Recently in Flashes Category

I have always liked the light that comes from striplights - narrow softboxes, which create a well defined strip of light. Opposite square or wide, rectangular softboxes, the striplight gives a more defined light, which is not quite as soft as the light from the softbox.

Striplights are often used to accent body shapes or to create distinct rimlights on bodies or faces. the narrow band of light will create character in one direction and soft light in the other. When used on shiny objects the reflections - the specular highlights - will also be narrow strips rather than squares or dots - or reflections of an umbrella or another familiar shape.

Unfortunately the system I use for my "On Location" slide shows don't allow me to incorporate video (yet), but I still shoot some footage now and then when I'm on location.

These 7-and-a-half minutes were shot at the Strobist Meetup here in Copenhagen, which I covered a couple of podcasts ago. The video shows the ambiance at these meetings as well as some setups and more results from the day.

And yes, I know there are white lenses in there, but trust me, those C-shooters can actually be quite nice.

You can see a larger version of the video at Vimeo.

During Photokina I had the pleasure of talking to Pocket Wizard's Sales and Marketing Manager Lorenzo Gasperini, who told me something very interesting.
I mentioned that the current Pocket Wizard line had no exposure control, and even though Lorenzo pointed out that the MultiMax has some control - the ability to turn flashes on and off - he admitted that exposure control per se was not available.

But...

As much as I love Nikon's CLS (Creative Lighting System) flash sync when it works, I truly hate it when it doesn't do what I want it to. This past weekend I was fishing with a group of International fly anglers with whom I fish every year in September. A recurring event is Saturday's group photo, which takes place outdoors by the water and typically involves about 30 people including myself.

Since we have had great weather all years - sun and blue sky - I have wanted to use a fill flash for this picture all years. As you might very well know, sunshine and outdoors portraits is a bad combination, and a couple of flashes can do wonders when it comes to softening the harsh sunlight.

A bit frivolous, maybe, but I think I'm entitled to put forward a wish list to Nikon, outlining some of the stuff I'd like to see from them in the coming time. As an enthusiastic Nikonian and a somewhat nerdy gear head, I feel it in my right to represent other photo buffs in wanting even more new stuff.

Nikon has shown extremely good shape in the recent time, raising the bar several times and demonstrating a new and refreshing willingness to go different ways. The D3 and D700's superior "low rez" full frame sensor. The D90's video mode. The rumored MX format in a rangefinder camera.

Based on that I'd like Nikon to give me... eh, us (in no particular order):

A snoot is a tube in front of your flash, which keeps its beam of light tight and concentrated, while a grid has lots of smaller, parallel tubes that do essentially the same thing.

Snoots and grids have a lot in common and the line between them is thin, but I usually refer to snoots as longer tubes, often made of a softer material like foam or fabric, while grids are usually shorter and place a tubular grid or honeycomb in front of the light.

You can use snoots and grids in two ways: to make concentrated spots of light and to keep light from falling where you don't want it... by keeping it as a concentrated spot.

Photographer Zack Arias has had a blog centering on one flash shooting for a while, and I have followed him almost since the beginning. Zack is based in Atlanta, and has a thriving business as a music and promotion photographer.

One of his hallmarks is using one flash off camera - and that's one flash only. Following his blog has taught me that Zack is not only knowledgeable on flash photography (and photography as a whole), but also able to convey that knowledge in an easily understandable and entertaining way.

He has made a number of posts and online videos with instructions on different ways of shooting with one flash, and he has also conducted a number of one light workshops all over the continent of North America.

Zack has now compiled a lot of that knowledge and the experience from the workshops and his assignments into a set of DVD's on flash shooting.

I recently mentioned Chase Jarvis in my post about the low value of images and what you can do about it (Why your images are worthless). His name popped up in connection with my advice about making a difference and adding value to your brand as a photographer. Here is an excellent example of what Jarvis is doing.

Join a gathering of photographers, provide space, gear and experience and have everybody fire left and right. Learn, teach, share and have what seems to be a *beep* good time. This is the Seattle Flickr Roundup - a gathering of photographers, models and gear.

By helping out at such venues Jarvis again emphasizes his name as a professional photographer making a difference. He underscores his willingness to share, boosts his popularity and certainly increases his value in the market for what he really does: selling pictures for money. See images from the shoots here and here.

This is probably the most often used flash modifier apart from the diffuser - if not, perhaps it ought to be.

Filters are cheap and easy to find, fairly easy to use and can give some great effects as well as downright save pictures by adjusting your flashes to match different artificial light sources.

The most common way to use gels is to get the light from your flashes to match the surrounding light, which is particularly interesting when shooting indoors in incandescent or fluorescent light.

This entry on diffusers is the first "real" entry in the series on flash modifiers I introduced in this overview article. Diffusers are definitely the most common light modifiers.

By diffusing or spreading the light, you get a softer look to your pictures and not least: soft shadows. The hard and harsh shadows of a direct flash is a definite no-no unless you aim for exactly that: unforgivingly hard and bright light and black shadows with sharp edges. In most other cases you want to completely loose or at least soften the shadows and you want a light that treats your subject nicely rather than reveal all its flaws.

A rule of thumb is: the larger the diffuser, the softer the light. Softboxes and umbrellas are the ultimate diffusers, but we will concentrate on the smaller types here.