The Wireless Approach

Happy New Year! Today's post comes from the book Just One Flash: A Practical Approach to Lighting for Digital Photography by Rod & Robin Deutschmann. It is available from Amazon.com and other fine retailers.


Communication Through the Air
There are only two ways of triggering your flash wirelessly: optically (using another light source as a triggering device) or through the use of a radio transmitter and receiver.

Radio Triggering.
The radio option is, by far, the best; it’s cheaper, easier to use, and more reliable. To trigger your remote flash, we recommend a simple Cactus radio transmitter and receiver combination. At less than $40 a pair, there really is no better option for the manual off-camera flash photographer. Attach the transmitter to your camera and the receiver to your flash (any flash) and you’re ready to shoot. As a manual shooter, there will be no need to worry about camera or flash settings; you will have already dialed those in.



Beyond this, all of the same rules, processes, and techniques apply as before—except that you do lose the high-speed sync option. This isn’t that big of a deal, since you already know how to employ the cross-polarizing technique or to use several neutral-density filters to eliminate excess light.There are, of course, other radio systems available. Pocket Wizard is a very popular brand among photographers looking for a way around manual shooting. They offer a transceiver that allows for both manual and automatic shooting . . . but at nearly $200 a unit, this is a very expensive way of getting your flash to behave. As we tell our students, it really pays to be a confident manual shooter.

Off-camera wireless flash offers the optimum in control. With your flash now positioned well away from the camera, there is no excuse for an image not to appear as you like it. For these images, a volunteer (thanks Ed) held a flash and pointed it at our subject while each student in the workshop created their own version of the scene—changing the white balance, contrast, saturation, and focus to match their own unique vision.

When the flash is set to gently illuminate your subject, it should just caress, not overwhelm. In the image directly below, we see a perfectly illuminated model. In the bottom photo, we see what happens when the flash is set too high.



Optical Triggering.
You also have an optical choice when it comes to triggering your off-camera flashes. This comes in the form of small optical triggering devices that sit on the foot of your flash. When they sense another flash firing they send a small electrical signal to the flash they are attached to and force it to fire. This is called a “slaved” flash. The flash creating the triggering burst is the “master” unit.

This is a classic approach, but it has some drawbacks. First, it requires a line-of-sight triggering scenario. If the receiver can’t see the triggering flash, it will not fire its own unit. This prohibits certain placement constructs that you, as the artist, may feel are important—such as backlighting and complex side-lighting scenarios. Additionally, while slaved flashes are extraordinarily useful indoors, they don’t work so well outside. If there is an excess of ambient light (such as sunlight) there is a strong chance the receiver will not “see” the triggering flash. Plus, the price can be prohibitive. A good optical device will cost $50 or more . . . and if you’re going to spend that much on a tool that has limitations, why not spend less on a radio version that doesn’t?

To maintain the beauty of the sky above San Diego’s skyline, a single hand-held flash was employed. This extra light, aimed at our model and her concrete perch, enabled the photographer to choose a shutter speed that allowed the background to look the way it does. Any shutter speed slower than this would have created a background that was just too bright for the intended message.

Many camera manufacturers today offer an advanced lighting system that employs a similar optical slave/master technology. This is limited, as well, by line-of-sight prerequisites and requires expensive proprietary flash units to work. Again, a simple radio transmitter and receiver will outperform this advanced system—and will do it for a fraction of the cost. There is nothing advanced about a flash system that limits you to a line-of-sight firing scenario.

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A Five-Light Setup

Today's post comes from the book Multiple Flash Photography: Off Camera techniques for Digital Photographers by Rod & Robin Deutschmann. It is available from Amazon.com and other fine retailers.

When you have a purpose, everything makes sense. Here, we wanted total control over the image. The aperture and shutter speed settings were quickly dialed in to eliminate any ambient light. From this, we began adding our flashes, lighting one graphic tier of information at a time. It took five unmodified flashes—three pointed at our model and two pointed toward various tiers in the background—to accomplish our objective.


First, the base light was chosen by using an aperture and shutter-speed combination that stripped the natural light from the scene.


We always work from the back forward, adding light as we move. Here, one flash was used to illuminate the train car.


Two more lights were added, one to the side of the model and one on the ground.


Two more lights were added, one to the side of the model and one on the ground.


Finally, the photographer added the last flash with his hand-held unit. Note how different the day actually looks compared to the final image on the opposite page.



PUTTING IT ALL TOGETHER: ONE MORE FIVE-LIGHT SETUP

Two extending handles, five unmodified flashes shooting at full power, three assistants, and five minutes of light remaining—man, this multiple light stuff is fun! It all comes down to experience. The more you have, the more quickly you can create unforgettable images. It’s an added bonus when each and every person involved in a shoot knows not only what they are doing but what everyone else is doing as well. When we get a group of photographers together to test out equipment or simply take fun pictures, the whole process becomes one fluid movement. Each person knows their part and each is invested in a successful final outcome. This feeling of shared responsibility is contagious. It’s hard to go wrong when everyone cares.


This image shows what the chosen base light looked like.


Here, an assistant helps light the barn with one hand-held unit.


Quickly, each of us assumed a position. One person grabbed an older flash, attached a radio receiver to it, and aimed it at the barn itself. Another assistant took hold of a homemade ten-foot extending handle. The remaining assistant picked up the smaller Lastolite model. Both equipped their “light sticks” with two separate flashes; one sat atop the handle, while the other directed light from a lower section. The photographer quickly grabbed a wide-angle lens, attached a radio transmitter to the top of the camera, and dialed in the appropriate white balance, contrast, and saturation settings. He then picked an aperture and shutter speed and asked each member of the team to take their position. In less than five minutes, the final image was created.



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Capturing Motion with Off-Camera Flash

Today's post comes from the book Off-Camera Flash : Creative Techniques for Digital Photographers by Rod and Robin Deutschmann. It is available from Amazon.com and other fine retailers.

Capturing motion with your off-camera flash opens a world that is seldom seen. Being creative means pushing your vision and your equipment further than ever before.

VARIATIONS ON A THEME
As an artist with an off-camera flash, you have more options than most when it comes to dealing with movement. A quick splash of light from any angle or height will freeze things when nothing else will. It will also clear up a poorly executed pan or fill in the shadows on quickly moving subjects. You can, as always, highlight any tier of graphic information. Plus, if you use a fast enough shutter speed, you can darken even the brightest sky, ensuring that you can keep your true intent illuminated above everything else.

STARTING WITH ONE FLASH
As always, if you’re new to all this, begin with one flash connected to your camera via a wire and try to freeze some action. It doesn’t matter what—just freeze something. Even at slower shutter speeds, the flash will help freeze movement. Keep adjusting the power output on the flash. Change the aperture in the camera. Move closer and further away. Review your images. Notice
how even the slightest changes can weaken or strengthen the flash. Now, modify the light. Use a softbox to enlarge it or a snoot to direct it. Get to know the magic that one flash offers before you move onto more.

ADDING MORE LIGHT
When your skill allows it, move onto two flashes and trigger them wirelessly. Once you’ve mastered this, move onto three flashes—and then even more. Be creative with your lighting setups, triggering methods, and modification rituals. Don’t keep doing the same thing each time you shoot. Explore the possibilities of motion frozen with flash while paying attention to how things change in the rest of the image. You will use all of this experience later.



Two unmodified flashes gave this image the needed boost of light it deserved. The flashes were set off with the help of two optical slave devices called “peanuts.” These extremely small optical receivers are connected to a PC wire that runs directly to each flash. When these “peanuts” sense a bright contrast, they set off the flash unit they are connected to. In this case, the camera’s pop-up flash provided the needed contrast. When the pop-up flash fired, so did the other flashes. The pop-up flash did not illuminate any portion of the scene; it was only used as a triggering device for the much more powerful off-camera flashes




You have three choices when dealing with motion and using an off-camera flash: freeze it, let it blur, or do both at the same time. Here, one hand-held flash brings our message into the light (above).




It’s amazing what your images can look like when you employ as many lights as you possibly can. Remember: the more power you have, the more options you gain.

Seven unmodified lights set to full power were employed to freeze the twirling model. Four were used behind an umbrella, two were set on light-stands, and one was hand held by an assistant (and sometimes the photographer). High contrast and saturation settings were used along with a bluer-than-normal white balance.

One off-camera, unmodified flash can still be quite effective in freezing detail. The shallow depth of field seen here was accomplished with a very fast 85mm lens (f/1.4). The longer focal length also allowed the photographer to move backward, dramatically changing the offered perspective.

Two unmodified lights perfectly illuminated the right and front side of our model. A verywide-angle lens (18mm) was used.

Four unmodified flashes set to full power were needed to light each corner of our model during this rather dramatic jump over the San Diego skyline. A very light red filter was added to each flash to complement the redder-than-usual white balance setting. In-camera contrast, saturation, and hue choices were adjusted to taste. A smaller aperture (f/11) and shorter focal length lens (18mm) were used to help with the required depth of field.

Now, increase the power of your flashes by combining them. Create as much light as possible and see what happens. Overpower the sun itself if you can. Know what gear it takes to have complete control over every aspect of the scene. And don’t limit your vision when it comes to subjects, either; there are more things to shoot than just people, so try it on moving animals, as well. Understand the maximum amount of light you can produce with all your gear, then figure out how you can use it with all moving subjects—at any time of the day or night.

ON-LOCATION PORTRAITURE

Today's post comes from the book Off-Camera Flash: Creative Techniques for Digital Photographers by Rod and Robin Deutschmann. It is available from Amazon.com and other fine retailers.

Off-camera flash photography and on-location portraiture go together like peanut butter and jelly. The options and rewards of creating light while in the field are as limitless as your imagination.

PORTRAIT PHOTOGRAPHY IS CHANGING
The leash has been cut. The use of off-camera flash brings with it the freedom to take our message-building skills outside—away from the stale props and overused reflectors of yesterday. Finally, our creative voice can shine unhindered as the world becomes our well-lit backdrop and our vision grows as the scenery changes.

Off-camera flash photography has brought the studio outdoors—and with it all of the options, advantages, and challenges of unrestrained light. You can now seize upon nature’s gifts or capitalize on man-made alternatives. With the aid of family and friends, even the most problematic of shoots are quickly reined in. When shooting in the city, it’s wise to stay away from the use of tripods or anything else that can impede traffic. Not only is it dangerous, but chances are that the city will require permits. Avoid the hassle and enlist some help.

A NEW TRUTH
As portrait photographers using off-camera flash, each new outdoor location brings with it amazing possibilities and a chance to test our skill, knowledge, and competence. Gear choice will be a testament to our adventurous side. Do we take one light connected with a cord or several and use wireless options? Do we ask friends or family to hold the gear or do we employ light stands, hand-held booms, or beanbags? Will we visit an exotic locale for the ambiance, or do we tackle the hustle and bustle of downtown? Are we up for a trip to the mountains, hauling sandbags to keep light stands from blowing away? Or do we head to the beach, wrapping each flash in its own plastic bag to protect the gear from sea spray? Creativity, as you might have guessed, may just lie in our answers to these questions.

One large softboxed flash was used to illuminate our model’s face. It was held by an assistant slightly off camera. The background, with its beautiful shapes, lines, and color, needed to be in crisp focus, so a very small aperture (f/16) was chosen. A redder-than-normal white balance was incorporated to add drama and draw attention to the model more quickly.

WHAT TO EXPECT
If you’re new to the idea of using off-camera flash for your on-location portraits then be prepared for something very special: the lights change everything. Every rule that you thought you knew now doesn’t apply. Every weather condition—rain, sunshine, muggy, cloudy, even a tropical storm— brings new opportunities and new “looks” for your message. There is no need to ever worry about having the “right” light; you’re going to be bringing it with you.With enough flashes and modification devices, you can easily replace the sun as your main light source when it’s just not cooperating, creating sunsets and mood anywhere, at any time you want. Plus, you’ll still maintain complete control over your lighting, depth of field and perspective—something that’s nearly impossible if you’re only using one on-camera flash.

Challenge yourself and your equipment whenever you shoot outdoors. If you’re comfortable using one off-camera flash, then push yourself to use two. If you use indoor studio lights, create a set for outdoors. Don’t settle for the ordinary.

A FRESH APPROACH
Keep things extraordinarily simple at first.Master the use of one light. Learn what it takes to support it, to modify it, and how to trigger it. Use the flash both indoors and out. Demand as much from it as you do from your camera and subjects. Practice shooting with the flash set at full power, then modify it. Don’t accept a poor image. Review each shot as it is taken—and if you don’t like it, fix it right then. Each bad photo now affords you experience, so get as much of it as you can. Learn from your mistakes and make them work for you.

DOUBLE YOUR FUN
Two lights will always offer more options. The placement, height, angle, and power output can be adjusted independently—and you can add separate filters, gels, and modifiers. Once you’ve moved on to two flashes you will need to think about using some kind of light stand. Keep in mind that, when it comes to support, you get what you pay for. Choose a cheap stand or an inexpensive tripod and you can expect trouble. It’s best to go with a quality product rather than an inexpensive one that will break or, worse yet, fall over.

Two lights with no modification were placed at opposite sides of our model for this series of images. In the first image the lights were turned off. In the second image, the left light was turned on. In the last image both lights were fired. The differences are obvious—and very important.

TAKING IT TO THE NEXT LEVEL
Creativity in portrait photography really kicks in when you start adding several off-camera lights. You’ll eventually search out tools and accessories to make the job of holding them even easier. Get creative with your support systems. Call in favors from family and friends, ask your kids, your wife, or your husband for help. Use tools you already have, such as tripods, monopods, and beanbags. Combine your modification tools; use a snoot on one flash and a softbox on another. Change the ways you introduce light to the scene. Drag out some of that old studio equipment and modify it to suit your new outdoor needs.

Don’t be afraid to challenge the norm. If a support tool or modification contraption that you need can’t be purchased, then make one. You would be surprised at how far a few strips of Velcro, a pair of scissors, and some black foam will get you.

Light stands, sync-cords, extending handles, softboxes, snoots, reflectors, and more await. Get creative with your tools—but, more importantly, get to know them before you go out and shoot.

DEALING WITH GLARE: A “POLARIZED” REMINDER
If you’re unaware of how powerful a polarizer is when using flash photography, then you haven’t been using one correctly. For the best results, place your lights 90 degrees from your lens to remove any glare they produce. If you mistakenly add light from the wrong direction, you will create more of a problem than any polarizer can handle. Remember, you’ll still need to turn the polarizer (no matter the type) to make it work. If you don’t, then your off-camera flash photography will always be lacking the punch that other photographers’ images have. (Note: If you’re shooting in any automatic mode, you’ll need to purchase a circular polarizer. If you’re a manual shooter who uses manual focus, either a circular or linear polarizer will work just fine.)

The top image was created with one unmodified off-camera flash placed to the right of the model. A polarizer was attached to the lens but was rotated incorrectly. In the bottom image, the exact same camera settings were used, and the same flash was fired, but the polarizer was now rotated correctly for maximum effect.

Polarizers
Want the most from your polarizer? Then learn to shoot in manual. Unfortunately, polarizers can’t work at 100 percent if the camera is in any automatic setting. The camera, in its attempt to capture average images, will actually fight the desirable effects the polarizer produces.

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