Please recommend a speed light attachment

[Mike Buckley]

I may be the volunteer photographer of a kick-off party of VIP contributors and participants that leads to an important fundraising event. The event will be inside a building at night. I'll be photographing mostly the attendees and speakers.

I have a bounce card that I can attach to my speed light. I'm comfortable using that combination to bounce light off the ceiling if it is white and to throw a little light directly into the subjects' faces. However, if the ceiling isn't white (I won't know until I arrive at the event), I don't know what the ideal attachment is. That's where I would appreciate your help.

Please let me know which type of attachment is ideal in that situation in your mind and why. I'll be using a Nikon SB-600 speed light.

Many thanks!

[Saorsa]

Try putting the diffuser that came with your flash on it and point it straight up. That usually produces nice soft light for event shots like that. You can try it out anytime.

[Manfred M]

Try putting the diffuser that came with your flash on it and point it straight up. That usually produces nice soft light for event shots like that. You can try it out anytime.

The SB-600 does not come with any modifier. so this suggestion won't work. While I don't have one myself yet, a number of people whose judgement I trust have suggested the Gary Fong Lightsphere.

[Stagecoach]

Mike,

When I photographed (was volunteered for it) an event last year inside with speakers, certificate presentations, meal, portraits and candids I used a basic bracket that put the SB-600 flash to the left of camera at approx same height as it would be if mounted on the camera and simply used it with the diffuser pointing at the subjects for 75% of the shots. The results in my opinion were good.

The room was large, dimly lit and the performance of the SB-600 impressed me in these conditions.

Grahame

[pnodrog]

The SB-600 does not come with any modifier. so this suggestion won't work. While I don't have one myself yet, a number of people whose judgement I trust have suggested the Gary Fong Lightsphere.

My Nikon SB600 has a little built in flip-down diffuser which I often use with my 15-30mm sigma. I have used it as a diffuser in the sort application Mike is discussing but I get better results by pointing the flash vertically and bouncing it off a simple light bounce hood fitted to the flash. I have considered getting the Gary Fong Lightsphere and when my current flimsy hood breaks I probably will.

[Manfred M]

My Nikon SB600 has a little built in flip-down diffuser which I often use with my 15-30mm sigma. I have used it as a diffuser in the sort application Mike is discussing but I get better results by pointing the flash vertically and bouncing it off a simple light bounce hood fitted to the flash. I have considered getting the Gary Fong Lightsphere and when my current flimsy hood breaks I probably will.

My SB600 has one as well, but it is really a wide angle lens attachment (for 14mm lens). My SB900 has one too, but that unit also shipped with a number of attachments including a diffuser (similar to the StoFen product).

[Colin Southern]

For what it's worth, ceiling bounces usually produce "office lighting" - an unflattering light that doesn't reach "hard to reach" places like eye sockets. If you're limited to a single on-camera flash then the Lightsphere is without doubt your best hope, but even then, that's not how I would do it; I'd be getting the flash off-camera - firing into a softbox - held by an assistant.

If I had the option, I'd also setup a couple of studio strobes if the guests could be persuaded to pose in a particular area.

You also need to be reasonably comfortable and familiar with your camera and the necessary techniques for this "ad-hoc" type of shooting; it's considerably harder than it seems due to the fact that you'll invariably have Looooowwwwww shutterspeeds - DoF compromises - and high-ISO noise from poorly lit areas that you try to raise in post-processing.

Expect to be using ISO 800 - 1600; somewhere around F5 - and shutterspeeds around 1/40th to 1/120th ... if you're lucky.

[Andrew1]

For more formal results you'll need a pre-staged area with enough equipment to get the light you need. Softboxes would be nice but build on what you have. If your results are expected to be of the VIP quality then perhaps look at renting other equipment.

For candids, some quick and inexpensive options.
My first choice would be to use a large reflector and bounce off of it from above, 45, or the side.

http://www.youtube.com/watch?v=9UFGy3F2Suc
http://store.lumiquest.com/softboxes-diffusion-devices/
http://www.expoimaging.com/product-d...&product_id=21

[Mike Buckley]

Apologies to everyone! I should have mentioned some other limiting details.

There will be no assistant and no dedicated area to herd the people to for a photo. Instead, I'll be working the room and doing so by myself.

I also won't feel comfortable using anything that holds the flash off-camera for fear that my ability to be a total klutz will result in me hitting people with it in a crowded situation. I have seen lots of photographers at this organization's events and none of them have used such an apparatus. So, I'm confident that the organization will accept the limitations of shooting with the speed light mounted on the camera.

I should also have clarified for people not familiar with the SB-600 that its built-in attachment is intended only for use with a wide angle lens and is not the type of diffuser being discussed in the thread.

It seems from everyone's comments so far that the Lightsphere is highly recommended for this situation. Thank you!

Colin: Thanks for your suggestions and considerations about camera settings. This confirms information I received from a friend who has considerable experience in this type of situation.

For others reading this thread, Colin mentioned the issues of using only the ceiling to reflect light -- that shadows are produced in the eye sockets and under the nose and chin. I always use a bounce card in that situation. I get the benefit of the large light source made from the bounce off the ceiling but the card also directs a little light directly toward the face to fill those areas that would otherwise be in shadow. The photo shown below was captured that way, though it is probably better than would usually be the case because the floor and walls were also white; there was a lot of bouncing going on producing large light sources.

[Donald]

I know not everyone is fan of it, but in such situations I find my self turning to a large Rogue Flashbender more often that the Lightsphere (which I find I tend to use more often outdoors for fill ligthing).

[gregj1763]

Hi Mike,
I have used a cheap eBay knock off light sphere at a leavers dinner for a local school.
The results were pretty good, definitely better than bouncing off the ceiling which would not have worked in my case as the ceiling was dark and high.
Also Colin pointed me to a Kelby training tutor named David Zeiser. One of his tutorials was called (Wedding photography- 15 ways to improve your photography using on camera flash). One tip I picked up was using walls to bounce flash back onto your subject. Don't know if this would work for you but the results he got using this technique looked pretty good to me.
Cheers, Greg

[Mike Buckley]

Donald: Are you referring to the large reflector or the large soft box kit?

Greg: I don't want to count on using the walls because I would have to keep track of people to my side and rear to ensure that I don't unexpectedly send light into their eyes. I'm also expecting the room to be too large to use a wall most of the time. All of that is just one more thing that I don't want to have to keep an eye on.

[Donald]

Donald: Are you referring to the large reflector or the large soft box kit?

I meaning the, bendable, reflector that straps onto the head of the flash unit.

[RustBeltRaw]

I know not everyone is fan of it, but in such situations I find my self turning to a large Rogue Flashbender more often that the Lightsphere (which I find I tend to use more often outdoors for fill ligthing).

A second vote for the large Rogue FlashBender. It has more direction than the Lightsphere, since it's not bouncing light in literally every direction but down. That gives it a little more efficiency, but also slightly deeper shadows with faster fall-off. Used on-camera, it will probably give you a somewhat softer light with less wasted flash output than the Lightsphere.

For the conditions you've described, I highly recommend picking up a set of correction gels. They'll let you alter the flash's color temperature to match the venue's lighting, killing the jarring white balance shift that usually screams "flash portrait!" To my eye, well-selected gels make a bigger difference than which on-camera diffuser one uses.

[Jim B.]

Another satisfied user of the Flashbender. This was done with the large version. I'm not the best with flash, but this will give you an idea of it's capability. You can see the panel in the mirror on the left. This was just the bare panel. They also sell a diffuser for them.

[Manfred M]

Mike - I bought a large Rogue Flashbender based on Lex's (and others) recommendation and used it during my recent trip to Africa where I just it a bit. The main reason I did not recommend it is that I found it a bit awkward to use, especially in portrait mode, in a crowded environment. It does stick out a long way from the side of the camera.

This was one of a number of shots I used it on.

[Mike Buckley]

I like the idea of using the gels to balance the color balance of the speed light with the ambient light. What is the range of light loss for them?

The main reason I did not recommend it [the large Rogue Flashbender] is that I found it a bit awkward to use, especially in portrait mode, in a crowded environment. It does stick out a long way from the side of the camera.

I would appreciate other comments about that, as that would seem to be a potential problem for me as well.

[rpcrowe]

Mike...

My favorite setup for a situation like you described, as well as many other situations when flash is needed, is an off camera hotshoe flash mounted on a Stroboframe Camera Flip Bracket http://www.amazon.com/Stroboframe-Ca...a+flip+bracket which is dirt cheap on Amazon.com...

Although indoors, my Canon 7D will trigger the flash; it is somewhat problematic outdoors. This depends on the angle of the sun as well as the flash to subject distance. Since I sometimes need to go from indoor shots to outdoor shooting, I trigger my flash using a Canon Off-Camera Sync Cord...

The camera flip bracket keeps the flash in a bounce position above the camera in both the portrait and landscape positions. You don't have to re-position the flash like you do when changing positions with a flash flip bracket...

I modify the flash using a Joe Demb Flash Diffuser Pro (DFD ) http://www.dembflashproducts.com/diffuser/ . There are similar Chinese knock-offs, of the Demb Flash Diffuser Pro available on eBay. In fact, I have one of them as a spare in case for some reason I lose my Demb unit. It works but, IMO, it is nowhere nearly as well made as the Demb Flash Diffuser Pro...

The DFD will work quite well outside at night or when you are in an area in which there is no ceiling or wall off which to bounce. Simply tilt the Flip-It portion of the DFD about 45 degrees forward and you will get decent and quite soft light. Another reason I like the DFD is that the Velcro mounting system will allow one DFD to be used on virtually any full size hotshoe flash.

IMO, the lighting provided by this setup is quite nice...



http://rpcrowe.smugmug.com/Portraits...PGK4/i-LXnFVZC

BTW: Including a white balance target ( I use a WhiBal ) whenever your lighting changes significantly will allow you to get a good white balance...

Note: If the ambient lighting is mainly fluorescent you might consider filtering your flash with a green gel. If the ambient light is mainly tungsten, an amber gel might help. I cannot give you a definitive answer regarding light loss except to say that this has not been a problem for me. Perhaps it might if I were attempting to shoot a large group! I would then want an accessory slave flash...

[Mike Buckley]

Richard,

Have you used the Stroboframe Flip Bracket in a crowded situation? Does the 12" become problematic? Have you used it for several hours at a time? Does the weight (1 pound) become an issue?

[RustBeltRaw]

I like the idea of using the gels to balance the color balance of the speed light with the ambient light. What is the range of light loss for them?

That depends on the strength of the gel. A full CTO (color temperature orange, converts 5600K flash to 3400-4300K tungsten) soaks about 1 stop. Half CTO, roughly 1/2 stop. CTB (color temperature blue, converts 5600K flash to ~7000K shade) costs about 1/2 stop. CTG (adds green tint to approximate fluorescent) costs about 1/2 stop as well. In the Rogue correction gel kit I linked to earlier, the losses are printed on each gel. Regardless, if you're running TTL (recommended), it will automatically compensate.

There are also brightly-colored "effects" gels which can turn your light purple, blue, red, etc. Those can have 2-stop losses.

I would appreciate other comments about that, as that would seem to be a potential problem for me as well.

Manfred's right - the large FlashBender is awkward. On the other hand, being flexible, it won't jolt the hot shoe if you bump it into things. Which will happen, because it's ginormous. The light quality, utility, and clever design, in my opinion, are well worth the handling difficulties. I keep two in my bag, which I've used for everything from location portraits to product shots to wrapping on my lens to direct commander flash signals. Try that with a Lightsphere.