tag:blogger.com,1999:blog-48724414155536979442024-03-13T13:11:11.037-07:00Shattered Images PhotographyAnonymoushttp://www.blogger.com/profile/11315201662128853236noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-4872441415553697944.post-51541741222755007752015-04-03T06:09:00.001-07:002015-04-03T06:10:17.362-07:00April News LetterWe just wanted to take a moment and let you know everything that we have going on.
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We are getting a great start this Spring. April is opening with Shutterfest, a great event for continuing education in the photographic field. Later this month Brendan is traveling to Tennessee for a week of shooting while Robin is holding down the fort here.
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We are also running an Early Bird Special for the class of 2016. Get the jump on your senior portraits and <span style="color: red;">save $75</span>! Call today, there are limited spots available and this promotion ends June 30th.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmEztqq2sldzrgzT__cqhCaIll2JM-cqz2M1On2OEGLvQ21JwcwwPXxWC2ztcFNqfs70mrEq3cGwA2o6UNtgByiwXsobfssi_70_hzvb_zOvt2xmW7h0C469wef1R63l1ymPujM4vuvsU/s1600/_70A2463.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmEztqq2sldzrgzT__cqhCaIll2JM-cqz2M1On2OEGLvQ21JwcwwPXxWC2ztcFNqfs70mrEq3cGwA2o6UNtgByiwXsobfssi_70_hzvb_zOvt2xmW7h0C469wef1R63l1ymPujM4vuvsU/s1600/_70A2463.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2016 Senior Portrait Early Bird Special!</td></tr>
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Spring is just around the corner and with it the beginning of the 2016 Senior portrait season. With this we offer a limited number of ambassador shoots for 2016 high school seniors. This is a great chance to save 50% on the total cost of your senior portrait session.<br />
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Brendan is getting ready to travel to Texas for two weeks of shooting in the last half of the month, while Robin is gearing up for wedding season. And of course our big announcement is that we have opened an 800 square foot studio in Lebanon, helping us to meet all of your portrait needs. 2015 is shaping up to be a great year, we can wait to share it with you.
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<tr><td class="tr-caption" style="text-align: center;">New Studio Space</td></tr>
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A big thank you to all of our customers.<br />
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We just wanted to let everybody know that our scheduling for 2015 photoshoots is well under way. We already have photos shoots lined up in Texas in February. We will be shooting in Kansas and Nebraska in March and then moving on to Tennessee in April. If you have not booked your shoot yet, don't worry we can still fit your school in, but don't delay we are starting to fill up for this Spring.<br />
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In other news we just wanted to let everybody know that if you have been following us on Facebook we now have a <a data-cke-saved-href="https://www.facebook.com/ShatteredImagesMartialArtsPhotography" href="https://www.facebook.com/ShatteredImagesMartialArtsPhotography" target="_blank">Facebook Page</a> dedicated to martial arts photography. Now it is even easier to follow all of the news and photos from you shoots!
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<tr><td class="tr-caption" style="text-align: center;">Shattered Images Martial Arts Photography</td></tr>
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We hope everybody and a wonderful Thanksgiving with the family. But now the Christmas season is in full swing. In celebration of the holiday we are taking <strong><span style="background-color: #6aa84f;">25% off</span></strong> of all photo sessions booked in December. This is a great saving that can be used for High School Senior Portraits, an Engagement Photo Session and this is the perfect time to shoot something steamy for your Valentine. We offer a wide array of prints and canvases as well as albums.<br />
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<strong style="font-family: helvetica; font-size: 14px;">In other News:</strong><br />
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<span style="font-family: helvetica; font-size: 12px;">We will be attending Christmas in the Park in Lebanon held at </span><span style="font-family: Helvetica;"><span style="font-size: 12px;">Archly park on the evening of Friday December 5th from 5-7pm. We hope to see everybody there. It should be a very fun event for the whole family.</span></span><br />
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And we are very pleased to announce that the work of Brendan Beavers will once again be on display in <u><em>Art Takes Miami</em></u><em> </em>an exhibit of contemporary art sponsored by The Miami Museum of Modern Art and held annually on Miami Beach Each December. "Scarlet Temptation" along with other works will be on display on December 7th. If you find yourself in the Miami area at that time be sure to stop in and check it out.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjaXdVCZsu9-ro4Cl35sFqLf_pZ-CC-DBEeOdf6bwdPRq4F8-SQr0kAjZWns1yohCbj3ZKshyrYlVnbEtI0Y8CbFDJRVxipXOXOQmlP5UZyDSv36IHxDBM4X4gUaykay4_wyUgRn7p5w/s1600/003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjaXdVCZsu9-ro4Cl35sFqLf_pZ-CC-DBEeOdf6bwdPRq4F8-SQr0kAjZWns1yohCbj3ZKshyrYlVnbEtI0Y8CbFDJRVxipXOXOQmlP5UZyDSv36IHxDBM4X4gUaykay4_wyUgRn7p5w/s1600/003.jpg" height="256" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Scarlet Temptation</td></tr>
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Keeping in the spirit of giving we are sponsoring the Hunger Games 450 challenge here in Lebanon on November 8th at Atchly Park. "The Hunger Games 450 Challenge is a 12 event obstacle course hosted by the City of Lebanon Parks and Recreation Department to benefit the L-Life Food Bank." And will be fun for the whole family.<br />
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For more info <a href="mailto:echamberlin@lebanonmo.org">echamberlin@lebanonmo.org</a>
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We know Black Friday has become a big tradition in this country, however, we are a small business and choose to celebrate the holidays with our friends and families, so we will be closed from the 23rd-30th. We hope you have a great holiday too, remember Friends and family is what it is all about.
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We are looking forward to some more great high school football. Lebanon was in a battle to the finish last Friday night for Homecoming and Camdenton has their Homecoming showdown tonight. It should be an exciting game.
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We are pleased to announce that we will have a booth at the Lebanon Art Walk on the 13th of Oct. The art walk is a family friendly event hosted by the Lebanon Art Guild featuring all kinds of local talent. For more information just call the Guild at 417.532.1895.
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We have a lot of shooting going on in October with Brendan working at the Fork & Cork on Saturday before traveling to both New York and Colorado. Robin will be spending some time working in Kansas, but we also have several openings here in Missouri and we would love to fit you in.<br />
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Last Friday we saw a very exciting football game between the Lebanon Yellowjackets and the Waynsville Tigers. This coming Friday we will be traveling to Camdenton to photograph the rivalry between the Jackets and the Lakers. Be sure to check out all of the great photos @<a href="http://store.shatteredimagesphotography.com/event/794247" style="color: #6dc6dd; word-wrap: break-word;" target="_blank">S</a><a href="http://store.shatteredimagesphotography.com/event/794247" style="color: #6dc6dd; word-wrap: break-word;" target="_blank">hattered Images Photography</a>. If you are interested in inviting us out to your high school event just let us know and we will try our best to fit your school in!<br />
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On September 6th we are hosting a free ice cream social for the LHS class of 2015 from 2-4pm at the Lebanon Art Guild and Gallery @227w Commercial St., Lebanon, MO. Be sure to spread the word to any of the LHS seniors you know. We hope to see you all there. And for our out of town fans, if you happen to be in town be sure to stop in and say hi.<br />
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Senior Portrait season is in full swing. We still have a few openings however our schedule is filling up fast, so don't delay. Both Brendan and Robin still have openings, but they are both looking at a busy September and October.<br />
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We will also have a booth in the Lebanon Business Expo at the Lebanon Civic Center this September 13th. Be sure to stop by and say hello. Also be sure to tell any brides you know that we will be giving away a free engagement session photo shoot that day at the Expo. They will want to be sure to stop in and sign up!<br />
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That wraps things up for us. I don't know about the rest of you but we can't wait to see all of the Autumn colors. Have a Happy Labor Day and we will see you soon.</div>
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<span style="font-size: 15px; letter-spacing: 0px; text-indent: -36px;">When planning a wedding there are three large expenses that can really make or break the day. The first is your venue and other than making it fit your budget, and being sure it can accommodate your guest list, fit your time frame and compliments your style, there is not much to think about. The second one is catering. Remember, this will include both the food and the drinks, has to accommodate differing dietary needs, (think vegan or gluten free options) and has to be delivered in a timely fashion to a large group. The last big expense is photography. Wedding planners generally advise couples to plan to spend about ten percent of their total budget on a specialized professional photographer. Photography may not seem that important when selecting a wedding gown, hiring caterers, arranging seating, guest lists, electing brides maids and groomsmen… but when it is all said and done you are going to take three things away from that day. While your marriage will flourish your memories of that day will fade - it takes a skilled professional to capture those moments otherwise they will be lost “like tears in rain”.</span></div>
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<span style="letter-spacing: 0.0px;"><b>1) Do not let someone else choose your photographer.</b> - This does not seem like something that would have to be mentioned, but in the chaos of planning a wedding it can be easy to let details slide. When dealing with budgets and limited time it can be easy to let a family member start making decisions, especially if they are paying. Be sure to stay involved in this process. Have them bring you 3-4 choices, take the time to look them over then sit down with said family member and discuss what works and what does not. Be sure that you are going to end up with a photographer that is qualified and whose work will represent you and compliment your sense of being.</span></div>
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<span style="letter-spacing: 0.0px;">2) <b>Be sure you are making an apples to apples comparison between photographers.</b> - This seems like it should be an easy thing to do, but there is no standard in pricing for photography. When discussing costs with a photographer it is important to know whether the cost they mention is just a creative shooting fee. Does their cost include prints? Just being handed a cd of all the images can seem like a good deal, but where do you get them printed? How do you go about getting an album? When they quote you a price does that include image retouching? You will want these questions answered before you decide. How much of the ceremony is covered in their quote? What type of products are included? Is retouching included? What guarantees do they have that the photographer will be available…</span></div>
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<span style="letter-spacing: 0.0px;"><b>3) Do not sign any contracts without experiencing their work.</b> - With so many things to plan for it can be easy to look at someones portfolio and think wow, lets hire them and have this settled. Don’t do it! You especially do not want to get sucked into a “sign-up now”, get your engagement photos, wedding announcements, wedding photos and find out after the engagement session you are stuck with a photographer you don't want. Take the time to get to know your photographers, and only commit to small bites in the beginning. You do not want to find yourself stuck with a photographer you hate and the only way out is to buy out the contract for the wedding.</span></div>
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<span style="letter-spacing: 0.0px;"><b>4) Remember you don’t want every photo.</b> - In this digital age with a lot of instant gratification it is easy to think you want every photo that gets snapped. Some of them are just going to be bad, a setting was wrong, somebody sneezed or a random photo bomb occurred. The other thing is a lot of them will be very repetitive. Trust your photographer to be able to show you a selection of the best images, after all that is what you are hiring us for.</span></div>
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<span style="letter-spacing: 0.0px;"><b>5) Make sure the photographers have an opportunity to see the venues.</b> - Even if the photographers have worked in that venue before, your ceremony and decorations are going to be unique. They need an opportunity to see your style and what your ceremony will be like. Having them present at your rehearsal is a great idea.</span></div>
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<span style="letter-spacing: 0.0px;"><b>6) Once the photographer is chosen be sure they coordinate with the wedding planner.</b> - A professional planner is a good idea to help everything run smoothly, but whoever is coordinating your wedding should meet with the photographer so they can have a chance to plan your event in a manner that will not interfere with either the event or your capturing memorable images of it.</span></div>
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<span style="letter-spacing: 0.0px;"><b>7) Ask your guests to refrain from shooting.</b> - Your guests are there to share your day with you. If they are trying to shoot photos, it is disruptive, they are not really having the opportunity to share in your day, and it limits the photographs your professional can get. Just imagine every photo of your guests is nothing but a sea of cellphones and you will begin to see what I mean.</span></div>
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<span style="letter-spacing: -0.6px;">“The bitterness of poor quality remains long after the sweetness of low price is forgotten.” – Benjamin Franklin</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxCM36BG4qZvRigKMiHHK7Rif_jnYch6WYCifsri3xesvAgi2cz9tBHM3j2V4ZmHa7RnJthaYsG3WdwgLX5aB9XZWEU0b3Jf15yOq4ZAumw2tzrX60MDm-IxM87rIPZ5hXxjA2O0N3Icg/s1600/Pablo%2527s+Passion+001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxCM36BG4qZvRigKMiHHK7Rif_jnYch6WYCifsri3xesvAgi2cz9tBHM3j2V4ZmHa7RnJthaYsG3WdwgLX5aB9XZWEU0b3Jf15yOq4ZAumw2tzrX60MDm-IxM87rIPZ5hXxjA2O0N3Icg/s1600/Pablo%2527s+Passion+001.jpg" height="318" width="400" /></a><span style="font-size: 12px; letter-spacing: 0px;">It is poss</span><span style="font-size: 12px; letter-spacing: 0px; text-align: left;">ible to use light as an element of creation in the production of a photo. Besides varying the position of the flashes or other lighting and their intensity, one can also change the color of the lighting so that the colors in the photo appear differently from how the subject appears to the eye without the lighting. To change the color of the lighting one uses lighting gels (also called colored gels). There are hundreds of lighting gels on the market each a different shade of a different color so that the lighting effects one can produce are endless. The aim is to produce a photo that is unlike what you can see with your eye. This particular photo was inspired by the artist Picasso's use of color, although you could take cues from any number of painters and artists.</span></div>
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<span style="letter-spacing: 0.0px;">For this setup I used three flash units with gels. You could experiment with using only two flash units, but the colors may not turn out as intense, and you run the risk of there being shadows where you do not want them. Of course there is nothing keeping you from using more flash units. By all means you should experiment with the lighting and the color of the gels to achieve what you wish to achieve with the photos. You will want an area where you can control the ambient lighting such as a studio as ambient light can affect the colors you wish to produce in the photograph. A way to dim the lights to just the point where you can see what you are doing is also desired. If you are not shooting in a studio, but say in a living room of a house, sunlight streaming in from a window can have dire effects on what you are trying to achieve with the colors as can light from street lights if you are shooting at night. If you do not have a studio available, you should try to find a windowless room in your home, or a room where you can put up heavy curtains to block out light. Use of a tripod as this will give more control if you are using a continuos light source. Camera movement could affect what you are wanting to achieve in undesired ways. A remote release is also advised to minimize camera movement. If you do not have a remote release you can use the camera's timer to keep movement to a minimum. Once you are setup, you will want to experiment with your camera settings to see what you can do. </span></div>
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<span style="letter-spacing: 0.0px;">This particular photo was taken with a Canon 7D with an EF-S 18-200mm lens set to 50mm. The ISO was set at 400 and the aperture was set at f8. The shutter speed was at 1/200th of a second while white balance was set to 5600k. It was saved in the RAW format. Three flash units were used. A pair of 430EX-IIs were used to light the background, one from camera left, and one from camera right. Both used yellow gels. The subject herself was lit by a single 580EX-II at a 90 degree angle with a blue gel. You can experiment with the colors of the gels to get the best color as not all gels are created equal. With hundreds of gels on the market there is no reason you should not be able to achieve your desired color in a photograph. You can also experiment with the position of the flash units and the type. Using different flash units in different positions you can achieve different effects. By all means experiment with your camera settings.</span></div>
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<span style="letter-spacing: 0.0px;">Lighting with lighting gels is an area where one can feel free to experiment, and it can be argued that you are not so much a photographer using lighting gels as you are an artist. After all you are not recording the image as it appears to the naked eye, but attempting to produce something the eye does not see, something that can only be captured in the instant of flash units and the "click" of a shutter. To get ideas I recommend looking at the artwork of famous painters such as Picasso in his Blue Period for inspiration. Painting your subject, background, or both with colored light opens up a world of creativity.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8owskg8wrN6-HZjtoSXprFp1aYxoG_BzvD_5UVw4HwwKV9bX4b2OvK-kmcWO-LDS_KIATizfom34JraN5wmlg83T_DJY9bCtgH-PcdcomqPOr9WerJyMM0o5E6PLN_imUwDZJI_Ae8oU/s1600/HHS+003.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="1/3200th w/ High Speed Sync" border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8owskg8wrN6-HZjtoSXprFp1aYxoG_BzvD_5UVw4HwwKV9bX4b2OvK-kmcWO-LDS_KIATizfom34JraN5wmlg83T_DJY9bCtgH-PcdcomqPOr9WerJyMM0o5E6PLN_imUwDZJI_Ae8oU/s400/HHS+003.jpg" title="1/3200th w/ High Speed Sync" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/3200th w/ High Speed Sync</td></tr>
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<span style="letter-spacing: 0.0px;">High Speed Sync is a dedicated flash camera function that allows the photographer to use flash in situations where the lighting requires a shutter speed that would otherwise prohibit the use of flash. </span></div>
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<span style="letter-spacing: 0.0px;">Ok that statement is a bit high on the techno speak, so lets look at it a bit differently. In most flash photography shutter speed is pretty irrelevant, the lighting situation is such that the ambient light leaves little or no impression on the sensor and the flash dictates both the exposure and acts to freeze the action. In photography without flash the aperture is used to control depth of field while the shutter acts to control action - a slow shutter shows motion blur and a fast shutter freezes objects in motion. With flash photography even in cases where you are </span><span style="color: #0061ff; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/09/blending-flash-with-ambient-light.html" target="_blank">blending with ambient light</a></span><span style="letter-spacing: 0.0px;"> the flash will still have a tendency to freeze action. This happens because the short, high intensity burn of the flash acts as the effective shutter speed, usually somewhere around 1/1000th of a second depending on flash output.</span></div>
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<span style="letter-spacing: 0.0px;">I mention this because it can be easy to forget if you do not regularly shoot in situations where it is necessary to shoot outside of the cameras sync speed. When the flash is freezing your action for you it is easy to forget that the flash does not function with the camera at shutter speeds above the camera sync - for most cameras this will be 1/250th of a second, though for the <a href="http://shatteredimagesphotography.blogspot.com/2013/03/canon-6d-equipment-review.html" target="_blank">EOS 6D</a> that speed is 1/180th. To find your Camera’s sync speed you will need to check the camera's user manual.</span></div>
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<span style="letter-spacing: 0.0px;">Ok since we have established that flash freezes action and it is therefore not necessary to use the shutter to do that then why do you need to be able to use flash with a shutter set above the sync speed? Well sometimes the ambient light you are blending with is just too bright for your camera’s sync speed, this generally means you are shooting in sunlight. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQw5UcXsHDNNMaMQ-g9XsUStQfVVZkexEjBzMmd-FPl7vyDTrgHUeamAZXjm8m4Y2Ib5YyvsJwkPQqZrcDND2vsg6DYGVJ1z-r0zDyBxF-ZboSW-G-KKqY3AuFRgTd06g3LdygT_biIAU/s1600/HHS+004.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Second Curtain Closing " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQw5UcXsHDNNMaMQ-g9XsUStQfVVZkexEjBzMmd-FPl7vyDTrgHUeamAZXjm8m4Y2Ib5YyvsJwkPQqZrcDND2vsg6DYGVJ1z-r0zDyBxF-ZboSW-G-KKqY3AuFRgTd06g3LdygT_biIAU/s400/HHS+004.jpg" title="Second Curtain Closing " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Second Curtain Closing</td></tr>
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<span style="letter-spacing: 0.0px;">To understand this a little better it lets take a moment to look at how the shutter functions. At and below sync speed the first curtain of the shutter opens completely before the second curtain starts to close, this allows the entire sensor to be exposed at once. At speeds above the camera’s sync speed the second curtain starts to close before the first curtain has fully opened, at higher speeds only a partial strip of the sensor is being exposed at any given moment.</span></div>
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<span style="letter-spacing: 0.0px;">High Speed Sync changes the duration of the flash burn. Instead of the flash firing once the first curtain has cleared the shutter the flash fires a series of pulses and burns for the entire duration of the shutter action. This function allows the flash to be lit for every section of the sensor without the second curtain blocking part of the sensor which happens if the flash fires a single burst.</span></div>
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<span style="letter-spacing: 0.0px;">The Image at the top of the post was photographed using High Speed Sync. That image was taken at 1/3200th of a second, well out side of the camera’s normal sync speed. The next two images show the scene without flash, the first at 1/180th of a second which exposed the apple nicely but completely blew out the sky, the second at 1/3200th which was the speed needed to get proper exposure of the sky but it crushed the apple in shadow leaving it and the leaves quite dark. It would be possible to create an </span><span style="color: #0061ff; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/08/hdr.html" target="_blank">HDR</a></span><span style="letter-spacing: 0.0px;"> of this scene, but for HDR you really need to be shooting still life. High Speed Sync can create the image in a single exposure and allows blend flash with sunlight, something the regular sync speed does not allow.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7f41ruZYZdHzLIKGQdjFoU1aAPdHCxrfE1LyrOZh2BCvcrSDrmGVe9N3JyqlFKB8-EX3fA8Aj8UI8voALMVkSPjIgYva8UL4YsL8YgRJ4Fcxf1_-irGBPcihe-7w_KprEfOFJklh8f2k/s1600/HHS+001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="1/180th no flash " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7f41ruZYZdHzLIKGQdjFoU1aAPdHCxrfE1LyrOZh2BCvcrSDrmGVe9N3JyqlFKB8-EX3fA8Aj8UI8voALMVkSPjIgYva8UL4YsL8YgRJ4Fcxf1_-irGBPcihe-7w_KprEfOFJklh8f2k/s400/HHS+001.jpg" title="1/180th no flash " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/180th no flash</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AtwexsZLLNWJAfnK1zVSoxHShFZuJ679u7_aHpuKEa0A6Q4eUkEvdZoZaKNomWjoELaWhIW6SW32lZskD5LZIozHr_LegsRUBHdMTNRUR9LA-bhMp8R3_iqSWO40WaGEF2U_Jdi0SAQ/s1600/HHS+002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="1/3200th no flash " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AtwexsZLLNWJAfnK1zVSoxHShFZuJ679u7_aHpuKEa0A6Q4eUkEvdZoZaKNomWjoELaWhIW6SW32lZskD5LZIozHr_LegsRUBHdMTNRUR9LA-bhMp8R3_iqSWO40WaGEF2U_Jdi0SAQ/s400/HHS+002.jpg" title="1/3200th no flash " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/3200th no flash</td></tr>
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<span style="letter-spacing: 0.0px;">* Note not all flashes and cameras support High Speed Sync though it is available on Canon, Nikon, and Sony Alpha lines, as well as being supported by some third party flashes. You will need to consult both your camera and flash manuals to see if High Speed Sync is an option for you.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifm_7RORTWaoqsrFBmra4xPo0EpLRcYv5NrC_dzVRgZ-pdfddlnI1yHXGeds4gDgbXgA0gxikV2HI4_JH3jzVi763kDKj3VcoChYKcFnayGKBrQpUyOGIzSuCbHrmafJ8nd9u3VtSP6aM/s1600/JvL+104.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifm_7RORTWaoqsrFBmra4xPo0EpLRcYv5NrC_dzVRgZ-pdfddlnI1yHXGeds4gDgbXgA0gxikV2HI4_JH3jzVi763kDKj3VcoChYKcFnayGKBrQpUyOGIzSuCbHrmafJ8nd9u3VtSP6aM/s400/JvL+104.jpg" width="400" /></a><span style="letter-spacing: 0.0px;">Photographing sports can be challenging for the beginning photographer. A couple of different approaches can be used to help get great images. In </span><span style="color: #74a7fe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/01/an-18-grey-world.html" target="_blank">An 18% Grey World</a></span><span style="letter-spacing: 0.0px;"> I wrote a bit about how the camera makes the decisions it makes, if you have not read that post yet it would be good to look over it now. When approaching sports photography there are three different approaches you can use.</span></div>
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<span style="letter-spacing: 0.0px;">Your first option is full automatic letting the camera make all the decisions on exposure. If your camera does not have a sports setting in its full auto array this tends to be the worst of the three options. Even in bright sun the camera will operate with lower shutter speeds so that it can keep the ISO low and the Aperture high giving the camera the biggest depth of field. In general full auto will always have motion blur, a lot of motion blur as it will keep your shutter between 1/60th and 1/250th of a second. The sports setting, if your camera has it, will help do a better job as it will tell the camera to try and keep the shutter at 1/250th or higher, greatly reducing t</span><span style="font-size: 12px; letter-spacing: 0px;">he amount of motion blur. This will be your best option if you are using a point and shoot camera.</span></div>
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<span style="letter-spacing: 0.0px;">The next option is to use shutter priority or Time Value. Many photographers recommend this approach as the camera tries to maintain your preferred shutter while still judging exposure. It is important to remember that while you set the shutter this is still an automatic setting for the camera, many cameras will only give preference to the shutter speed you have selected. This means that while you may have told the camera you want a 1/500th shutter it may drop you to 1/60th if the meter tells the camera it is 3 stops under exposed, this can be very problematic especially if the camera is spot metering the scene, but even in evaluative metering the camera can still drag your shutter speed down to far for shooting sports. Some cameras allow you to turn off the Safety Shift or switch it to shifting the ISO to prevent the camera dragging the shutter.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6IZLYUuiUyZfsBt9kYlhaES62dPShrXjTzAhQeHdVt-RIqsWgsMLpqA_7RTSgcvRqLcVpRNHGav8AkbxNisadPvjZ8AV16TWvOxhHLVWx0XbAB_c-q5bd_NL5WSeN-2sM_BEeaABhc2E/s1600/JvL+234.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6IZLYUuiUyZfsBt9kYlhaES62dPShrXjTzAhQeHdVt-RIqsWgsMLpqA_7RTSgcvRqLcVpRNHGav8AkbxNisadPvjZ8AV16TWvOxhHLVWx0XbAB_c-q5bd_NL5WSeN-2sM_BEeaABhc2E/s400/JvL+234.jpg" width="400" /></a><span style="letter-spacing: 0.0px;">My preferred option is shooting in full manual mode, this insures that I can keep the shutter speed high enough to capture the motion the way I want to show it. There is a bit more work associated with shooting this way if you are shooting in a changing light environment. However unless your subject is moving in and out of bright sun and extremely harsh shadows the change in exposure will only be a couple of stops. The other time you can see a big shift in light is when photographing a game that starts before sunset and continues into the night. In this latter case the exposure shift is much more gradual and is easy to compensate for as long as you pay attention to your shooting conditions. </span></div>
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<span style="letter-spacing: 0.0px;">A brief run down of how I approach this shooting situation. If I am shooting sports in daylight I set the camera to f8 ISO 800. In bright sun this allows me a shutter speed of 1/1600th (</span><span style="color: #74a7fe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/06/sunny-16.html" target="_blank">Sunny 16</a></span><span style="letter-spacing: 0.0px;">) certainly fast enough for hand holding the camera at any focal length and freezing most action. Even if clouds are moving in and out from in front of the sun I can shift two stops in the shutter and still maintain a shutter speed of 1/400th Again this will allow me to hand hold a telephoto lens and still freeze most of the action. When shooting at night I set the camera (</span><span style="color: #74a7fe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/01/canon-7d.html" target="_blank">EOS 7D</a></span><span style="letter-spacing: 0.0px;">) to ISO 6400 and the shutter to 1/500th with the aperture set to the maximum aperture for the lens at its longest focal length. Many lenses have a variable aperture which will be something like f3.5-5.6. For this kind of lens I would set the Aperture to 5.6.</span></div>
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<span style="letter-spacing: 0.0px;">A few other things to keep in mind. </span></div>
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<li style="font-family: Helvetica; font-size: 12px; margin: 0px;"><span style="letter-spacing: 0.0px;">Blur becomes much more apparent the longer the lens you use. If you are shooting with an 800mm lens then the motion blur of your subject will become more apparent and you will need a faster shutter to get tack sharp images. </span></li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;"><span style="letter-spacing: 0.0px;">The same holds true for camera shake. As a general rule to eliminate camera shake the shutter speeds needs to be equal to or faster then your lens length. A 60mm lens can be hand held at 1/60th of a second, an 800mm lens can be hand held at 1/800th. An image stabilized lens will generally get you one stop of shutter speed, meaning an 800mm IS lens could be hand held at 1/400th.</span></li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;"><span style="letter-spacing: 0.0px;">Post production of RAW images can recover 3 or more stops in your image provided you don’t have blown highlights. What this means for shooting sports at night is you can recover a lot from what the camera considers under exposed. As long as you do not have an extreme amount of clipping in your shadows shoot the faster shutter speeds to eliminate blur and bring the images back in post.</span></li>
<li style="font-family: Helvetica; font-size: 12px; margin: 0px;"><span style="letter-spacing: 0.0px;">If you can not shoot in RAW set the camera’s auto-light optimization to high and it will do the same thing for you by recovering shadows as it saves the image to Jpeg, allowing you to favor shutter over “correct” exposure.</span></li>
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<span style="font-family: Helvetica;"><span style="font-size: 14px;">* This post is written using the terms Canon uses, most manufactures have these options though sometimes under a different name. </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ_VyMZGvEwp_WaY6ZLRkhvQaNyBXH3bWM-zZjKkd5vFe3JCSLF6Lqv6M1FDtkw6_Qfm-QHYEOe_IRyuQEqBGJKk0w0xzV0LRlj5XcAx4wKCJnQ_NuhV1tYle3UMv_R-rdVnoEOTYO1fU/s1600/JvT+310.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Canon 580EX-II" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ_VyMZGvEwp_WaY6ZLRkhvQaNyBXH3bWM-zZjKkd5vFe3JCSLF6Lqv6M1FDtkw6_Qfm-QHYEOe_IRyuQEqBGJKk0w0xzV0LRlj5XcAx4wKCJnQ_NuhV1tYle3UMv_R-rdVnoEOTYO1fU/s400/JvT+310.jpg" title="Canon 580EX-II" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Canon 580EX-II</td></tr>
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<span style="letter-spacing: 0.0px;">The 580EX-II was the top of the line Canon Speedlite until the release of the Canon 600EX-RT. For many shooters the release of new equipment opens opportunities for them that had not been practical before as older equipment re-enters the market at 1/3 or even 1/4 of original cost. For many shooters this will allow them the option of adding a powerful E-TTL II flash to their kit that can also function as a master controller for their existing </span><span style="color: #874efe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/07/canon-430e-ii-equipment-review.html" target="_blank">430EX-II</a></span><span style="letter-spacing: 0.0px;"> or other Canon Speedlites. </span></div>
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<span style="letter-spacing: 0.0px;">Many other shooters will be wondering if the </span><span style="color: #874efe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/05/canon-600-ex-rt-equipment-review.html" target="_blank">600EX-RT</a></span><span style="letter-spacing: 0.0px;"> is a better option. Lets take a brief look at that first. Both the 580 and the 600 are capable as functioning as an optical master for the existing Speedlite lines, while the 600 is capable of controlling 5 flash groups and the 580 only controls 3 in optical mode the 600 is also limited to 3 flash groups. The rational behind this limit was probably limit of the older flashes to groups A thru C, however it would have been nice to have the option to use older units in those groups and use 600s in the D and E group in an optical controlled system. The short of it is to gain the added advantage of 600 series flashes at this point in time all flashes have to be 600 series making that set-up much more expensive then using a 580 master with other 580 and 430 units as slaves. Used 580s are now comparable in price to new 430s which makes adding a used 580 to the mix an attractive option.</span></div>
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<span style="letter-spacing: 0.0px;">For shooters that are already using cameras like the </span><span style="color: #874efe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/02/canon-60d-equipment-review.html" target="_blank">60D</a></span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #874efe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/01/canon-7d.html" target="_blank">7D</a></span><span style="letter-spacing: 0.0px;"> which offer master controller function through the pop-up flash paying an additional $550 for a new 580EX-II was probably not an attractive option. Now you really should consider picking one up used in the $200 dollar range, this is why. The 60D and similar model cameras while capable as acting as a master controller were limited to flash groups A and B by using a 580 as your master controller you now have access to group C as well creating much greater freedom when using speedlites for </span><span style="color: #874efe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/08/3-point-lighting.html" target="_blank">3-Point Lighting</a></span><span style="letter-spacing: 0.0px;">. For the higher end cameras that already supported all three flash groups the big advantage to having an on camera 580 is when you are controlling flash groups with the camera oriented to portrait format. The common problem the pop-up unit encounters in shooting in this fashion is putting some of the off camera flashes into the shadow of the lens which prevents them from firing. The larger surface of the 580 unit along with the ability to orient it in different directions can allow all of the flash units to easily see the master unit. </span></div>
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<span style="letter-spacing: 0.0px;">If you are using a higher end camera like the </span><span style="color: #874efe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/03/canon-6d-equipment-review.html" target="_blank">6D</a></span><span style="letter-spacing: 0.0px;"> a pop-up option is not available and a 580 is a very affordable option. While it is true that ST-E2 units can be purchased new in the same price point as used 580s, the big advantage of a used 580 is that it gives you one more flash unit. Even with this unit mounted on camera it can provide fill light or be used as a </span><span style="color: #874efe; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/08/bounce-flash.html" target="_blank">Bounce Flash</a></span><span style="letter-spacing: 0.0px;">.</span></div>
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<span style="letter-spacing: 0.0px;">The 580EX-II is still a very relevant option for most shooters. It is a powerful reliable choice and when it comes to the use of other optical units it’s price point makes it a superior choice to the 600 Series.</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijqzX40bM1Qmurgv-9hdocya9QCQqgRkUh3-9M0126Ldn8RCW3VPcQ2Sfx-wL9x9h1WqANppdvguZHClveTttMCTEmHe6CiQii3EyPYIw8KKCoPuTDaiX9_0IIggQuvghLis4PLkW8kNk/s1600/BFA+001.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Lighting Set-Up " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijqzX40bM1Qmurgv-9hdocya9QCQqgRkUh3-9M0126Ldn8RCW3VPcQ2Sfx-wL9x9h1WqANppdvguZHClveTttMCTEmHe6CiQii3EyPYIw8KKCoPuTDaiX9_0IIggQuvghLis4PLkW8kNk/s400/BFA+001.jpg" title="Lighting Set-Up " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lighting Set-Up</td></tr>
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<span style="letter-spacing: 0.0px;">Mixing strobes with existing light seems to be one of those things that confuses many photographers. This is most likely due to the fact that two sets of photographic rules are at play when blending flash and ambient light. The first set is what natural light shooters tend to live and die by, </span><span style="color: #4f7a28; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2012/12/the-big-3.html" target="_blank">the “BIG 3”</a></span><span style="letter-spacing: 0.0px;">. If you have read my earlier blog post you know that I tend to look at this set of rules as being very malleable. The second set of rules come out of studio lighting, where light is controlled by light, or by aperture if you are working with a set of strobes that are not adjustable (but even in this case you can control flash power by distance to the subject or the use of neutral density gels and not need to use on camera settings).</span></div>
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<span style="letter-spacing: 0.0px;">So where does the confusion come in? When a photographer is shooting using all natural light where they have very little or no control over the light, such as landscapes, their only recourse is to adjust camera settings. If the scene is already properly exposed and the photographer wishes to adjust shutter, they then have to adjust aperture or ISO to get an equivalent exposure. In the days of film they were really stuck with adjusting aperture or wasting the rest of a roll of film to change ISO/ASA.</span></div>
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<span style="letter-spacing: 0.0px;">When shooting under studio strobes shutter speed is almost meaningless. A simple way to demonstrate this is to set a camera up in a room on manual setting. Set the ISO, shutter aperture and flash for the exposure you want when the lights are turned off. Turn the lights off take a picture with flash and then adjust your shutter - just your shutter - and take a second image. As long as both shutter speeds are within your cameras sync speed there will be no difference in the two images. This is because flash photography has an effective shutter speed which is the burn time of the flash, in most cases somewhere around 1/1000th of a second. This effective shutter is much much faster then even the cameras fastest sync speed (for most Canons 1/250th) As long as you understand this you understand how to mix flash with ambient light.</span></div>
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<span style="letter-spacing: 0.0px;">The how too blend flash and ambient is actually quite simple. Set your scene, set your camera for an ISO you are comfortable with and set your aperture to create the Depth of Field that you wish to have and set the shutter to your maximum sync speed. Once this is done set your flash output to properly expose your subject (depending on your flash this can either be done with output, neutral density gels, or distance to subject). At this point when you release the shutter you should have a properly exposed image. If you do not adjust your flash power accordingly. </span></div>
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<span style="letter-spacing: 0.0px;">Once you have a properly exposed image you can then mix ambient light in simply by slowing your shutter speed. Remember from the lights turned off room exercise above that shutter speed does not effect flash exposure, so the Big 3 methodology does not apply to the exposure from the flash and you do not need to adjust aperture or ISO as you change the shutter(this is where people get confused). By slowing or “dragging” the shutter all you are doing is allowing more ambient light to balance the areas of the image that are not being exposed by the flash.</span></div>
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<span style="letter-spacing: 0.0px;">So why do we blend flash and ambient light? There are several situations which can call for this, the most common is when more light is needed then is available yet we do not wish to loose the ambience such as in a club. Another common place to use flash and ambient is when photographing a person at night and wishing to have a city scape behind them visible as well. This is similar to the first but the flash is needed because the person would not expose at all, they would simple be a shadow blotting out the city lights. Another case is to freeze action, such as bullet photography, the flash is used so the bullet can be frozen in the frame and the longer shutter allows the rest of the scene to also be exposed. Another reason to add flash is to create shadows, in the sequence below you can see that the room is very evenly lit and by adding flash I added shadows which creates depth in the images. In actuality blending flash will be used for multiply reasons in the same image.</span></div>
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<span style="letter-spacing: 0.0px;">So now we have covered the theory, lets look at the nuts and bolts of what I did for this exercise and how it affected the images. Photographed at the top you can see how I set the camera and flash in relation to the scene. I treated the piano as the subject of the image, I placed the </span><span style="color: #4f7a28; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/05/canon-600-ex-rt-equipment-review.html" target="_blank">600EX-RT</a></span><span style="letter-spacing: 0.0px;"> on 1/4 power, into a 24” softbox, 6 feet from the piano. The camera was the Canon 6D with the 24-105 f4 L set to 24mm. The ISO was 400 and the aperture was f4 for all of the images in the following sequence the only thing that changes is the shutter speed which is listed on the images.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnGECTw-_Rlovczk5oSaUmZJWJmED0rjBSeyFajok1C30csm1quEVdoH9tcjnq67G-5UwzY3X4QxtPvof6Wb_3J06eiW8VPxlpeiUROXhPHZpOJ2-eal0-oHcY9vR6t1nMydKUs-aN1Q/s1600/BFA+005.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnGECTw-_Rlovczk5oSaUmZJWJmED0rjBSeyFajok1C30csm1quEVdoH9tcjnq67G-5UwzY3X4QxtPvof6Wb_3J06eiW8VPxlpeiUROXhPHZpOJ2-eal0-oHcY9vR6t1nMydKUs-aN1Q/s640/BFA+005.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/180th</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlvwEENTVytYV6msShx6qHhGc4kpP86tvGzOhWpGevgC73i2JOsnt_I4UtNLeBhXxFkBx_GQbV7y6eJ_3qQzpPuOpJwOAy3X2oLh4YBRk9OTTAvUxhLYiUQYJZenpvVH52Ddwf1wIJn7M/s1600/BFA+006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlvwEENTVytYV6msShx6qHhGc4kpP86tvGzOhWpGevgC73i2JOsnt_I4UtNLeBhXxFkBx_GQbV7y6eJ_3qQzpPuOpJwOAy3X2oLh4YBRk9OTTAvUxhLYiUQYJZenpvVH52Ddwf1wIJn7M/s640/BFA+006.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/125th</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTetrFQl7x8RJwfrXL0Jne0W0u-lNlr7hK5BSiCX6qqyEsxfjhVQ40myB4fcpqIPcN4evx_uH7aMDH2fL0mZ32T29mQubtKq7zFTzjwucB4ChyphenhyphenEAlGvpHQSqtXZmLE8Fw8SnGDYMi274E/s1600/BFA+007.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTetrFQl7x8RJwfrXL0Jne0W0u-lNlr7hK5BSiCX6qqyEsxfjhVQ40myB4fcpqIPcN4evx_uH7aMDH2fL0mZ32T29mQubtKq7zFTzjwucB4ChyphenhyphenEAlGvpHQSqtXZmLE8Fw8SnGDYMi274E/s640/BFA+007.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/60th</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyWJ6YQRZKUO1kTnMb5gKaOcba9LUFDwJqpnKTNf6GXw1CVkrn6hczAQF50uyRLfcNeRaXL-9LomiT_s0CEaAdPQCX4U782jxjY3pH-KqvrBU724GuRiL7hrjTueJNwJb5iSvfUf-TOX0/s1600/BFA+008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyWJ6YQRZKUO1kTnMb5gKaOcba9LUFDwJqpnKTNf6GXw1CVkrn6hczAQF50uyRLfcNeRaXL-9LomiT_s0CEaAdPQCX4U782jxjY3pH-KqvrBU724GuRiL7hrjTueJNwJb5iSvfUf-TOX0/s640/BFA+008.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/30th</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjmvq-YiM27vxLCwhLNVxrRtqN3aFXLZRn24lNodSedstDUvSn0R8Yva95X6Xw25dWCxIrcWEKW0NAfo_P45kd7OxClo_JIqd_5HS7xOom_JAdm1S5QYc1oNig9svDcoEvZwFJ32YKOI/s1600/BFA+009.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjmvq-YiM27vxLCwhLNVxrRtqN3aFXLZRn24lNodSedstDUvSn0R8Yva95X6Xw25dWCxIrcWEKW0NAfo_P45kd7OxClo_JIqd_5HS7xOom_JAdm1S5QYc1oNig9svDcoEvZwFJ32YKOI/s640/BFA+009.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1/15th</td></tr>
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<span style="letter-spacing: 0.0px;">These last two images below show the scene, the first with the camera set to take a flash exposure but no power to the flash, and the second with the camera set to take the image just with ambient light. </span><span style="color: #669c35; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/03/canon-6d-equipment-review.html" target="_blank">The Canon 6D</a></span><span style="letter-spacing: 0.0px;"> sync speed maxes at 1/180th which is why there is a discrepancy between the first image in the sequence above and the image here for flash with the flash turned off. In situations where you need a faster sync speed Hi-Speed Sync can be used to get speeds above your cameras sync speed. (This will be covered in a later blog.) For this example I allowed the camera to set the default shutter sync for the 1st image. I also did not correct for <a href="http://shatteredimagesphotography.blogspot.com/2013/08/what-is-color-balance.html" target="_blank">C</a></span><span style="color: #669c35; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/08/what-is-color-balance.html" target="_blank">olor Balance</a></span><span style="letter-spacing: 0.0px;">, the camera was set to Flash which is why the total ambient light image has a yellow cast. I did this deliberately, in the sequence the competing colors make it a little easier to spot how much ambient light is effecting exposure. If you use AWB it will set to flash when a flash unit is attached to the hot shoe so the area exposed by the flash is closer to white. If you use gels to match your environment you will need to set your cameras white balance accordingly with the camera’s custom white balance settings. The exception to this is when using Canon CTO gels with the 600EX-RT. The 600 has a sensor which allows it to correct white balance to the Canon CTO gel being used if the camera is set to AWB. I have not explored this function yet so I am not sure how well it works. It also only works if the flash is mounted in the hot shoe.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">No Flash 1/250th</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Ambient Only 1/15th</td></tr>
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<span style="letter-spacing: 0.0px;">So that is the basics of mixing flash with ambient, like color balance the only way to really learn this skill is through practice. Depending on your set up it is possible that if you are mixing a lot of ambient light you would need to step the flash power down slightly. Do not be afraid to experiment once you have a good grasp on how the toe exposure models work and how well they blend.</span><br />
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<span style="letter-spacing: 0.0px;">So what is Bounce Flash? Specifically, bounce flash is any flash that is bounced off of a surface to illuminate the subject, so a mono-block firing into a reflective umbrella is a type of bounce flash. In more common usage bounce flash is the use of an on camera speedlite* which is being bounced off of a wall or ceiling to light the subject. </span></div>
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<span style="letter-spacing: 0.0px;">A lot of the blog posts I have written on technic have been aimed towards the serious enthusiast or pro who has invested in a wider array of gear and has the option of shooting multiple light set ups or using other modifiers. Bounce flash is a technic which is available to any photographer using a camera that has a hot shoe supporting the use of a speedlite, who has also purchased a speedlite with a swivel head. The minimal need for equipment and the number of mid range cameras, like the </span><span style="letter-spacing: 0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/07/powershot-sx50-hs-equipment-review.html" target="_blank">SX-50</a></span><span style="letter-spacing: 0.0px;">, that offer a hot shoe as an option make this an ideal technic for anybody who wants to do photography on a budget, or who does a lot of photography on the go and wants to be able to travel light.</span></div>
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<span style="letter-spacing: 0.0px;">Apart from the relative in-expense of bounce flash it is also a relatively easy technic to get the hang of on most modern cameras. The majority of newer cameras offer some type of TTL metering. TTL stands for Through The Lens and the camera actually triggers a very brief pre-flash which lights the scene that the camera then uses to judge over all flash power for exposure of the image. This is the equivalent of setting the flash on automatic. This can be used in conjunction with the cameras automatic settings meaning that this technic is available even to very inexperienced photographers.</span></div>
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<span style="letter-spacing: 0.0px;">In general I recommend setting the camera to manual so that you have creative control over </span><span style="letter-spacing: 0px;"><a href="http://shatteredimagesphotography.blogspot.com/2012/12/the-big-3.html" target="_blank">ISO, shutter, and aperture</a></span><span style="letter-spacing: 0.0px;"> while leaving the flash to calculate the needed flash power. As a general rule bounce flash will be used in “Run and Gun” situations where the distance between the flash and the subject is changing and the flash output will have to be adjusted to match. This is what the TTL is designed to do, while it is possible to use this technic without TTL it then becomes more of a walk and gun situation and requires a lot more skill on the part of the photographer to be able to constantly adjust flash output to match the changing scene.</span></div>
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<span style="letter-spacing: 0.0px;">Bounce Flash is one of those technics where there is no specific “right” way to do it, however there is quite a lot of flexibility available to sculpt the light even when using TTL. What follows is a series of four images where the only change is the direction the bounce flash is being fired. All of these images where taken with the </span><span style="color: #77bb41; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/03/canon-6d-equipment-review.html" target="_blank">Canon 6D</a></span><span style="letter-spacing: 0.0px;"> set to ISO 200, f8 and 1/180th with the 24-105 f4 L set to 85mm and the camera located 4 feet from the subject. The flash used was the <a href="http://shatteredimagesphotography.blogspot.com/2013/05/canon-600-ex-rt-equipment-review.html" target="_blank">C</a></span><span style="color: #77bb41; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/05/canon-600-ex-rt-equipment-review.html" target="_blank">anon Speedlite 600 EX-R</a></span><span style="letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/05/canon-600-ex-rt-equipment-review.html" target="_blank">T</a> set to ETTL. The E in ETTL stand for evaluative and refers to a Canon specific algorithm used to determine exposure. Nikon has a similar brand specific algorithm which is designated with an I in their ITTL flash units.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZeVHfpxmPmJ2jP0cQCEh2n5qza9xPo4LMcjWkPURlrzg-XhTUDiKOdHdyBr_5lYB-GdtVSoyds1J_W7OcZCPkJzAXb-SCdBtBM2r3XkBN2W1I_NkMh_4I1jPAXtOZuKrGAKHkShwKhDU/s1600/Bounce+Flash+002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Flash bounced off Ceiling " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZeVHfpxmPmJ2jP0cQCEh2n5qza9xPo4LMcjWkPURlrzg-XhTUDiKOdHdyBr_5lYB-GdtVSoyds1J_W7OcZCPkJzAXb-SCdBtBM2r3XkBN2W1I_NkMh_4I1jPAXtOZuKrGAKHkShwKhDU/s400/Bounce+Flash+002.jpg" title="Flash bounced off Ceiling " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flash bounced off Ceiling </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqyKK-W8wwLRhGPlFs1-4oD2mcjbgqOUC-v_gohzbQ-l3QKCFaBZ4X-rMesuBAZ2AM3hWzbHozAdF_YP7EWcQV5XmBbpVTGGnp1u0_vPRcQ_GjoFczNk5zIgHsEShJScj9PjYHE1BEho/s1600/Bounce+Flash+005.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Flash bounced off Wall Behind Camera" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqyKK-W8wwLRhGPlFs1-4oD2mcjbgqOUC-v_gohzbQ-l3QKCFaBZ4X-rMesuBAZ2AM3hWzbHozAdF_YP7EWcQV5XmBbpVTGGnp1u0_vPRcQ_GjoFczNk5zIgHsEShJScj9PjYHE1BEho/s400/Bounce+Flash+005.jpg" title="Flash bounced off Wall Behind Camera" width="400" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmOCPpO75hf215gqKsYnuJDOahQFnu09o5-yv2rCa1HiEocX3GuawX9esCpeW5s0H3Dnp7ThcOXkheIz4kw-hwQ-lKCjDUuD-Y2E3z1WRzhpOk7oG6Wfo8qUXMuUPngAb_dlginvJJZtA/s1600/Bounce+Flash+004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Flash bounced off Wall Camera Left" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmOCPpO75hf215gqKsYnuJDOahQFnu09o5-yv2rCa1HiEocX3GuawX9esCpeW5s0H3Dnp7ThcOXkheIz4kw-hwQ-lKCjDUuD-Y2E3z1WRzhpOk7oG6Wfo8qUXMuUPngAb_dlginvJJZtA/s400/Bounce+Flash+004.jpg" title="Flash bounced off Wall Camera Left" width="400" /></a></td></tr>
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<span style="letter-spacing: 0.0px;">Looking at these four images you can see that there is a lot of flexibility in how the light falls on the subject. The primary thing to keep in mind when using this technic is where the light is coming from. In many situations your environment may dictate that by only providing one or two suitable surfaces to reflect the flash off of. It is important to remember that the flash will pick up the color of what ever surface it is reflected off of. In many cases this kind of color cast can be corrected in post as the flash will be lighting the subject and background both and the color cast will be applied to the entire scene. But when possible us a neutral surface like a white wall or ceiling.</span></div>
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<span style="letter-spacing: 0.0px;">If we look at this series a little more in depth, comparing the images where the light was bounced off of the ceiling with the image where the light was bounced off of the wall behind the camera we can see that both images are lit similarly but the light from behind the camera has a much softer quality. Similarly if we compare the images where the light was bounced from camera right and camera left we can again see that the light from camera left is softer. In both cases this is because the surface the light is reflecting off of is farther away allowing the light from the flash to spread out more. </span></div>
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<span style="letter-spacing: 0.0px;">If you remember in </span><span style="color: #77bb41; letter-spacing: 0.0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/06/an-introduction-to-lighting-your-subject_2.html" target="_blank">this blog post</a> </span><span style="letter-spacing: 0.0px;">we briefly looked at bounce flash in the discussion of on verses off camera light quality. In the second and third images on that post the hardness and softness of the bounced light was modified not by changing the distance of the light to the reflective surface but by changing the flash from wide angle (soft light) to telephoto (harder light). The wide angle - telephoto settings in the flash were originally designed so that when used in conjunction with different focal length lenses the flash would only light what was actually in the frame. This allowed the flashes to light subjects that were far away as the output was directed more to the front and not spread out. However for Bounce Flash it gives us more options for sculpting the light. another handy tool, particularly if you have an assistant is a piece of white foam core or other reflector. This allows you to position a reflective surface wherever you want. This is a very inexpensive way to overcome environmental obstacles.</span></div>
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<span style="letter-spacing: 0.0px;">So now you have an idea of what bounce flash is, but the way to really get an understanding of this technic is to just go out and shoot a lot, change the angles the flash is being bounced the distance to the subject, how much in front or behind the reflective surface is and you will quickly begin to understand all the potential this technic has for sculpting light. This method really opens up a lot of creative shooting options for events and parties. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6q4klkvj-6D5KY5EOnH5pyHB4g-_pZJF2xvmEJe8BSPqfIBWZ4R8Bt4HaMUXZPdV4IIKW6RJGt7S0LU5RElWm-tHNITpOCOvKgAWl6hfuKE7nDPcDAHghiuaG9mD08o_ME5mcvUBfdM/s1600/Bounce+Flash+001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="On Camera Flash for comparison " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ6q4klkvj-6D5KY5EOnH5pyHB4g-_pZJF2xvmEJe8BSPqfIBWZ4R8Bt4HaMUXZPdV4IIKW6RJGt7S0LU5RElWm-tHNITpOCOvKgAWl6hfuKE7nDPcDAHghiuaG9mD08o_ME5mcvUBfdM/s400/Bounce+Flash+001.jpg" title="On Camera Flash for comparison " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">On Camera Flash for comparison</td></tr>
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<span style="letter-spacing: 0.0px;">* In this post I am using the term speedlite as short hand for any on camera flash that is mounted in either a hot shoe or cold shoe and triggered by the cameras shutter.</span></div>
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<span style="font-size: 12px; letter-spacing: 0px;">One of the more common mistakes beginning photographers make is not getting good color balance. In most situations, particularly with cameras introduced in the last 3 years the auto white balance function of the camera does a fairly good job most of the time, where it tends to fall flat are areas with mixed light temperatures, so after a brief intro to what color temperature is I am going to focus on ways to correct mixed light situations.</span></div>
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<span style="letter-spacing: 0.0px;">So what is Color Balance? To understand color balance (also commonly incorrectly called white balance) you need to first understand that all light has color. The Color of the light is referred to as color temperature and is measured in degrees kelvin. The warmer the light, that is the more yellow, orange or red the light is the lower the color temperature, as the light gets closer to white and then blue the temperature in degrees kelvin goes up. This seems backwards at first glance, but remember when iron is smelted it starts with a low red glow as it gets hot enough to forge it moves to letting off orange light and when it is hot enough to pour iron starts pushing into the yellow colors. Another way to remember that the high temperatures are the whites and blues is to think of arc welders or lighting. Electric arcs are one of the hottest things we can observe, with temperatures exceeding those of the surface of the sun, and they are in the white and blue color space. For a more complete run down of color temperature click <a href="http://en.wikipedia.org/wiki/Color_temperature">here</a>.</span></div>
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<span style="letter-spacing: 0.0px;">Now you have an idea of what color temperature is, how does it work with color balance? Color Balance is matching the light sources so they all of the same or very similar color temperatures so the camera can then shift the sensor to read white objects as white. It is a subtle but important difference between color balance, matching the light sources, and white balance, setting the camera to read the light sources correctly, but it is an important distinction. It is also why the auto white balance setting will always fail in mixed light. The other common mistake is having a camera set to daylight (essentially white light) and to take photos under artificial light, this is what gives photos that ugly yellow, yellow orange, or yellow/green cast. </span></div>
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<span style="letter-spacing: 0.0px;">Modern artificial lights tend to be pretty close to 3000k without any green tint. As this gets more common, lower end cameras are tending to have one artificial light setting. High end cameras ,on the other hand, may have four or five artificial light settings (not counting flash, which is generally balanced for daylight). These multiple settings can more closely match the most common color temperatures of incandescent (orange/yellow to yellow) and florescent (yellow to yellow with a green tint) lights. Having these multiple presets can be a quick way to find a suitable white balance if you can not preform a custom white balance. I am not going to go into setting a custom white balance beyond mentioning it is a good idea to use a grey card, because different manufactures have different methods for achieving a custom white balance reading. Consualt the camera’s manual.</span></div>
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<span style="letter-spacing: 0.0px;">For this post I am going through a quick exercise of matching a 5600k Speedlite with modern florescent recessed canister lights. Here is a quick look at the equipment used. For the flash I used a Canon 580EX-II and to match the color of the ambient light I used LumiQuest gel holder. In the photo the gels on the left are used for color correction, The two at the top are a one stop and a two stop neutral density gels which can be used to cut flash intensity on flash units with a fixed power output. The gels on the right are used for Creative Lighting with Color (an upcoming post). For this entry I am only going to speak about the gels on the left. Starting at the top and moving counter clockwise we have a 1/2 stop (or cut) Color Temperature Green (CTG) followed by a 1/4 cut CTG, 1 cut Color Temperature Yellow (CTY), 1 cut Color Temperature Orange, 1/2 cut CTO, 1/4 cut CTO and finally a 1/2 cut Color Temperature Magenta. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN5p-AiBGShyphenhyphenxOf7YdH6TjfJbj6CcUwyv5t76CkZP-cJsDDrWa79jHKF4YSmKPwxcyAmoxDfKL8oCq9BTaYLKAyo-0OdefTqc-sB1yz0zw3TVGhBRcTm-VkAcIICOvA5pG8g8231a6yVg/s1600/_MG_0001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Speedlite with Gel Kit " border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN5p-AiBGShyphenhyphenxOf7YdH6TjfJbj6CcUwyv5t76CkZP-cJsDDrWa79jHKF4YSmKPwxcyAmoxDfKL8oCq9BTaYLKAyo-0OdefTqc-sB1yz0zw3TVGhBRcTm-VkAcIICOvA5pG8g8231a6yVg/s640/_MG_0001.jpg" title="Speedlite with Gel Kit " width="640" /></a></td></tr>
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<span style="letter-spacing: 0.0px;">As a general rule the CTY and one of the CTGs will be used together to balance older florescent lights, newer florescent bulbs do not tend to have the green tint. The CTO,s will be used for incandescent, but actually look to see what color/s are most prevalent. The CTM is used on your subject, usually used as fill, when the subject is placed in a green screen environment. In a green screen environment background light reflects off of the screen and will give the subject a green cast. By using a CTM on the subject the green tint is neutralized. If you use photo editing software in the white balance section you have probably noticed a slider that goes from yellow on the left to blue on the right and a second slider that goes from magenta on the left to green on the right. These colors are directly opposite each other on the color wheel and mixing them together neutralizes there impact. In effect your camera does this as its white balance function.</span></div>
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<span style="letter-spacing: 0.0px;">Ok, now you have the theory, lets look at it in practice. All four of these images are just a succession of photos of a white wall. The first image below is the color of the light in the room from the canisters lights when the camera is balanced for the color of the flash. The second images shows the flash firing and the ambient light being crushed out by the camera’s high shutter speed. When this is an option this is the best fix for the light. But it is not an option if you want a slower shutter speed to allow motion blur, or if you are shooting in an environment where blasting everything to white would not look natural, like a club for instance where doing so would destroy the ambience. I have included the <a href="http://shatteredimagesphotography.blogspot.com/2013/03/understanding-histograms.html">histograms</a> so you can better understand the differences in the light color that is causing the shift in the light. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzXppeo59xxvA4P5ktG2d51tO1V05eyUvXwN41nD5rHyEBaWORzKgPe7Spe05KwHmT6mQjffM3iI4-yhx58aMvFjGdhw_xbN36z_tz2blCe8NUmzGk5qDaXllOhEFq5Xbf6rOeNKsFDo/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Image 1 and Image 2 " border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguzXppeo59xxvA4P5ktG2d51tO1V05eyUvXwN41nD5rHyEBaWORzKgPe7Spe05KwHmT6mQjffM3iI4-yhx58aMvFjGdhw_xbN36z_tz2blCe8NUmzGk5qDaXllOhEFq5Xbf6rOeNKsFDo/s640/01.jpg" title="Image 1 and Image 2 " width="640" /></a></td></tr>
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<span style="letter-spacing: 0.0px;">Looking at the first image you can see the light in this room has a definite orange cast to it, and looking at its histogram you can see how spread out the different colors of light are. Looking at the second image you can see how the light casts a gradient across the wall, even though the histogram covers a large part of the graph it is fairly uniformly grey as all of the colors are mixed fairly evenly giving us white light. </span></div>
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<span style="letter-spacing: 0.0px;">The third and fourth images show blending and then correcting the light. In the third image the flash has not been adjusted but the shutter has been drastically reduced so that both the flash and the ambient light can expose the image. The gradient in this image from bottom right to top left clearly shows why the auto white balance in the camera can not adjust to this situation. There is not one uniform light color for it to adapt to and correct. You can also see how the histogram is all over the place even though this is just a photo of a white wall. The fourth image was taken with a 1/4 CTO placed over the flash and the white balance in the camera shifted from flash to florescent, this is because the flash is now pretty closely blended to the ambient light of the room which is pretty close to the florescent preset. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2mpnQvtwmJJgU2UXwuzODDwTYb8v9q8Gz9bSlK5h0HJljHeqeuFv_uhimZ8SwGeaV9aKaCiATk2dIm4d-yFDDCG_Mt8v3xYjdSZExvanTn_4vdNLY_2GEN5pGYChbTANugEFXaP1MEhI/s1600/02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Image 3 and Image 4 " border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2mpnQvtwmJJgU2UXwuzODDwTYb8v9q8Gz9bSlK5h0HJljHeqeuFv_uhimZ8SwGeaV9aKaCiATk2dIm4d-yFDDCG_Mt8v3xYjdSZExvanTn_4vdNLY_2GEN5pGYChbTANugEFXaP1MEhI/s640/02.jpg" title="Image 3 and Image 4 " width="640" /></a></td></tr>
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<span style="letter-spacing: 0.0px;">Looking at the histogram we can tell it has not been perfectly balanced, but an exact balance is not possible with gels. At any rate it is much closer now the color is no longer painful to look at with only minor corrections needed in the computer. Corrections which can be applied across the whole image rather then trying to blend in different layers of correction, a much more difficult task. </span></div>
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<span style="letter-spacing: 0.0px;">For these last two images I raised the flash to above the eye line as that is more typical for portraiture, as a result the gradient shift from the third images is seen here in the fifth images from top right to bottom left. The fifth image gives an idea of how difficult it would be to correct the color balance in the computer rather then only needing a minor adjustment to the over all white balance of the sixth photo taken in a close color balanced situation. The complete chaos in the histogram of the fifth image gives a clearer picture, even though the scene is very color neutral the histogram is all over the place.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAikAvlk4QQVSw3Qznl1h-11Qa0-sVH0EGViLB1aDYBzmflU3Ef9eSWEfPjPg0dfxHLHRIgnTWchXDrnPMwB2xM_DspKlOeeNfPHxpczOOsg5b1BpecXFH0z22tZyJSa9kacG1fg5a8IE/s1600/03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Image 5 and Image 6 " border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAikAvlk4QQVSw3Qznl1h-11Qa0-sVH0EGViLB1aDYBzmflU3Ef9eSWEfPjPg0dfxHLHRIgnTWchXDrnPMwB2xM_DspKlOeeNfPHxpczOOsg5b1BpecXFH0z22tZyJSa9kacG1fg5a8IE/s640/03.jpg" title="Image 5 and Image 6 " width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 5 and Image 6</td></tr>
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<span style="letter-spacing: 0.0px;">All six of these images were shot on a the <a href="http://shatteredimagesphotography.blogspot.com/2013/03/canon-6d-equipment-review.html">Canon EOS 6D</a> camera with the 24-105 f4 L. The lens was set to 58mm the camera was set to ISO 400, f8 and a shutter of .4 seconds with the exception of the second image which had a shutter of 1/180th of a second to crush out the natural light. The flash was located 45 degrees camera right and was set to manual 1/32 power 14mm.</span></div>
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<span style="letter-spacing: 0.0px;">High Dynamic Range is a method of merging photographs to capture all of the visible scene in one image. HDR is only needed when the dynamic range, the difference from light to dark, is greater then the camera’s image sensor can capture. Many of todays cameras have a dynamic range of around 11 stops, the human eye has a dynamic range of around 14 stops. For this reason it is common to see photos where the landscape has a good exposure but the sky is blown out and has lost its blue color and all of the detail in the clouds, or the sky is in perfect exposure but the landscape is dark, lost in shadow. Using HDR to merge photos of differing exposures allows a person to create a photo that has detail visible in both the sky and the landscape.</span></div>
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<span style="letter-spacing: 0.0px;">Many of todays cameras have a built in HDR setting which removes the need to have software capable of merging the images for you, though software gives much greater flexibility in exactly how the images are blended. For instance on my Panasonic DMC-ZS10 point and shoot the HDR setting is a Scene function of the cameras automatic setting, as such I have no control over the aperture or shutter speed of the camera. On this camera when I use the HDR setting there is a slight lag to the shutter, the camera holds the shutter open creating an image out of the data captured. In this manner an image is created with a wider dynamic range then the camera would otherwise be capable of.</span></div>
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<span style="letter-spacing: 0.0px;">On the <a href="http://shatteredimagesphotography.blogspot.com/2013/03/canon-6d-equipment-review.html">EOS Canon 6D</a> the HDR functions more like it would if the photographer were to preform the image merging on computer in post production. The 6D has an HDR function that operates as part of the manual settings on the camera and can operate in M, P, Av, and Tv modes. On this camera when HDR is set you meter for the mid-tones and then select an exposure compensation value of either 1, 2 or 3 stops when the shutter release is pressed the camera quickly takes three images one exposed for the mid-tones one under exposed for the highlights and one over exposed for the shadows. The camera then creates a single image out of these three files.</span></div>
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<span style="letter-spacing: 0.0px;">In both of these cases software in the camera is attempting to mimic what can be done on computer in order to capture a wider range then the sensor normally would. Before digital HDR did not exist but other methods were employed to capture a wider dynamic range, HDR is an extension of those techniques. In the days of film when a photographer needed to capture a wide dynamic range a <a href="http://www.amazon.com/Heliopan-Graduated-Neutral-Density-Filter/dp/B0001W1CWC/ref=sr_1_20?s=photo&ie=UTF8&qid=1376231253&sr=1-20&keywords=gradient+filter">gradient filter</a> would commonly be used to stop down the sky so that it was closer in exposure value to the landscape. If further correction was needed the developer of the film could selectively dodge and burn the film to lighten some areas and darken others. Gradient filters can also be purchased in blue or orange to better match the tint of the sky or sunset.</span></div>
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<span style="letter-spacing: 0.0px;">As photoshop and digital manipulation started to advance as a tool it became possible to capture a wider range of information then had been possible on film. Most film has a dynamic range of 4 or maybe 5 stops, this was particularly important in studio lighting and is where the 3/2 lighting ratio for subject and a background 2 stops brighter then subject (when you wanted a white background) come from. When you have a total of 4 stops it became critical to keep the lighting in a narrow band. The early digital sensors also had a very narrow band of sensitivity, however they had one distinct advantage over film. With digital it is possible to take several images at different exposure values stack them up and merge them into an image with a dynamic range of 10, 20 or even 100 stops if that were necessary. The spectacular images from <a href="http://hubblesite.org/gallery/album/">Hubble</a> are examples of HDR taken to extreme limits.</span></div>
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<span style="letter-spacing: 0.0px;">The other option that is available to digital is similar to the dodging and burning of the negatives during development. This is the use of <a href="http://shatteredimagesphotography.blogspot.com/2012/12/raw-vs-jpeg.html">RAW</a> files, I mentioned above that many modern cameras have a dynamic range of 11 but there effective range when generating 8 bit Jpegs tends to be closer to 8 stops. By shooting in RAW and exposing for the highlights (this is key as anything lost in the highlights is lost) a photographer can then go into the file on computer and use RAW processing to pull up information that is being lost in the shadows. From this file an 8 bit Jpeg can then be produced that fully utilizes the 11 stops the camera has.</span></div>
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<span style="letter-spacing: 0.0px;">Now that we have spent a lot of time on what HDR is and where it comes from I am going to give a brief run down on how to do it. If you are about to ask why I am not spending more time on the how too, that is because it is about to be surpassed by technology, I mentioned that many cameras are already capturing 11 stops, they will soon be capturing more stops and in greater detail then the eye can see, as the greater demand for high definition moves forward the 8 bit format for Jpeg images, computer displays and printers will be surpassed by 16 or even 32 bit formats and the need for image stacking will again slip back into the realm of astronomy where it is being used to capture massive amounts of data that is not available in visible light. I have some confidence that this prediction is correct, in that, 8 years ago to get a good HDR image it required stacking 5, 7, or even 9 images to get a wide enough range of exposures. Now three images will allow you to use the 11 the camera captures plus 2 stops (or three if you use a 3 stop interval) below and above giving a rang of 15 (or even 17) stops.</span></div>
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<span style="letter-spacing: 0.0px;">So now we have an idea of what HDR is, how does it all work? I brushed over that above in that you take pictures with different exposures. The setup up is really quite simple though the blending on computer (the post) takes a bit more practice. To take the images you will need a camera and a tripod. It is possible to make an HDR with the camera set to auto (in some cases) by using the cameras exposure compensation settings to get the ver and under images, but it is best if you are comfortable shooting in full manual mode. Once the camera is on the tripod the image is framed and the focus has been set, turn the auto focus off (if you did not focus in manual) take your first images metered for the mid-tones then use the shutter speed to adjust down 2 stops, so if your mid-tones were shot at 1/125th then your shadows will be shot at 1/30th and then adjust up two stops above the first image to 1/500th to shoot your highlights. </span></div>
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<span style="letter-spacing: 0.0px;">If you are using an older camera and need a wider range you could also shoot down an additional 2 stops at 1/7th and up two more at 1/2000th, but if you are using a fairly modern camera (made in the last 3 years or so) then you really wont need to. Once you have the 3 (or 5) images you will merge them in Aperture, Lightroom or Photoshop - depending on your software you may need to find an additional plugin to do this.</span></div>
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<span style="letter-spacing: 0.0px;">When is HDR used? HDR really is best used in situations where the dynamic range is too great for the camera and modifying the light is not practical, several examples are sunrise/sunset photos, landscapes, cityscapes, architectural photography, things that are too big to effectively light AND the dynamic range of the scene is greater then the camera can capture. If you are looking at a scene and the camera can capture the image without an clipping occurring in the histogram HDR is not needed.HDR is not really practical for subjects that move, portraits, pet photography - anything like that it is much better to correct the lighting before the image is taken then it is to try and get 3 or more images where everything but the exposure is the same.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicMB54jKfptWjHiDVHRW9nqTKiShsxUh15ufdx1YHEmt3zB20T5cXCFiqCBxyOVtoKpkjTIRjV884zVpn7-hH_UWUi6h2GiDtzHd6utb1IneCWpykoBFY-t-PrdkW0IJGvFerNryRBJvc/s1600/HDR.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Image created with HDR" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicMB54jKfptWjHiDVHRW9nqTKiShsxUh15ufdx1YHEmt3zB20T5cXCFiqCBxyOVtoKpkjTIRjV884zVpn7-hH_UWUi6h2GiDtzHd6utb1IneCWpykoBFY-t-PrdkW0IJGvFerNryRBJvc/s400/HDR.jpg" title="Image created with HDR" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image created with HDR</td></tr>
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<span style="letter-spacing: 0.0px;">This first image is an HDR composite.</span></div>
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<span style="letter-spacing: 0.0px;">The three following images are the multiples used to create the HDR shot at 2 stop intervals </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1FqfugPG_oHVgt8f2gYaUdGqml93nJsfAizXcpNkczjHzqN_JO50pPoYt0IzvxHPYGfKAi0vQAn8saCIMWg1kWMyqh7EUofly4d7cpnQTCX5skiR7MT6WUloiasllaY-33jdavnhHXU/s1600/_MG_0019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="2 stops underexposed to get highlights " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1FqfugPG_oHVgt8f2gYaUdGqml93nJsfAizXcpNkczjHzqN_JO50pPoYt0IzvxHPYGfKAi0vQAn8saCIMWg1kWMyqh7EUofly4d7cpnQTCX5skiR7MT6WUloiasllaY-33jdavnhHXU/s400/_MG_0019.jpg" title="2 stops underexposed to get highlights " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2 stops underexposed to get highlights</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGMnAoOuO2Tp2R59yHzYWfdbhNKPT8J3A6u1A6PPAdg-JBLPxVOdmyAeoAHL9RW4ktFplX9h03ISi5WbkV3xMS7y0gJ7BJogDbt5myPYzWFbzHDEa-2T1GFt-JeGAXxpgHOD0a-YntuE/s1600/_MG_0020.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Exposed for Mid-tones " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGMnAoOuO2Tp2R59yHzYWfdbhNKPT8J3A6u1A6PPAdg-JBLPxVOdmyAeoAHL9RW4ktFplX9h03ISi5WbkV3xMS7y0gJ7BJogDbt5myPYzWFbzHDEa-2T1GFt-JeGAXxpgHOD0a-YntuE/s400/_MG_0020.jpg" title="Exposed for Mid-tones " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exposed for Mid-tones</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB0ElOQGLrkcRcdFnEc01zKiCOGPCv02HCg5XW3_rndEH8KsnLG-xHHDmSAWgsAc_wNGSiUDmqL0HBNEQLy5uaAGTFdjZn3lF36W3U1XAImP1y6HssGQPY5zY0sgLEpQCzTEiNf_XzHCE/s1600/_MG_0021.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="2 stops over exposed to get shadow detail " border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB0ElOQGLrkcRcdFnEc01zKiCOGPCv02HCg5XW3_rndEH8KsnLG-xHHDmSAWgsAc_wNGSiUDmqL0HBNEQLy5uaAGTFdjZn3lF36W3U1XAImP1y6HssGQPY5zY0sgLEpQCzTEiNf_XzHCE/s400/_MG_0021.jpg" title="2 stops over exposed to get shadow detail " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2 stops over exposed to get shadow detail</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgReRReJwVf64Tt4J1LSSSXnuUZB0XKwV_GHrKvN0FEiRY3w_-wM8iHdsj3XZI7QBc6KwBNOxASZ7LSS562JU3-GrHb_zR6phC31MrqLbMZ6qNG601UwLvbOAi6IW0dn6q8Vz_g4-EEy_w/s1600/camera+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgReRReJwVf64Tt4J1LSSSXnuUZB0XKwV_GHrKvN0FEiRY3w_-wM8iHdsj3XZI7QBc6KwBNOxASZ7LSS562JU3-GrHb_zR6phC31MrqLbMZ6qNG601UwLvbOAi6IW0dn6q8Vz_g4-EEy_w/s400/camera+1.jpg" width="400" /></a></div>
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<span style="font-size: 12px; letter-spacing: 0px;">This last image is the scene as the camera wanted to capture it using the auto setting</span></div>
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<span style="letter-spacing: 0.0px;">Comparing the first to the last it is possible to see how HDR both allows a photographer to capture a wider range and how close camera is getting to making HDR an unnecessary art. If you wish to explore HDR in more depth I suggest looking to the works of <a href="http://www.photoshopcafe.com/biography.htm">Colin Smith</a></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIAELFKcWma6GS0ituLqx9GUTlcQPu_INvhWfBwKnDSjIRiDocUsUKp_3WpLjlMCOxPgmIQN6dF2QZ9gG7Lmt_NACg4G8t19N9AgFTDjBmFyxMt66AT50ty8gVPyDBktSh6jsY9JGnDEE/s1600/3+Point.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="3 Point Lighting" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIAELFKcWma6GS0ituLqx9GUTlcQPu_INvhWfBwKnDSjIRiDocUsUKp_3WpLjlMCOxPgmIQN6dF2QZ9gG7Lmt_NACg4G8t19N9AgFTDjBmFyxMt66AT50ty8gVPyDBktSh6jsY9JGnDEE/s320/3+Point.jpg" title="3 Point Lighting" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3 Point Lighting</td></tr>
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<span style="letter-spacing: 0.0px;">3 point lighting really should be looked at as the fundamental building block for all lighting in both photography and video. I do not make this statement as a judgement, in no way do I mean that the light setup shown here is “the best”. The best light is what is need for the image being created. But what I do mean is that these 3 aspects are present in all lighting setups and need to be considered whether you are using one light mounted on the camera or a 20 light studio set. In all lighting cases you will be working with and should be thinking in terms of Key Light, Fill Light and Background Light, your three fundamental lighting aspects. All other lights, hair lights, rim lights, kickers are just added fluff used to better define how the light falls on the subject and how the light separates the subject from the back ground.</span></div>
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<span style="letter-spacing: 0.0px;">A little bit of house keeping - the camera used was the <a href="http://shatteredimagesphotography.blogspot.com/2013/03/canon-6d-equipment-review.html">Canon 6D</a> with the 24-105 f4 L lens, the camera was located 6 feet from the subject on a tripod set to ISO 200 f8 1/160. The lights used were Canon Speedlites set to manual the background light was the <a href="http://shatteredimagesphotography.blogspot.com/2013/05/canon-600-ex-rt-equipment-review.html">600EX-RT</a> and the Key and Fill lights were both <a href="http://shatteredimagesphotography.blogspot.com/2013/07/canon-430e-ii-equipment-review.html">430EX-II</a>s all three lights were set to manual. I include this information because a lot of people do ask about it - but really the equipment is not important, understanding how it is being used is what matters. If this is your first article on lighting I would suggest also reading <a href="http://shatteredimagesphotography.blogspot.com/2013/06/lighting-your-subject-moving-flash-off.html">Lighting Your Subject</a> and <a href="http://shatteredimagesphotography.blogspot.com/2013/06/lighting-your-subject-moving-flash-off_23.html">Part II</a> as well as looking at the resources linked in </span><span style="font-size: 12px; letter-spacing: 0px;">those two posts.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIDiTgimx2Wvquaz1FLJFDss82kC339CX-xtSaoJY3Cm8rBv_aEc8juR-KBDM0EYkpkPSI1UOteSaXfXypHF2rmYn4ybnpAkcXutM-9lk5-hyaAj0DL2WHOgbGylxx8LCQI-nsY39Q9s/s1600/Key.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Key LIght" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIDiTgimx2Wvquaz1FLJFDss82kC339CX-xtSaoJY3Cm8rBv_aEc8juR-KBDM0EYkpkPSI1UOteSaXfXypHF2rmYn4ybnpAkcXutM-9lk5-hyaAj0DL2WHOgbGylxx8LCQI-nsY39Q9s/s320/Key.jpg" title="Key Light" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Key Light</td></tr>
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<span style="letter-spacing: 0.0px;">Key Light, the Key Light is the main light in the lighting set up. While the methodology of studio lighting can seem intimidating when you first approach it the Key Light is really the only light you need to really understand. As long as you get the Key Light correct everything else really just slides into place. The Key Light is the main light falling on your subject and is also commonly referred to as the subject light. The Key light sets the direction and quality of the light in the image and in general will provide the mid-tones to highlights of your subject in your image. I say in general because not all photos use the full tonal range. Your Key Light will determine your exposure settings, even if you are wanting a very high key image with the background blown out you will determine exposure based on how your key light falls on your subject. In the example shown here the Key Light is a Canon 430EX-II set to camera right at 45 degrees from the subject, slightly elevated at a distance of 1 1/2 feet and sett to 1/16th power and 14mm.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgplHo5-MsNxtWtkjnqytVPqdVk83_R8m72Dp8hyphenhyphenkvqx8imOINxjCn77KnG4To9PA9R5VDgO40yUNdSaGl_EnhQTX-WWUn4r46w9TjxK7tyFQyUoJiB6A49YiFDYcxg8HuSVvqNY30-Ook/s1600/Fill.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Fill Light" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgplHo5-MsNxtWtkjnqytVPqdVk83_R8m72Dp8hyphenhyphenkvqx8imOINxjCn77KnG4To9PA9R5VDgO40yUNdSaGl_EnhQTX-WWUn4r46w9TjxK7tyFQyUoJiB6A49YiFDYcxg8HuSVvqNY30-Ook/s320/Fill.jpg" title="Fill Light" width="213" /></a></td></tr>
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<span style="letter-spacing: 0.0px;">Fill Light, in many ways the Fill light functions much like the Key Light but instead of defining the mid-tones and highlights it defines the shadows. While light defines your subject the shadows define the mood of the image. In the example shown here the Fill light is a Canon 430EX-II set to camera left at 45 degrees from the subject, placed at the same hight as the subject, at a distance of 1 1/2 feet, set to 1/32nd power and 14mm. Generally a Fill Light will be set somewhere between 1 and 3 stops lower then your Key Light, however there is no correct way to set it - there is only what is correct for your vision, let your vision guid both the placement and the intensity of your Fill Light. I frequently work with the fill light mounted on the camera or even set as far around the subject to be at 180 degrees from the Key Light. If I want the lighting to be quite flat the Fill will be set to almost the same power as the Key, maybe only 1/2 stop lower or if I want the image to have a lot of drama I may turn the Fill off.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzUalrimSrMGIsra-63god-OAito10bXqxCxTFo_MUNiH_YLgwAqxdlLnfpOxnaYJIakztiL-Bvj6OJqe2TN_K2J_mOb8NPXpJSIh5rA6ZALQuL46UECW6y8q4TD-YyfYbdglQBftPOP8/s1600/Background.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Background LIght" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzUalrimSrMGIsra-63god-OAito10bXqxCxTFo_MUNiH_YLgwAqxdlLnfpOxnaYJIakztiL-Bvj6OJqe2TN_K2J_mOb8NPXpJSIh5rA6ZALQuL46UECW6y8q4TD-YyfYbdglQBftPOP8/s320/Background.jpg" title="Background LIght" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Background Light</td></tr>
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<span style="letter-spacing: 0.0px;">Background light, the background light does exactly what it sounds like, it lights the background. If you go back and look at the previous two lighting articles linked above you will notice that the background is lit by spill coming form the Key Light in those examples, in some cases it is lit quite a lot while in others there is very little light falling on the background. By adding a background light you can gain control over how the background displays in the image. The Background light was a Canon 600EX-RT placed directly behind and below the subject, gelled blue, at a distance of 12 feet from the wall, set to 1/4 power and 28mm. As you can see the background light is set considerable higher then the other two lights. This is not a hard and fast rule, it was what was need to get proper illumination of the background.</span></div>
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<span style="letter-spacing: 0.0px;">Above I mentioned that as long as you have control of your Key light all of the other lighting will slide into place. The background light can be the best example of that. In the images for the articles linked above the background light had not been considered at all. Only the manor in how the light fell on the subject was taken into account, whether or not the light also happened to spill into the background was not thought about or corrected. The easiest way to control spill is with light fall off, by placing your Key and Fill lights as close as possible to your subject and turning the power down while moving your subject as far as possible from the background you can prevent most spill, the other option can be to use a flag (dark fabric or panel) to prevent the light from traveling in an unwanted direction.</span></div>
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<span style="letter-spacing: 0.0px;">In this post you can see that I have created 4 distinctly different images without changing any of the camera settings or even recomposing the shot. The important thing to take away from this blog entry is <b>get your Key Light right</b>. If you think about it all four of the above images were set and determined by the Key light, yes even the silhouette is set up by first determining the Key light. For that image I want the Key Light output to be zero and the Fill light to be less then that. Once I have a dark image I then just mix in the correct amount of Background Light to match my vision. That is exactly what happens with every other light whether you are shooting with one or 100, set the Key and then just mix the other lights in to the intensity and direction to create what you envision.</span></div>
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<span style="letter-spacing: 0.0px;">If you look at the images in <a href="http://shatteredimagesphotography.blogspot.com/2013/06/an-introduction-to-lighting-your-subject_2.html">An Introduction to lighting Your Subject</a> you can see an example of how one light can be used to control all 3 aspects of lighting, all 3 points. It also helps demonstrate why the Key light firing from the camera directly at the subject is bad, it ends up functioning as fill and background light and there is no practical way to control all three aspects. However simple by turning the flash and bouncing it off of a nearby wall or ceiling you can then gain control not just of how that flash functions as a Key light but how much fill it provides and how it falls on the background.</span></div>
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** As an aside the lighting set up shown here is an excellent way to display products, I highly recommend it for your eBay photos, it is also a good place to start with lighting people for portraiture though for portraiture you want to pay a lot more attention to exactly where the Key light is positioned in relation to your subject and their pose. In both cases pick a background color that compliments the subject.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTalskIvLHp0BqWth1YgEsTqJKtKsBtWx6CvKFCIhSqA0QEC4C2EnQeYrVyTIC1e9G76MbQ8JIEU-N1r0JLSUbmDu42WnFusdnXGxT1hsfSZhe6s_R_4fVgSTzF9Hz9NkeOuPw7JJxfLE/s1600/IMG_0007.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Canon Speedlite 430EX-II " border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTalskIvLHp0BqWth1YgEsTqJKtKsBtWx6CvKFCIhSqA0QEC4C2EnQeYrVyTIC1e9G76MbQ8JIEU-N1r0JLSUbmDu42WnFusdnXGxT1hsfSZhe6s_R_4fVgSTzF9Hz9NkeOuPw7JJxfLE/s400/IMG_0007.jpg" title="Canon Speedlite 430EX-II " width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Canon Speedlite 430EX-II</td></tr>
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<span style="letter-spacing: 0.0px;">The 430EX-II is the workhorse for the Canon Speedlite line. Designed to work both mounted to the camera's hot shoe or as a slave fired remotely the 430EX-II brings both power and portability to your lighting needs in a compact and economical package.</span></div>
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<span style="letter-spacing: 0.0px;">The 430EX-II offers full manual control and E-TTL II functionality. In E-TTL II the flash output can be adjusted through the exposure compensation menu and can be adjusted in 1/3rd stop intervals plus or minus 3 stops. In Manuel mode the flash output can be adjusted from full to 1/64th power output in 1/3rd stop intervals. On full power the flash is approximately equal at 6 feet to full sun. This allows the flash to provide adequate fill on bright days or fired in groups to provide enough light to overpower the sun.</span></div>
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<span style="letter-spacing: 0.0px;">The 430EX-II can operate as a slave controlled by EOS compatible cameras like the <a href="http://shatteredimagesphotography.blogspot.com/2013/02/canon-60d-equipment-review.html" target="_blank">60D</a> and <a href="http://shatteredimagesphotography.blogspot.com/2013/01/canon-7d.html" target="_blank">7D</a> with the pop-up flash or through the Canon wireless system controlled by a <a href="http://shatteredimagesphotography.blogspot.com/2013/05/canon-600-ex-rt-equipment-review.html" target="_blank">600EX-RT</a>, a 580EX-II or an ST-E2 controller. The 430EX-II can operate on one of 4 channels allowing multiple shooters to use the same system without interference and supports three different flash groups allowing the photographer to control a 3 point lighting system from the master unit. The flash can function from 14mm to 105mm of output angle and adjusts automatically to cameras with APS-C sensors. this along with supporting second curtain and hi-speed sync the 430EX-II provides the photographer with a lot of flexibility.</span></div>
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<span style="letter-spacing: 0.0px;">A couple of draw backs, the second curtain flash option is only available when the flash is directly attached to the hot shoe. The menu while similar to both the 580EX-II and the 600EX-RT is not identical to either and of the three is the one I find the most confusing. The easiest work around is to control all of the flashes through the camera menu. This of course requires a compatible camera, most of the current EOS and Rebel lines do support this. The other draw back to this flash, unless you mount the flash in the hot shoe the only way to control flash out put angle is on the flash itself. So while it is possible to control multiple flash groups from the camera some functions still have to be adjusted at each unit.</span></div>
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<span style="letter-spacing: 0.0px;">All in all the flash does exactly what it is designed to do, provide powerful flexible lighting in a compact affordable package. It's ability to work both from the camera or as a slave in multiple flash systems have made it one of the most popular flash units on the market.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7DLqE01NPMdQMarZaewLgjmJ6e1Kx6fWGb4_v2p69S5ZSg2IGJTXzhR9T1iq7OoETjwR-n0Ycq_YWdh9r0Hf5hJYJFFxBUEbRE7uVniW24IXxtYIGagjbV_-bhTtv3o7n-h2yLMmNwH0/s1600/_MG_0112.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Powershot SX50 HS" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7DLqE01NPMdQMarZaewLgjmJ6e1Kx6fWGb4_v2p69S5ZSg2IGJTXzhR9T1iq7OoETjwR-n0Ycq_YWdh9r0Hf5hJYJFFxBUEbRE7uVniW24IXxtYIGagjbV_-bhTtv3o7n-h2yLMmNwH0/s400/_MG_0112.jpg" title="Powershot SX50 HS" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Powershot SX50 HS</td></tr>
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<span style="letter-spacing: 0.0px;">I had a chance to use Don's Canon Powershot SX50 HS, it proved to be a very good little camera for the money. He purchased it a few weeks ago for a trip to Europe. He took about 1000 pictures over ten days, so roughly 100 photos a day and was happy with the performance and battery life. Looking through his photos I noticed a number of images taken on auto with the shutter at </span></div>
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1/15 and the ISO at 1600. These images showed very minimal noise and minimal camera shake.<br />
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<span style="letter-spacing: 0.0px;">Using the camera on my own I shot several low light high ISO images and was pleasantly surprised with how well it performs up to 1600 ISO, ISO 3200 and 6400 did contain a lot of noise, but at 1600 the noise was very minimal. The camera uses the standard Powershot menus, so if you are familiar with the Powershot line it will be a very easy transition for you. Apart from full auto and manual modes the camera also has Av, Tv, P and two custom modes as well as the full compliment of sports, portrait, fireworks, et all in the scenes allowing for a lot of flexibility for shooters who are not comfortable in full manual mode.</span></div>
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<span style="letter-spacing: 0.0px;">The camera's built in flash performs adequately and switches on and off mechanically based on whether the flash is open or closed. This means that for the novice shooter, even in full automatic mode they can turn the flash on and off simply by popping it open or closed. In manual mode flash power can be adjusted from full to 2/3rds to 1/3rd power. The camera also sports a hot shoe allowing for the use of Canon or third party flashes. This camera does support TTL metering with evaluative, center weighted, and spot metering options. With the attached 430EX II, flash power can be adjusted from the back of the camera from full to 1/64th power in 1/3rd stop intervals. Second curtain sync is supported with both the built in flash and attached flash units. The only disappointing aspect of the flash system for this camera is that it does not support the wireless functions either through the menus or using the on camera flash as a master controller for the system.</span></div>
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<span style="letter-spacing: 0.0px;">The camera's built in lens features a 50x optical zoom giving you a wide angle of 24mm and a telephoto length of 1200mm. The one disappointment is the minimal range of aperture which goes from f4-f8 so the photographers choice of DoF is limited, and more so by the full range of aperture not being available for the full range of zoom. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJ57R_HhkJJA6kf09XdtNI-LfDGZtFYkzYF986_sVfcch7PQLjsKSYcae5lMmIg0fx1p-p7QeXXnkkXIfr8d8PdB5vP7ff5SCSXLWYpqsGTi2DPNFy4_oKbHg-6Mab0d6_CtTjMHsjTo/s1600/_MG_0116.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Powershot SX50 HS" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSJ57R_HhkJJA6kf09XdtNI-LfDGZtFYkzYF986_sVfcch7PQLjsKSYcae5lMmIg0fx1p-p7QeXXnkkXIfr8d8PdB5vP7ff5SCSXLWYpqsGTi2DPNFy4_oKbHg-6Mab0d6_CtTjMHsjTo/s400/_MG_0116.jpg" title="Powershot SX50 HS" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Powershot SX50 HS</td></tr>
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<span style="letter-spacing: 0.0px;">A few closing thoughts. The movable LCD make shooting at odd angles much more convenient, however the cameras size is too large to easily tuck in a pocket but the frame is compact enough it can be a little tricky keeping your fingers off of the buttons when you don't wish to use them. The main control on the back also packs a lot of controls in a small space, something people with larger hands and fingers may find challenging. All in all it is a very good camera for the price point, it has a ton of flexibility something the hobbyist will enjoy, but particularly since it supports RAW, it has enough power, speed, and flexibility that in a pinch it could easily serve as a back up camera for a pro.</span></div>
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<span style="letter-spacing: 0.0px;">The Sunny 16 Rule is a guide that photographers can use to judge proper exposure settings in bright sun without the use of a light meter. The rule was developed several decades ago before there was reliable metering for cameras. The Sunny 16 Rule basically states that when using a camera in bright sun with the aperture set to f16 then the shutter and ISO should share the same reading. That is to say if you are shooting at ISO 200 you would set your shutter to 1/200th of a second.</span></div>
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<span style="letter-spacing: 0.0px;">This rule can be extended further to adapt to more lighting conditions provided you know your f-stops. For instance if you are shooting in the early morning after the sun has cleared the horizon but before about 9-10 o'clock (depending on latitude) you would open your aperture one stop to f11, this would also be your setting on hazy days. If you are photographing in the shade then the f-stop would be moved down to f8, if it is deep shade or the day is overcast you would be opening to f5.6. If it is an early morning with heavy cloud cover you may need to open the aperture as far as f4. If you wanted to photograph in <a href="http://en.wikipedia.org/wiki/BMNT#Nautical_twilight" target="_blank">BMNT or EENT</a> then you would need a lens that could open to f2.8 or even f1.4 depending on how close you are to sunrise/sunset.</span></div>
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<span style="letter-spacing: 0.0px;">So why does a photographer that rails against the use of <a href="http://shatteredimagesphotography.blogspot.com/2013/01/handheld-light-meters.html" target="_blank">light meters</a> and <a href="http://shatteredimagesphotography.blogspot.com/2012/12/the-big-3.html" target="_blank">The Big 3</a> find the Sunny 16 Rule, a rule based on the exposure triangle, useful? I am glad you asked. Photography is all about understanding light. You are in fact creating an image out of light, that is what your CMOS/CCD/film plate does. I have noticed a tendency in photographers that rely on light meters and the exposure triangle to be controlled by these tools, instead of controlling the light. What I find happens is a photographer gets a reading that "tells them what the exposure is" instead of asking the question "is this how I want the light to act?" Remember that the equipment is metering for <a href="http://shatteredimagesphotography.blogspot.com/2013/01/an-18-grey-world.html" target="_blank">An 18% Grey World</a>.</span></div>
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<span style="letter-spacing: 0.0px;">It is important to remember that light and shadow create mood. "Shadow creates drama" is a common expression among photographs, but it is only half true. If you meter for an 18% grey world and don't have much shadow then your picture, while it may be pretty, probably won't be very interesting. On the other hand if you deliberately over expose your beach photos by one stop, open the aperture to f11, then you can convey the kind of blinding light one frequently experiences at the beach. Or on the other hand you can underexpose a bright sunny day and then introduce light to your subject with the use of flash to add dram to an image, a common technique used in fashion photography today. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFW-Wae9VK75azN0AxTNX1yabcZINvxhdq3NsDV9fKnU14xSW7CBQ6o3Tih2pZMfg4-bIL69E0WoO7MA_1KEIFMBjo2opd5b34jwK95IpRTrYn6O-Dixab61AHkQroUlkhTq1EuEkKwrE/s640/FlashCalculator.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Scott Robert Lim's Flash Calculator " border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFW-Wae9VK75azN0AxTNX1yabcZINvxhdq3NsDV9fKnU14xSW7CBQ6o3Tih2pZMfg4-bIL69E0WoO7MA_1KEIFMBjo2opd5b34jwK95IpRTrYn6O-Dixab61AHkQroUlkhTq1EuEkKwrE/s400/FlashCalculator.jpg" title="Scott Robert Lim's Flash Calculator " width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Scott Robert Lim's Flash Calculator</td></tr>
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<span style="letter-spacing: 0.0px;"><a href="http://www.scottrobertgallery.com/#/scottroberthome-q3/" target="_blank">Scott Robert Lim</a> produced a guide for speed lights which will let you know how much flash to add for different lighting settings based on The Sunny 16 Rule, apart from mixing flash with existing sunlight it can function as a guide for you to use on your speed lights in studio as well. Understanding light in this way will allow you to open up your photography, giving you greater flexibility to use shutter to control motion, aperture to control depth of field, and ISO to control noise and still increase the kind of impact your images can create by controlling exactly where and how light registers in your image. In this manor you can use both shadow and specularity to add drama to your images.</span><br />
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<span style="letter-spacing: 0.0px;">This is a continuation from last weeks blog, in this installment we are going to look at how light direction effects your image. For this series of images I was shooting with the Canon EOS 60D camera with the 28-135mm f3.5-5.6 USM Lens set 44mm, the aperture was set to f8, the ISO to 800, and the shutter was set at 1/250th. The camera was placed on a tripod and located 3' in front of the subject. The subject was 6' from a white wall which served as the background. The flash I was using was the Canon Speedlite 430EX-II on manual set to 24mm and 1/64th power. The flash had no modifier, and was located 3' from the subject. These setting for both the camera and flash were constant for all six exposures, the only element that changes is the direction the light is falling on the subject. Sitting in for the subject for these images was "The Face" a plywood cutout I hacked together, though a clay mask or mannequin would also make a great subject. These objects are a better stand in when you first start experimenting because they do not move, ergo the only differences will be caused by the placement of the light.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaxIRePpUM0syyq6TujsZEDBxZFyq-MAxDcPzvhKpbDXrkJfgupGvks20uIhWeUzlIwYFBTUqFzvf9WAUTcmEpc4l2MN_gur5bT-YTbAv7vPeJK5NJpTkHaqeSJB1Dk9TkUt8QLaDQ1x0/s1600/_MG_0005.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Flat Lighting" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaxIRePpUM0syyq6TujsZEDBxZFyq-MAxDcPzvhKpbDXrkJfgupGvks20uIhWeUzlIwYFBTUqFzvf9WAUTcmEpc4l2MN_gur5bT-YTbAv7vPeJK5NJpTkHaqeSJB1Dk9TkUt8QLaDQ1x0/s320/_MG_0005.jpg" title="Flat Lighting" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Flat Lighting</td></tr>
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This first image was taken with the flash mounted directly on the camera. As I mentioned in <span style="letter-spacing: 0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/06/an-introduction-to-lighting-your-subject_2.html" style="text-decoration: underline;" target="_blank">An Introduction to Lighting Your Subject</a>,</span><span style="letter-spacing: 0.0px;"> this is considered the worst way to use flash. Lighting in this manor is very flat and has the effect of making a person look heavier. This is just one of many factors that contribute to the belief that "the camera adds 10lbs". In actuality it is a combination of several common mistakes that cause this illusion. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDPv3lynLQf_tblqQPGUoDA5KWEWI4vN8zB7jiQ-0LTbDXd2dWtU1tz7GqxNPrDDl_RWLTIrHidyuDlsGYaSqxCQ2BpB9UyXx_Fy6CVb5qZN6lRHM6XBbwhCQ5QuivhAllY8-eOHO6rM/s1600/_MG_0006.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Butterfly Lighting" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDPv3lynLQf_tblqQPGUoDA5KWEWI4vN8zB7jiQ-0LTbDXd2dWtU1tz7GqxNPrDDl_RWLTIrHidyuDlsGYaSqxCQ2BpB9UyXx_Fy6CVb5qZN6lRHM6XBbwhCQ5QuivhAllY8-eOHO6rM/s320/_MG_0006.jpg" title="Butterfly Lighting" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Butterfly Lighting</td></tr>
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This second image is an example of "butterfly lighting", which gets its name from the small butterfly shaped shadow cast by the nose of the subject. This style of lighting is frequently done with a beauty dish and can be very flattering, particularly for young attractive women. This lighting style draws attention to the eyes and face, while emphasizing the cheekbones and jaw line. Unfortunately "The Face" lacks proper definition to truly display these attributes. The light was raised 2' above the camera and moved forward slightly to maintain the 3' distance to the subject.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu1RaiYeYG3z7bWG8LTIan9kRpc9hlx7EVEDB3o7ELuQPBWRwyZm_xE-ULCOiibIn-3rDgnErkcnRvMwHYVNgnnW08zCnUbIKrrJlI74u-JrAir9r5geA7ELhXHegCHuLlcCBj9Xtw5t8/s1600/_MG_0007.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="45 Degrees Camera Right" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu1RaiYeYG3z7bWG8LTIan9kRpc9hlx7EVEDB3o7ELuQPBWRwyZm_xE-ULCOiibIn-3rDgnErkcnRvMwHYVNgnnW08zCnUbIKrrJlI74u-JrAir9r5geA7ELhXHegCHuLlcCBj9Xtw5t8/s320/_MG_0007.jpg" title="45 Degrees Camera Right" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">45 Degrees Camera Right</td></tr>
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<span style="letter-spacing: 0.0px;">This third image was created by moving the flash 45 degrees to camera right, in this image the flash was on the same plain as it would be when mounted to the camera. As a general rule portraits are not shot with the light positioned here as the shadow cast by the nose tends to make the nose look wider.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WWk-iPC3JDN6cT-GjPw8rVqeQJYply5pzoc8cwbfQuXX-93z2CIwlbCdM2eD1ot8c-O_TxQRPG3rv_ziINW2qTuwAVAkx3gJlY7N7LoWkXRLicPg-FeJ3efTOAdbFb-0Kf1KH4Z985E/s1600/_MG_0008.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Loop Lighting" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WWk-iPC3JDN6cT-GjPw8rVqeQJYply5pzoc8cwbfQuXX-93z2CIwlbCdM2eD1ot8c-O_TxQRPG3rv_ziINW2qTuwAVAkx3gJlY7N7LoWkXRLicPg-FeJ3efTOAdbFb-0Kf1KH4Z985E/s320/_MG_0008.jpg" title="Loop Lighting" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Loop Lighting</td></tr>
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<span style="letter-spacing: 0.0px;">This fourth images is an example of "Loop Lighting", the name is derived from the loop shaped shadow cast by the nose. This style of lighting is very common in portraiture, it tends to be the most flattering for the widest audience, particularly if you use softer light and add some fill both of which will help to even skin tone, hide blemishes and reduce the appearance of wrinkles. It is also closely related to Rembrandt Lighting which I will cover In depth in a later blog entry.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4PFCcd4N42E213kpDXYeWzYMtLQxt7jgyUgIl-UwBcNYtL-KkzYgLp_-SCizdQ1XIM_bL1VixtdWBeAEnytZ01PHuz8_MARdRXdS2TzRqs6TlbNIVNO77z9xMELFoZZGz4UePWFft1l8/s1600/_MG_0013.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Split Light 90 degrees camera right " border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4PFCcd4N42E213kpDXYeWzYMtLQxt7jgyUgIl-UwBcNYtL-KkzYgLp_-SCizdQ1XIM_bL1VixtdWBeAEnytZ01PHuz8_MARdRXdS2TzRqs6TlbNIVNO77z9xMELFoZZGz4UePWFft1l8/s320/_MG_0013.jpg" title="Split Light 90 degrees camera right " width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Split Light 90 degrees camera right</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiCCReAo_-7snzwBoufmAdX3c31HiBJf-jK1KdfpT4T4gyA2MRyd_I3FK5npqf8jB7saeb2tVWg5IIWEXTqEPaJzpYAZ3lP5jjQz1oEg9i2IAgORX7jUM0shmgrSTjyaMgiCf_caFTClM/s1600/_MG_0014.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Split Light 90 degrees camera right up 30 " border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiCCReAo_-7snzwBoufmAdX3c31HiBJf-jK1KdfpT4T4gyA2MRyd_I3FK5npqf8jB7saeb2tVWg5IIWEXTqEPaJzpYAZ3lP5jjQz1oEg9i2IAgORX7jUM0shmgrSTjyaMgiCf_caFTClM/s320/_MG_0014.jpg" title="Split Light 90 degrees camera right up 30 " width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Split Light 90 degrees camera right up 30</td></tr>
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<span style="letter-spacing: 0.0px;">These last two images are examples of Split Lighting. In this style of lighting the light comes in to the subject from 90 degrees, effectively splitting the face into a lit side and a shadow side. </span></div>
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<span style="letter-spacing: 0.0px;">It is important to note that for most of the lighting styles mentioned here the direction the light falls on the subject is much more important then the placement of the light relative to the camera. For instance, if you are stuck with a point and shoot camera and you have to use on camera flash, having your subject turn their head thirty degrees to the side and tilting their head towards the camera will use the on camera flash as Loop Lighting. This will add some definition to the shape of the face, with a little practice you can help your subject further by twisting their shoulders slightly so you can elongate the neck to eliminate excess chins. In this manor a photographer can make up for some of the limitations of having to use on camera flash. </span></div>
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<span style="letter-spacing: 0.0px;">At this point some of you are probably wondering why I have written three blog entries on lighting but I have yet to talk about "proper exposure". In general proper exposure is considered to be exposure for the mid-tones, however if you are shooting low key photography most of your image will be very dark to black and little of the mid-tones will actually be exposed. Also, above I made general statements about when certain lighting styles tend to be used, but I have not referred to any of them as "proper" (with the exception of mentioning trying to avoid Flat Lighting), nor did I make that kind of judgment in the previous article on hardness. In all of these cases what is "proper" depends entirely on your vision as an artist, including the use of Flat Lighting. In all of these cases you should make it a conscious decision to use a specific style quality and intensity of light. </span></div>
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<span style="letter-spacing: 0.0px;">I will say though, having sufficient contrast is important, that is the range from light to dark. What is a frequent mistake in photography, particularly in interior ambient light, will be the presumption that no flash is better then on camera flash. A person will opt to turn the flash off because there is enough light to shoot without it. But this is usually the case in buildings with lots of strip lighting. Everything is lit very uniformly and the dynamic range for the entire exposure may only be about half a stop. This lighting is ok for our day to day existence since we are seeing that environment with two eyes, but seen through the lens of a camera the image will end up being very muddy. Turning on your flash, using it at low power and letting it be a little bit of a kicker for an ambient exposure can do a lot to combat what would otherwise be a waste of a shutter release even though it is "properly exposed". Adding flash will add contrast which will ad pop to what would otherwise be a blah image. </span></div>
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This should give you a couple of more tools to add to your photography trick bag. Good photography can be daunting, but if you break it down into digestible pieces you can really start to get a good handle on what you are shooting.<br />
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<span style="font-size: 12px; letter-spacing: 0px;">Let me just take a moment and go into hardness or softness of light before we continue on to the photos. What is Hard Light? The short answer is that hard light creates a hard edge to the shadows and soft light creates a gradient transition from light to shadow. If you have not looked at </span><span style="font-size: 12px; letter-spacing: 0px;"><a href="http://shatteredimagesphotography.blogspot.com/2013/06/an-introduction-to-lighting-your-subject_2.html" target="_blank">An Introduction to Lighting your Subject</a></span><span style="font-size: 12px; letter-spacing: 0px;"> go ahead and take a moment and look that post over. The second and third images from that post show nicely the difference between hard light and soft light. For the photos below I sat in as a subject so that these differences could be easily observed on the human form.</span></div>
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<span style="letter-spacing: 0.0px;">Ok now we have an idea of what hardness means, how do we control it? The simplest way to think of it is that hard light is a small light source and soft light is a big light source. However the size of the light is not the only thing that effects hardness. Hard light is very uniformly directional. This is a by product of the size of the light but also the distance of the light and what type of modifier the light has in front of it. Perhaps the easiest way to picture this is to think of sunlight on a clear day. The Sun is huge which should create soft light - but it is very very very far away which makes it very very very small in appearance which is what makes sunlight so hard. On the other hand if you go out on an overcast day the whole sky functions as a soft box and shadows can almost completely disappear. What follows are a series of 4 images with a brief description on set-up.</span></div>
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<span style="letter-spacing: 0.0px;">This first image has the hardest light quality, the 580 EX-II Speedlite was mounted in an <a href="http://www.interfitphotographic.com/Strobies/Strobies%20index.html" target="_blank">Interfit Strobies S Bracket</a> with a 7” reflector and a honeycomb and was placed at 9 feet from the subject. The reflector and honeycomb make the flash effectively a 7” light source. The second image has the same modifier but is moved to 3 feet from the subject. It is possible to see a slight softening of the light between the two images, however the light quality still remains quite hard, this is because at 7” the light source is still smaller then the subject even at the closest distance. Another way to picture soft light verses hard light is, soft light is from a source that is bigger then your subject, hard light is from a source that is smaller than your subject.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjsSOW6jWAVrGshYMhRaE0uMqvH7GjYO5M-SbNP4nwmsiskANzmgXD9E91Zl362_m_-5fuhNIn78qRw1YYJoPcJJMypEABx2jtGYJowb2A6I_94YdjsWPydRH-6SZFU86AwUG2Qtozww/s1600/9feethard.jpg" imageanchor="1" style="clear: right; font-size: 12px; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjsSOW6jWAVrGshYMhRaE0uMqvH7GjYO5M-SbNP4nwmsiskANzmgXD9E91Zl362_m_-5fuhNIn78qRw1YYJoPcJJMypEABx2jtGYJowb2A6I_94YdjsWPydRH-6SZFU86AwUG2Qtozww/s320/9feethard.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Light 9' Reflector w/ Honeycomb</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Light 3' Reflector w/ Honeycomb</td></tr>
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<span style="font-size: 12px; letter-spacing: 0px;">For comparison the soft light from both the 3’ and 9’ distances is using a 36” square soft box. This is a much larger light than the reflector and honeycomb and the softening effect of the larger light is much more evident. In the interest of going from hardest to softest the 3rd images is of the soft box and 9’ and the 4th is with the soft box at 3’. The closeness of the light in the last shot makes it the largest light source in the series.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQ1C6tUy_gwukHLU-Q_OU6xxAAbiqPI4etMs0HzpOTXeFgT5t5Wk7SlpfPCdnwCsxGSont7iNYYIlo0MgFu1CF6eQlqQzxzc4j31xu0alAS4bEqhSCZ73uf5chA9dEPiIMh9Waxfap-Q/s1600/9feetsoft.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQ1C6tUy_gwukHLU-Q_OU6xxAAbiqPI4etMs0HzpOTXeFgT5t5Wk7SlpfPCdnwCsxGSont7iNYYIlo0MgFu1CF6eQlqQzxzc4j31xu0alAS4bEqhSCZ73uf5chA9dEPiIMh9Waxfap-Q/s320/9feetsoft.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Light 9' w/ 36" Soft Box</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFDBWncUNm-0WEob32ieK3KpZXERph74mkjXk8SFNWfpGgDtxJTSh6whpnIixRJKQGxfhVQewTv8Tqe11VILEGB7lAEdAC5hQTLwJTHa-NLSi5y80SpDAI1JWaMk1Z_2gE_1zhVwAo268/s1600/3feetsoft.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFDBWncUNm-0WEob32ieK3KpZXERph74mkjXk8SFNWfpGgDtxJTSh6whpnIixRJKQGxfhVQewTv8Tqe11VILEGB7lAEdAC5hQTLwJTHa-NLSi5y80SpDAI1JWaMk1Z_2gE_1zhVwAo268/s320/3feetsoft.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Light 3" w/ 36" Soft Box</td></tr>
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<span style="font-size: 12px; letter-spacing: 0px;">This is a brief look at lighting your subject with an off camera key light. A couple of things to point out. The first is that in the interest of changing as few elements as possible the hight of the light was not changed, only the distance to the subject. If you compare the 3’ images to the 9’ images it is easy to see that the hight of the light was much more appropriate for the images at 3’. As you start to experiment with light you will want to light your subject from a higher angle then they are. When you move your light further away the light will need to be raised in order to maintain that angle. Generally light from somewhat above is more flattering. The second thing to notice is that in both of the 9’ images the key light is starting to light the background. It is much more pronounced with the 36” soft box because the light from that modifier is much less directional, it spills around the room and much more of the light lands on the background. As the light is moved from the subject the ratio between the subject and the light and the background and the light decreases meaning that enough light is starting to fall on the background for the background to expose in the image. I deliberately set up in front of a distracting background so that the use of a closer light source, not only to create softer light but to control light spill in other areas of the frame could be observed. One easy way to get rid of background distractions is to not light them. This is why ISO is not an effective way to control light.</span><span style="letter-spacing: 0.0px;"></span></div>
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<span style="letter-spacing: 0.0px;">At any rate this should give people a starting point for experimenting with light. Light can seem overwhelming when you first move from natural light and being locked into <a href="http://shatteredimagesphotography.blogspot.com/2012/12/the-big-3.html" target="_blank">The “Big 3”</a> and move into modified light. But if you break lighting into small easily understood pieces then you can start to build a skill set which will serve not only with flash, but will allow you to modify ambient and natural light as well.</span></div>
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<span style="letter-spacing: 0.0px;">So now you are asking what's wrong with this picture? The step that gets missed is an investment of time, time spent learning fundamentals of good photography. So while the end product may be improved, the photography itself is not. The real reason this is a problem is that photo editing is a destructive process. I will get into that more below, but first I want to point something else out.</span></div>
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<span style="letter-spacing: 0.0px;">What started as a fun hobby with most of a persons time spent taking pictures turns into hours spent at a computer correcting pictures to match the vision in the artists head. The artist sits there going, everything looks muddy, lets correct contrast in curves. The colors aren't quite right, let me adjust color temperature, aw-oh I need to shift tint too. I really wish the light had highlighted this better and fallen off to shadows, let me dodge and burn everything. This area is in to sharp of focus let me add Gaussian Blur, this other area should be in focus, let's see how well we can fool the eye by adding an unsharp mask and increasing edge contrast... All of these are important skills to have, but a person should not be spending their time performing emergency surgery on their photos. Rather they should spend that time shooting and creating great art.</span></div>
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<span style="letter-spacing: 0.0px;">In short the investment in time that gets made is not one of learning photography, but rather one of learning photoshop. This is an important skill set to have, but as I mentioned above, all of these manipulations are destructive. That is you go from having a lot of data for you photo to not having very much. This limits the amount of post manipulation you can do. Photography is always limited by technology, don't start it off with a handicap.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfxa-FZjtIdlOhhyVVyVYhNNG8UWqr9pzyX0yoEq7wtgWnINd3S5Oe4PchDG1JOFMNPPM2YrlDMkyKJFXs9yx3BPXTPL9BQD0UK0Hl4DBFq7wMoY-PHy913NJXk8m7h0VJrj9XwEEnBNQ/s1600/_MG_0007.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Flat Light" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfxa-FZjtIdlOhhyVVyVYhNNG8UWqr9pzyX0yoEq7wtgWnINd3S5Oe4PchDG1JOFMNPPM2YrlDMkyKJFXs9yx3BPXTPL9BQD0UK0Hl4DBFq7wMoY-PHy913NJXk8m7h0VJrj9XwEEnBNQ/s400/_MG_0007.jpg" title="Flat Light" width="400" /></a></td></tr>
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<span style="letter-spacing: 0.0px;">The first photo in this series is shot with on camera flash pointed straight at the subject, set to 1/64th power and set to 28mm. This is a lighting style that makes most photographers cringe, but it is also what many people are commonly stuck with if they only have a point and shoot camera. This is what we refer to as flat lighting, it tends to be very unflattering. I shot this image to show a couple of different things. The first is that, while this subject is interesting enough to look ok in flat light it is a reference for the later two images. It is also a very good example of the <a href="http://en.wikipedia.org/wiki/Inverse-square_law" target="_blank">Inverse-Square Law</a>. That is, it shows how light intensity falls off with distance. The subject in this photos is cream colored while the wall behind it is painted true white. The light (and camera) are 3 feet from the subject and the wall is an additional 5 feet beyond that. Because of the distance to the wall being much greater then the distance to the subject the wall is underexposed making it appear much darker. This can be a good technique for bringing focus to your subject by making it the lightest object.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-QEaw3OhGNwo6c6K-bfQpPbWljcBuEm3pEv55Cdl0TNuUvAOpTHbfUCM-UlwvgZXGriQOLeJ3LwNsCyf5iL51XHpcXwSNI_QiFsPBgjpHy-QVHd6v8NNKaE-pPuRyfq6KKviBSCeDow/s1600/_MG_0004.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Bounce LIght Hard" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-QEaw3OhGNwo6c6K-bfQpPbWljcBuEm3pEv55Cdl0TNuUvAOpTHbfUCM-UlwvgZXGriQOLeJ3LwNsCyf5iL51XHpcXwSNI_QiFsPBgjpHy-QVHd6v8NNKaE-pPuRyfq6KKviBSCeDow/s400/_MG_0004.jpg" title="Bounce Light Hard" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bounce Light Hard</td></tr>
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<span style="letter-spacing: 0.0px;">For the second image in this series the camera is again placed 3 feet from the subject but the light is now being bounced off of a white wall 6 feet to camera right. The flash is set to 1/8 power and 28mm. The power increase was needed because the distance the light is traveling to the subject is now 12 feet, 6 to the wall and 6 back to the subject. When you hear the term bounce flash, this techniques is what the person is referring too, an on camera flash being bounced off of a wall, ceiling or other reflector to change the angle of light falling on the subject. It is also occasionally done with off camera units to make the light source bigger, a little more on that below. In this image the light on the subject is coming from the right and it does a much better job of showing depth and texture in the image. If you think back to basic art classes, when you want to draw a ball you start with a circle and then add shading to give the illusion of depth. A photo is a two dimensional representation of a three dimensional object. Comparing the 2nd image to the 1st it is easy to see the difference in apparent depth of the two images, they are both flat but the second image shows much more depth. This exercise is commonly done with an egg for beginning photographers, it can easily be demonstrated with an egg or ball and a flashlight. This is a great way to begin exploring how light direction effects our perception.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Pg7RD4aSI5NXN330OpebHyc7cc-6gElT2BzXZUWDHPoy7qHNCZzu45ccPqfLWCvJL7CJdOjDZScso-9UxPSapBOngRzwDLT8tJyn-J3_LH0M4RhEXy3A4rnEy1VcGgDFgGj6nUwECuo/s1600/_MG_0006.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Bounce Light Soft" border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Pg7RD4aSI5NXN330OpebHyc7cc-6gElT2BzXZUWDHPoy7qHNCZzu45ccPqfLWCvJL7CJdOjDZScso-9UxPSapBOngRzwDLT8tJyn-J3_LH0M4RhEXy3A4rnEy1VcGgDFgGj6nUwECuo/s400/_MG_0006.jpg" title="Bounce Light Soft" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bounce Light Soft</td></tr>
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<span style="letter-spacing: 0.0px;">The last image in the series was shot the same as the second, the exception is that the flash while it was still set to 1/8 power was now set at 14mm, this gives a bigger pool of light on the wall. This creates a larger light source and is referred to as softer light. If you compare the 2nd image to the 3rd you can see the edges of the shadows are a little more defined in the second image while the light in the 3rd wraps into the shadows on the back of the ivory ball. As I mentioned above occasionally off camera flash will be bounced off of a wall to create a much bigger and thus much softer light then can be done with on light modifiers. This is something I will cover in much greater detail in later lighting tutorials. The last point to be made from this series gets back to the Rule of Squares. The background is much lighter in the second two images because it is much closer to the light source in relation to the subject then it is in the first image. In the first image it was 8 feet from light to the wall, an additional 5 feet beyond the subject and almost double the 3 feet it was from the light to the subject. In the second and third images it is 12 feet from the light to the subject and only about 16 feet from light to the wall at the right edge of the second two images. In these images the light fall off can also be observed on the wall in the background. the light on the left hand edge of the image is a little darker giving the wall a slight gradient.</span></div>
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<span style="letter-spacing: 0.0px;">This is a basic intro to lighting. I would suggest getting an egg, a ball or a friend to sit in for you and run through it. Obviously it can be done in about 5 minutes, but if you really take your time, you can learn a lot from this simple exercise. It is a great way to learn about both light fall off and light direction and the options for shooting like this are limitless. You can very light direction and light source to get a much greater understanding of how light effects your images. Once you master lighting your subject it is easy to add other lighting elements.</span></div>
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