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04/18/2005 02:15:08 PM · #1 |
Yesterday i went to take some pictures of a friend of mine for "practice" the lighting conditions werent that great as it was late. But i like to learn from my mistakes. So what i did is i tried using some fill flash i have slave flash that i had my subject hold off to one side and i used the on camera flash to to trigger it one side of his face came out way over exposed. So i raised the shutter speed and apeature still either the flash was to power ful or i was to close not to mention the other half of his face was dark i am a little confused about this maybe someone can shed some light. Another thing is his skin tone was jus way to sharp and the camera was set to to the std sharpening so when i did shaprpen it was horrible i think this problem was attributed to oily skin. Well anyone who had advice please help me
this was a nightmare.
thanks
Leon
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04/18/2005 02:19:15 PM · #2 |
| What kind of lighting is it exactly? When I use my monolight and trigger it with my shoe flash, I have to dial down the Ap. to maybe 11 or smaller! The shutter time won't matter too much because the flash itself is much faster than you camera can probably flash sync to. I would suggest firing the strobe off a bounce card, just any kind of white surface, you can even use walls. This is a pretty tough thing to master, and i'm not even close to it, hopefully you'll get some help from someone with more expirience than myself. A free bump for that expert to see this ;-) |
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04/18/2005 02:26:53 PM · #3 |
Thanks actually we were at a park around 6.38 east coast time. and i think the sun sets between 7 and 8 so there was jus a little bit of light. I wasnt using anything as sofisticated as a mono light this was jus a Quantaray - MS-1 Wireless Flash Booster / Slave Which isnt exactly all that great between that and my on camera flash
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04/18/2005 05:56:39 PM · #4 |
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04/18/2005 06:58:48 PM · #5 |
Leon, it would have helped if you had posted an example.
You raised two major problems :
1) part his face was over-exposed.
For that, you could try to move the flash further away, reduce its strength, or make a diffuser for it (even tissue paper can work for that)
2) another part was too dark
You could have another slave flash on the other side, or a reflector (metallic car shades work quite well for that), and/or make best use of the setting sun.
It is amazing how much you can rig up for very little money. The set-up may not look fantastic, but the resulting photos still can.
(Spoken by a true amateur, so proceed with caution) |
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04/18/2005 07:12:28 PM · #6 |
i wish i had a good picture but i was so disappointed i jus erased them all figuring it was jus a i waste of time and batteries and think your suggestions my prove useful i'll have to give them a try next weekend
thanks
Leon
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04/18/2005 07:26:06 PM · #7 |
| From your description I would suggest the reflector... Easy to make, even on the spot. a piece white foam core works well to throw a a little light on, a few practice shots to get the angle, (maybe) or if you are useing a tripod you can manually set off your flash and watch the effect of the reflected light hitting the subject (or use a meter). If you have a couple bucks, a camera store will sell you ($50/$75 apr) a portable reflector with white, silver, or gold sides. The gold will add a little warmth to the subject. Usually you get you choice of 2 colors, so its like 2 for 1 (lol) |
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04/18/2005 09:58:06 PM · #8 |
...Or you can go to Target and Get some really cool gold or silver reflectors (kind that go in the windshield of the car) for 8-10 bucks. I got a double wide for my car that collapses neatly and fits under the seat I think it was about 16 or 18 bucks for that one. It's always in the car and works nicely for bouncing light.
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04/18/2005 10:50:39 PM · #9 |
Well i guess i have no choice but to go with a reflector i'll either do the foam board with i know where to get or a windshield reflector. I have a silver studio umbrella i was using for a ac slave flash once i realized i didnt have enough space in my room 10x10 i decided to abandon that idea i probably could take that apart and use that : I wondered if any body could draw me up something i could use as a reference as to where the subject should be the flahs the camera and the reflector, and of coarse the sun that would really come in handy for this weekend. thanks alot for all the comments!
Leon
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04/18/2005 10:59:19 PM · #10 |
get an incidental(not a spot, that is differant) analog light meter and learn to master it.
or spend the money on an electronic/ digital light meter, but when using flash elements, it will make your life way easier.
been in the film biz for 18 years, and the differance between hot lights, and flash or strobe is simple.
hot lights you can easily guess an correct with just your eyes. (a meter is better)
with flash or strobes you need that meter to adjust. some flash elemenst can give you 'hot light' as well, but unless you have the extra cash for these lights, get a meter.
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04/19/2005 02:02:25 PM · #11 |
| The best thing to do is (maybe)to type "portrait photography" into your search engine and go through the different tutorials you will find. Some are good and some are brief. You will learn more than just the answer to your question. |
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04/19/2005 07:41:55 PM · #12 |
Originally posted by sofapez:
The best thing to do is (maybe)to type "portrait photography" into your search engine and go through the different tutorials you will find. Some are good and some are brief. You will learn more than just the answer to your question. |
your right
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04/19/2005 08:03:10 PM · #13 |
The best suggestion I can give is to learn to take portraits under natural lighting conditions (NO flash, NO fancy machinery, just with your camera). If you can master natural light, you will then know how to create your own light on the subject with other materials (flashes, etc.) and techniques. That is what my photography teacher taught me.
The worst thing to do when you're learning is to add more complexity. The capturing of great light doesn't require reflectors and other materials. It requires a camera and a good eye.
I am still in the process of learning to see great natural light. I haven't delved into artificial lighting yet because I don't feel I have the skill set yet. With that said, it is also important to take your time and learn from mistakes. Realize your limitations and strengths. Ha I'm preaching. I'll stop.
Message edited by author 2005-04-19 20:14:14. |
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04/19/2005 10:19:24 PM · #14 |
Originally posted by nfessel:
The best suggestion I can give is to learn to take portraits under natural lighting conditions (NO flash, NO fancy machinery, just with your camera). If you can master natural light, you will then know how to create your own light on the subject with other materials (flashes, etc.) and techniques. That is what my photography teacher taught me.
The worst thing to do when you're learning is to add more complexity. The capturing of great light doesn't require reflectors and other materials. It requires a camera and a good eye.
I am still in the process of learning to see great natural light. I haven't delved into artificial lighting yet because I don't feel I have the skill set yet. With that said, it is also important to take your time and learn from mistakes. Realize your limitations and strengths. Ha I'm preaching. I'll stop. |
You definatley have a point! thanks
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04/19/2005 11:11:50 PM · #15 |
Leon,
As you're aware I used to be a professional photographer. We had a 2500 square foot studio with two shooting areas, each big enough to put a vehicle in, and all the lights imaginable. But you know what set our work apart, what people always remarked upon? "Your lighting is so natural!"
How did it get that way? I trained on natural light. natural light was, and is, everything to me. So much so that even now I almost never use anything but natural light to shoot, even for challenges. Look at the following setups:
(North skylight)
(North skylight)
(North skylight, west window fill)
(Afternoon daylight diffused by light cloud cover)
Granted, none of these are portraits, which I rarely do these days, but they all have in common perfectly decent light that defines the subjects, and all were achieved without resort to artificial light. Some of the best portraits in this site have been naturally lit as well, often back or side lit by windows with a single fill light used to soften the shadows.
My advice to you is, go into the natural world and learn the light, THEN apply that knowledge to your studio shooting. When you shoot a building, ask yourself "Is this the best possible time of day/angle of light for this view?" If it's not, come back and do it again. And again. Don't be afraid to shoot in what some think of as "dull" light, either. Flowers, in particular, really come alive under cloud-diffused daylight in a way they cannot possibly do when in full sunlight. When shooting people in natural light, you'll soon learn the advantages of backlighting and open shade, and the disadvantages of direct lighting with its harsh shadows. These are all lessons you can carry back with you into the studio.
Robt.
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04/19/2005 11:21:53 PM · #16 |
I would agree strongly with what Robert said. Perhaps that is because I am also an available light photographer. I do however shoot a lot of portraits. Unless I was looking for some special effect I would never use anything but available light.
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04/20/2005 06:56:01 PM · #17 |
here is one of the out takes from that day iam not impressed at all :(
straight out the camera so its possible theres sensor dust iam to scared to clean it lol
Message edited by author 2005-04-20 18:56:45.
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