighting Tricks Using Only Phone Light

How to use Off-Camera Flash to Create Dramatic Images with Cross Lighting

5 Lighting Setups You Can Do Using an Octabox

How to do Clamshell Lighting: A Reliable Two Light Setup

The post How to Use Lighting and Gels for Modern Portrait Photography appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


Digital Photography School

 
Comments Off on How to Use Lighting and Gels for Modern Portrait Photography [video]

Posted in Photography

 

Lighting Workshop Interest List

03 Oct

Apologies for how the lighting workshops announcement went yesterday. They filled within a few hours, and before many of you even saw the email.

Given that I typically only do the small-class shooting workshops once a year, I sat down last night and figured out a fairer way to announce them. If you are interested in perhaps one day attending, click through to learn more. Read more »
Strobist

 
Comments Off on Lighting Workshop Interest List

Posted in Photography

 

Announcing (2) Small-Class Lighting Workshops Baltimore / Washington, DC Area, Dec. 6 and 7

01 Oct

I’ll be teaching two, full-day lighting workshops in the suburban Baltimore/DC area on December 6 and 7.

They are two separate one-day events. These are small-group workshops, with a maximum class size of 12 people each day. These are shooting workshops, and you’ll be behind (and/or in front of!) a camera for most of the day.

Assuming you arrive at this class with a basic understanding of f/stops and shutter speeds, you will leave with a strong foundation in the fundamentals of off-camera lighting. You will be comfortable using single and multiple lights both alone and/or balanced with a mix of ambient lighting.

All lighting gear will be provided. We will also provide lunch.

You will need to bring a camera that is adjustable in manual mode and has a hot shoe connection for a flash, a lens that covers normal and/or portrait range, one or two fully charged batteries and an empty storage card. Maybe a notebook and pen if you like.

That’s it. Just show up ready to learn and to have fun. Leave the rest to me.

Details

Dates:
December 6 and 7, 2019

Time:
9:30am – 5:30pm

Price:
$ 259

Location:
Sandy Spring Friends Lyceum
17715 Meeting House Road
Sandy Spring, MD 20860

Note; These are the only small-class lighting workshops I’ll be teaching in the US this year. In the past, these have tended to fill very quickly. So if this is something you’d like to do, I’d suggest signing up sooner rather than later.

Sign-Up Links

Friday, December 6

Saturday, December 7

Strobist

 
Comments Off on Announcing (2) Small-Class Lighting Workshops Baltimore / Washington, DC Area, Dec. 6 and 7

Posted in Photography

 

Kenko’s new flash automatically moves its own head for optional bounce lighting

25 Sep

Accessories manufacturer Kenko has introduced a flash unit that automatically rotates and tilts its own head to bounce its output from ceilings and walls to provide the ideal soft lighting. The Kenko AB600-R follows the lead of Canon’s Speedlite 470EX-AI by using motors to move its own head into the ideal position to suit the room and the subject, as well as the orientation of the camera.

The new flash unit measures the distance between itself and the subject, as well as between itself and the bounce surface, and automatically calculates the best angle from which to direct its light. The user can also position the head manually and have the flash unit rotate itself when the camera is turned to be used in a different orientation or at an angle.

Where the Kenko flash differs from the Canon model is that it has a guide number of 60m/197ft at ISO 100 (using the 200mm setting) and it offers radio control for wireless operation as well as optical. In wireless mode the unit can act as a master or slave, and can be controlled additionally via the WTR-1 wireless transceiver.

The zoom head can track focal lengths of between 24mm and 200mm, and with the built-in diffuser lowered it will cover the angle of view of an 18mm lens. First and second curtain triggering options can be set, and strobe and high speed sync modes are also available.

The head is powered by 4 AA batteries, but can also be powered by the BP-1 external battery pack and comes with a two-year guarantee. At the moment it comes with i-TTL compatibility for Nikon users (though B&H is advertising a Canon version – but showing the Nikon one), and costs $ 400 / £400. It is expected in stores in November. For more information see the Kenko website.

Manufacturer information

New: AI Flash AB600-R

An electronic flash with Auto Bounce and Angle Lock functions.

The Kenko AB600-R is a high-power, ‘Advanced Intelligence’ flashgun which enables photographers to raise their game to another level, helping them automate the lighting process and get the best results every time.

Amongst its many features, the Kenko AI flash AB600-R incorporates an ‘AI’ Auto-Bounce function that takes care of the most difficult part in the shooting process: Bounce flash. By automatically calculating and moving to the optimum bounce angle, it enables the photographer to concentrate on the artistic part of the process, achieving better results in a more efficient way.

3D Auto Bounce function – The auto-bounce function of the Kenko AI flash AB600-R automatically calculates the most appropriate angle of light-bounce from the wall (left or right side) or from the ceiling. With the help of the auto bounce function, the photographer can accomplish a perfect shot with just a single shutter release; no more wasting time thinking and testing the optimal light path during the photo session. This function is invaluable for wedding photographers or anyone shooting portraits to a tight schedule, when the photographer has no time for failure. Auto Lock function – Allows the photographer to adjust the desired bounce angle, based on the automatically calculated one, in manual mode and lets the system remember this angle when the camera is turned from horizontal to vertical format. This allows the photographer to really focus on the artistic part of the shooting process, like composition and interaction with the model, making the process of getting the ideal shot so much quicker and easier.

Guide number: 60 – With a maximum guide number 60 (ISO 100 at 200mm), the Kenko AI flash AB600-R has all the power it needs to deal with wide range of scenes and situations.

Master to slave flash angle remote control – The built-in radio transmitting and receiving unit allows a master flash to control the bounce angle of the slave flash remotely.

Optical and radio (2.4GHz) wireless control – For off-camera and multiple flash shooting. Sync terminal is also supported.

Auto and manual zoom adjustment – Light coverage angle equal to the 18-200mm range (18mm achieved when used with the wide diffuser panel). External power supply – The optional BP-1 battery pack supports longer shooting sessions and delivers faster recycling times. Firmware updates – The Kenko AI Flash AB600-R firmware can be updated via micro USB port.

  • Zoom Range: 20-200mm (18mm using wide diffuser panel)
  • Flash Modes: i-TTL-BL / i-TTL / Manual / Strobe (1-200Hz), 1st/2nd curtain sync, high-speed sync
  • Power: 4x AA type batteries (alkaline / Nickel Metal Hydride), or external BP-1 battery pack
  • Recycling Time: Approx. 0.1-3.5 sec (using NiMH batteries)
  • AF beam assist: 29 point AF
  • Exposure adjustment: -3.0 to +3.0 stops (TTL mode), Full power to 1/128 power (Manual mode)
  • Wireless Communication Systems: Optical and Radio (2.4GHz)
  • Bounce Mode: AI Auto bounce / Manual bounce (both with angle lock function)
  • External Connections: Micro USB (for firmware updates) / Sync terminal / External power supply
  • Dimensions (HxWxD): 196 x 80 x 62mm

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Kenko’s new flash automatically moves its own head for optional bounce lighting

Posted in Uncategorized

 

Ways to Modify Your Flash for More Controlled Lighting

13 Aug

The post Ways to Modify Your Flash for More Controlled Lighting appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Flash can be a confusing addition for many new photographers. But there’s really only one way to gain experience. Learning to use your flash well takes practice.

Using your flash without modifying its output often produces unsatisfactory results. These can be very discouraging. With little modification, you can achieve more acceptable results pretty easily. Controlling the output of your flash based on the style of light you want for your photos is not hard to do.

Ways to Modify Your Flash for More Controlled Lighting Northern Thai Sausage

© Kevin Landwer-Johan

Your unmodified flash is a small light source

The smaller your light source is in relation to your subject, the harder the light will be. An unmodified flash produces strong light and high contrast for most subjects. This creates a hard-edged shadow which is often undesirable. The only difference is with macro photography because the light source will be larger than the subject.

Modifying the output of your flash by using a diffuser softens the light which falls on your subject.

Using a diffuser does a couple of things. It subdues the output, so less light hits your subject. It also spreads the light, effectively making the active light source larger. The light falling on your subject will be softer. So will the shadows they create.

Ways to Modify Your Flash for More Controlled Lighting Young Woman in the Park

© Kevin Landwer-Johan

The benefits of using modified flash

Diffusing the light from your flash will produce more flattering results when taking portraits. Soft light falling on the skin reduces the appearance of texture and gives it a more even tone. There are a number of techniques and accessories you can employ to diffuse the light from your flash. I will discuss some of these in the next section.

Hard light from an unmodified flash is more likely to show up skin blemishes. It also produces unsightly hot spots.

These bright patches occur with all but the most light absorbent surfaces when using an undiffused light. The more reflective the surface, the more light from a small light source will reflect.

Using some method of scattering the light from your flash will help end these problems.

Another option to modify your flash is to do the opposite of spreading the light. Narrowing the dispersion of the light produces a completely different look. You can better control what area of your composition the light from your flash will affect. This is usually achieved by the use of a snoot or honeycomb grid.

Ways to Modify Your Flash for More Controlled Lighting Rabbit Time Costume

© Kevin Landwer-Johan

How to control your flash using modifiers

The most simple way to alter the light from your flash is to turn your flash head so it’s not pointing where your lens is focused. Indoors you can point it up to the ceiling. The light will reflect off the ceiling and scatter. You can alternatively point your flash towards a wall beside or behind you.

Ceilings are often white or light neutral colors, so your photo is not likely to be affected by an odd toning. Bouncing your flash off a colored wall or other surfaces can cause that color to affect the light.

Depending on how close your flash is to the surface you’re bouncing it off will determine how much it is diffused. The closer you are to the surface, the less diffusion there will be.

When you turn your flash head to bounce it off another surface, the light and shadows it creates will be softer. Shadows may still be evident. You need to be careful of shadows under people’s chins and around their eyes when you bounce your flash off a ceiling.

Using a piece of whiteboard, plastic or a fold-out reflector to bounce your flash off will give you more control. You can move your reflector further away or closer and determine the best position for it.

Ways to Modify Your Flash for More Controlled Lighting Young Woman in Red

© Kevin Landwer-Johan

Clip-on hard diffuser

Most flash units come with a clip-on hard plastic diffuser. This is a small attachment that fits over the front of the flash head. It scatters and softens the light when the flash is fired.

Because this attachment is small, about the same size as your flash lens, it will not do a lot to soften the light. It is often better than nothing if you have not other option and it is small and convenient.

ways-to-modify-your-flash-for-more-controlled-lighting-Clip-on-Diffuser

Flash with a clip-on diffuser © Kevin Landwer-Johan

Bounce cards and other compact modifiers

A white piece of cardboard about 20cm (8 in) square with a tab on one edge and a couple of good strong elastic bands. This was a standard kit for photographers when I worked in newspapers. It was back before the proliferation of flash modifiers were available to buy.

Adding a bounce card to a flash pointed at a ceiling or wall spreads and softens the light even more. This will help further reduce the strength of the shadows.

Nowadays there are so many types of bounce cards and other diffusers available. They’re all designed to modify your flash in slightly different ways. Kits of modifiers can include:

  • Softboxes,
  • Barn doors,
  • Snoots,
  • Honeycomb grids and all manner of variations.
ways-to-modify-your-flash-for-more-controlled-lighting-Bounce-Card

Flash with a bounce card © Kevin Landwer-Johan

Snoots and grids

Most accessories which modify flash output are designed to soften the light. Snoots and honeycomb grids are two pieces of kit which can help you control the direction of the light.

Each works to narrow the spread of light from your flash. This allows you to control which part of your composition is most affected.

Ways to Modify Your Flash for More Controlled Lighting Snoot Lighting

© Kevin Landwer-Johan

Gobos and colored gels

Two more accessories which modify flash output are gobos and gels.

A gobo is a stencil or template placed in front of your flash head to create a shadow of a shape or pattern.

Any color gel can be used to affect the color of light which emits from your flash. This can be used for creative effect or to balance your flash with the ambient light.

Electric light sources often emit a colored light that is not as white as the light from your flash. Tungsten light is a warm tone. Fluorescent is often quite cool. Using the correct color gel can produce the right color to balance with an existing light source.

Small flash softbox

ways-to-modify-your-flash-for-more-controlled-lighting

Small Softbox © Kevin Landwer-Johan

My favorite flash modifier is a small softbox. It’s not the smallest or most convenient, but it produces a soft, pleasant light.

Mine’s about 60cm (2 ft) square and has a bracket to mount the flash at the back. The biggest drawback in using it is that you need to place it on a stand or have someone hold it for you.

I find I like the results best when using it as a fill light.

Ways to Modify Your Flash for More Controlled Lighting Temple Tourist Sunset

© Kevin Landwer-Johan

Controlling the amount of light

Whichever method you use to you modify the light from your flash there will always be a reduced output. You must compensate for this.

Using the TTL setting your camera and flash should calculate the correct amount of light. This should also be true with the auto settings.

In some circumstances, you may notice not enough light from your flash is illuminating your subject. At these times, you must adjust your compensation. This can be done by opening your aperture more or increasing your ISO.

Ways to Modify Your Flash for More Controlled Lighting Rag Doll Girl

© Kevin Landwer-Johan

Conclusion

Unmodified flash is not often the best light source. Modification allows you to control its output to suit the style of photograph you are making.

Experimentation and practice are required to master the type of lighting you want.

A practical exercise to help you understand and see what you can achieve is worth spending some time with. Set up a still life composition or find a willing model to work with. In the same setting, take a series of photos using various modifiers so you can compare the way the light looks with each one.

 

ways-to-modify-your-flash-for-more-controlled-lighting

The post Ways to Modify Your Flash for More Controlled Lighting appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


Digital Photography School

 
Comments Off on Ways to Modify Your Flash for More Controlled Lighting

Posted in Photography