Portrait assistance needed

[William W]

The photo below was shot with the Nikon SB910 with the built in bounce card. Using the same location, I positioned the subject approximately 3 feet from the wall. The flash head was positioned straight up towards the ceiling with the bounce card utilized. This is the results. Any comments will be greatly appreciated.

I think that the LACK of shadow on the wall behind the Subject is obvious: and that is what I expected and obviously that’s why I suggested the technique to address the issue that you outlined in the OP.

The lighting is generally soft but there still maintains a little amount of modelling on the face – again that’s what would be expected.

There is a very soft shadow on the face caused by the hat’s brim – again that is what I would expect – for me that is good outcome because HATS and EYE GLASSES can be a real pain and in those situation I will tend to prefer softer bounce technique rather than harder diffused technique when using only ONE Speedlite and shooting on the hop, in tight or cluttered quarters.

Remembering that these particular two Lighting Techniques were suggested BECAUSE of the physical situation/location of the Subject and Camera and also considering was only ONE on Camera Speedlite – and (I assume) not the availability or time or staff to construct and employ makeshift Studio Lighting Set, on-site.

The Catch Light Card didn’t hit as much of the eye as I would have expected, but maybe the Hat’s Brim knocked out a bit of the Catch Light Card’s punch or another reason (read on). If the Hat Brim played a part ibn the lack of pop in the eyes - I suggest the reason is probably the Flash was situated just slightly above or level to, the brim of the hat?

If there is an opportunity to use the other technique in the same location (i.e. bounce backwards and upwards onto a wall and ceiling behind, then that would be a good idea for you to do – just to get practice at the techniques and to become accustomed with a pattern of reasonable expectations, before you make the shot.

There’s really no “artistic critique” that I can give – the image is both a typical and an expected result from using a particular Lighting Technique with ONE On Camera Speedlite - (and as I described to achieve particular outcomes: i.e. no shadows on the wall when the Subject is located close to the wall and very soft shadows on the face due to the Hat’s Brim).

Whether you (or anyone) wants that result “artistically suitable”, is simply open to personal taste.

***

A few technical comments for your consideration:

1. > You seem to have quite a bit of AMBIENT LIGHT exposure in the shot; note the technique of bouncing straight up, ‘uses up’ a lot of the ‘flash power‘.

As a result of the amount of AMBIENT LIGHT in your final exposure the face is a tad soft.

Note that for the Group of Swimmers in the Airport I mentioned that I was probably pulling ISO1600; so don’t be reluctant to bump the ISO so you can get maximum benefit (i.e. maximum “effectiveness”) from the FLASH so it can at least match of (better) slightly OVERPOWER the AMBIENT light in the scene. Th0e amount of Ambient Light, relative to the amount of Flash Light in your final the Exposure also could account for the lack of Mid Tone Contrast and lack of Modelling that I would have expected to see.

2. > I also expect that you picked up a bit of SUBJECT MOVEMENT using 1/60th sec as the Shutter Speed

3. > (from 1 & 2 above) I'll make an educated guess: you pulled that shot at F/5.6 @ 1/60ths @ ISO200, but I think F/5.6 @ 1/200ths @ ISO400 would have been closer to the mark, because, those exposure parameters would have:

a) killed ⅔Stop of Ambient Exposure (reason - Increase Tv by 1⅔Stop + increase ISO by 1Stop)

b) arrested any Head Movement (and/or Camera Movement) captured by the Ambient Exposure ( reason - Tv at 1//200s – NOT 1/60s)

c) provided 1 Stop more of “flash power” (reason - Aperture constant + increase ISO 1 Stop)

*

3. > I suggest that you consider posing the Torso in ¼ Profile (i.e NOT ½ Profile), the reason being is that when the Torso is in¼ Profile there is less tension and less turning in the NECK to move the Head to achieve “Face Front”.

***

(Briefly a PP comment) - BUT reiterating that the above technical comments are, IMO, one-hundred fold more important than this PP - because basically the result of the PP below is close to what I would have wanted SOOC: i.e. more flash exposure and less ambient exposure.

I’d boost the mid tone contrast a bit; put a bit of pop into the eyes; dodge a bit of the shadow from the hat and under the nose. Here is a rough and the original is on the left:



WW

[William W]

PS - I was composing the above response whilst posts 17 through to 20 inclusive were made - hence a bit of repetition.

[Digital]

Bill, thanks again for commenting. You were dead on regarding the exposure. I will experiment with slightly higher ISO settings
when faced with similar situations. Also, shooting at higher SS sounds like a good idea. I was in Aperture priority mode; however I have used manual with good results. The concept of a 1/4 profile makes sense.

Bruce

[William W]

Thanks for the feedback.

*

. . . shooting at higher SS sounds like a good idea. I was in Aperture priority mode; however I have used manual with good results. . .

I do NOT like doing that.

Please note that this is NOT a comment predicated on some air fairy idea that "this Mode is better or superior to that mode".

My practice of using MANUAL MODE almost always when using Flash as Fill, is all about making less work for my brain and allowing very quick and accurate judgement calls with the least margin of error: especially the error of not noticing a critical piece of information.

Maybe this is best explained by an example using a Shooting Scenario with which I am very familiar, but you can adapt the same principle to any shooting scenario where there is any pressure on the Photographer, especially a pressure of time to make the shot.

Consider we are outside the Church and we are waiting for the Bride and Dad to arrive. It is a mildly overcast day and the Bride is late. The Church is popular and there is another Wedding scheduled 30 minutes after the planned end to this Service. The Priest is getting edgy - and I need to complete all the necessary Bride/Bridesmaid Arrival Images and then get into place for the Processional Images - so I am under the pump to complete and I get one shot at it - there are few/no excuses for missing or stuffed up photos when the Bride and Groom come to the Studio to view their Wedding Day Previews . . .

If I am in Av Mode and using Flash as Fill and assume Max Flash Sync is 1/200s. Let's assume I am outside waiting for the cars and I am pulling F/8 @ 1/200s @ ISO 400 and that's providing me a very nice "Flash to Ambient Ratio" . . . It's a nice old Church with big double wooden doors and (relatively dark inside) - as I turn to the Church to pull a shot of Dad and the Bride turning backward to me as they enter the Church, I miss the fact that the TTL meter takes into account the (relatively) darkness of the Church interior and as a result of being in Av Mode the Tv drops to 1/50s~1/100s . . . BUT the Dad and the Bride are still outside the Church and are illuminated by the AMBIENT LIGHT which is outside . . . ergo - I pull a really sloppy & soft image due to SUBJECT MOVEMENT BLUR, because the AMBIENT exposure is now up to 2 STOPS more dominant than it was when I pulled the shots of Dad and Bride and Bridesmaid at the car. . . and I have to explain that mistake to my Client

Yes, I know how to use Av Mode when using Flash as Fill - it is simply a matter of riding the Exposure Compensation - but that's not the point, (for me), I don't like that extra work of having to MONITOR the Tv in the Viewfinder AS THE CAMERA’S TTL LIGHT METER AUTOMATICALLY ADJUSTS THE Tv - and then I have ot take valuable time to react to the camera’s automatic function: there are too many other elements that I want to watch. So I am much more comfortable to use the Camera in Manual Mode and set the Tv and Av for the outside scene and then reset same for when I move to the next lighting scenario.

There are many more examples, I could ramble on for hours – on the opposite side of the coin the TTL Meter can stuff up the shot if the camera catches a bright light source. In this case, when using the camera in Av Mode and Flash as Fill, one must be very aware of what the camera will do IF the camera’s TTL Meter increases the Tv to a speed faster than Max Flash Sync.?

WW

FYI - My Shorthand:
Av = Aperture (lit. – Aperture value
Tv = Shutter Speed (lit. – Time value)

[William W]

PS - nice part of the world where you are - If I recall correctly, my Wife went to see Vinewood and then later to Big Red Oak and also a bit further south when I was working in Atlanta. My Wife was befriended buy a local property owner who took it upon herself to show my Wife around the State while I was working during the day - how great is that? I have fond memories of Georgia and the people there.

[rpcrowe]

I agree totally with Manfred's comments.

I have collected and/or fabricated, over the years, a group of reflector/diffusers ranging from the simple business card taped behind the flash tube to much more complex (and expensive) units such as the Joe Demb Flash Diffuser Pro (not really all that expensive in comparison with some other diffuser/reflectors). My intent has been to do a test using four or five of these. Only my laziness + my dog rescue work has prevented me from doing so

My favorite reflector/diffuser still is the Joe Demb "type" unit (www.dembflshproducts.com)... I mention a Demb "type" unit since there are several copies of the FlipIt and other Demb devices available on eBay. However, I purchased one as a back-up and it fell apart pretty quickly. Easy to repair with gaffer's tape, but it would have been a PITA if it happened during a shoot

I like the Demb Type Diffuser/reflector because IMO it is one of the most versatile and well made. I have been using my copy for over five years and it is still going strong.

I shoot my off-the-cuff portraits with the flash on the hotshoe modified wit the Demb. However, for times when I am shooting mostly portraits, I will mount my flash on a Stroboframe Camera Flip Bracket http://www.bhphotovideo.com/c/produc...p_Bracket.html .

I like this bracket because the flash is always pointing in the correct direction whether I am in portrait or landscape orientation. I will normally attach the camera to the bracket. However, if you prefer to attach your camera/lens via a tripod ring, the camera can rotate whatever the bracket you use and the flash will always have the correct orientation.

Another plus regarding this bracket is the remarkably low price and the fact that I can use the solid flash bar as a carry handle for the rig. This makes it easy to move around with the camera...

I trigger my flash using an off-camera sync cord. Although I "could" use the master of my 7D pop-up flash to trigger the hotshoe flash, that method is not 100% reliable, especially outdoors in bright sun.

I bounce the flash using the Stroboframe bracket and modify the flash with the Demb Flash Diffuser Pro. Where I point the flash and how I have the Flash Diffuser Pro angled depends on my environment and whether decent surfaces are available off which to bounce the flash

[Digital]

Bill, what you related makes more sense to me now than when I received your post earlier. I was so brain addled I did not realize that what you were saying was to increase my ISO to 400 (a 1 stop differential) which would have in turn increased my shutter speed. In flash photography shutter speed has an influence on ambient light, if memory serves me correctly. The aperture would have remained constant. I did not need to use manual, but to have remained in Aperture priority.
More experimentation to follow.

Bruce

[Digital]

Richard, thank you for commenting. To keep myself somewhat sane I am going to follow Bill's suggestions. It appears that we are all headed towards the same goal; it is just how we get there differs.
I agree that Manfred has a good idea in using a reflector to bounce the light into areas that (without the reflector) would have been in shadow to one degree or another.
I do have a Stroboframe Camera Flip Bracket. I very rarely use it. I may experiment with it more.

Bruce

[dennybeall]

Removing the shadows is hardest where there is hair but that's about it. This was just a little Photoshop cloning and healing brush.
[IMG]

[Digital]

Denny, thank you.


Bruce

[Digital]

Somewhat of a finished product for this experimentation.

[Digital]

I adjusted the photo a little. This is not the same photo as posted directly above.

[Mike Buckley]

Each new try yields better and better results. Great job, Bruce.

The last pair of images are so much fun. Notice that that background of the most recent image retains more color and that that color so nicely complements the clothing. Notice the skin tones on her torso and neck in that last one. If you retained that natural look on her face, I think you might like it more. Also try lifting the shadows in her eye socket and eyes. With those changes, that one would be my favorite by a very wide margin.

[Digital]

Mike, thank you so much for your kind comments. I attempted to lighten the eyes in LR with the adjustment brush. I do not know if it was enough.

[Mike Buckley]

That looks very natural to me, Bruce. Definitely the best so far for me. It's so nice that it might be time to move on to another image.

[Digital]

That looks very natural to me, Bruce.

Mike, thank your for your kind comment. Coming from you that means a lot.
I agree about moving on to another image. More experimentation, and learning.


Bruce

[William W]

That looks very natural to me, Bruce. Definitely the best so far for me. It's so nice that it might be time to move on to another image.

I concur.

WW

[Manfred M]

+1 to what Mike has written. We get to a point when we are working on an image where more effort results in diminishing returns on that effort and in fact, you can end up making things worse.

Just as an aside, I am with what Bill has suggested. Learn how to get it right in the camera, as that will save you a lot of time and effort later on.

[William W]

. . . you were saying was to increase my ISO to 400 (a 1 stop differential) which would have in turn increased my shutter speed. In flash photography shutter speed has an influence on ambient light, if memory serves me correctly. The aperture would have remained constant. I did not need to use manual, but to have remained in Aperture priority.

From what you wrote above, I think you might misunderstand some of the meaning of my Post #21.

I’ll re-write the points here a different way:

First point is to note that when I wrote Post #21, I did not know you used Aperture Priority Mode.

Second point to note is my suggestion of a different set of exposure parameters was a simple comparison of what exposure parameters you used – then I studied the result you got and then I suggested a better set of exposure parameters for you to use to get a better result. My suggestion did not take into account what Camera Mode was being used nor how you were measuring the Ambient Exposure or the Flash Exposure

Third point to note is the “reason” for suggestion the increase of ISO from ISO200 to ISO400 was to allow for an increase in the Effective Flash Power. The reason for needing more Effective Flash Power was to make more certain that there would be enough Effective Flash power to allow the Flash Exposure to overlay the Ambient Exposure (i.e. for the Flash Exposure to be the slightly DOMINATE of the two exposures).

***

When Flash is being used as Fill, this means there are two exposures we must consider - the Flash Exposure and the Ambient Exposure.

Yes you’re statement is, in general terms, correct: when Flash is being used as Fill, the Shutter Speed has an influence on the Ambient Exposure. Probably a more precise statement would be something like: “a CHANGE in the Shutter Speed without changing the ISO or the APERTURE will affect a change in the AMBIENT EXPOSURE.”

(However do not take that to assume the Shutter speed does NOT have any influence on the Flash Exposure in all circumstances. Not relevant to this conversation, but note that the Shutter Speed can also have influence on the Flash Exposure when the Flash is in High Speed Sync Mode.)

***

Following on from Post #21 and when I realized that you were using Aperture Priority Mode, my Post #24 was to point out that I do not like using Aperture Priority Mode when using Flash as Fill.

The reason for my not using Aperture Priority Mode is because when the camera is in Aperture Priority Mode the CAMERA’S TTL Light Meter controls the AMBIENT EXPOSURE and of course it does that by CHANGING the Shutter Speed – and my point was the Shutter Speed might vary without the photographer noticing: and If the Shutter Speed does vary then that will change the AMBIENT EXPOSURE to FLASH EXPOSURE RATIO.

***

Certainly I don’t think it is ‘wrong’ or ‘bad’ to use Aperture Priority Mode when using Flash as Fill – I just wanted to highlight the pitfall that I have seen so many Photographers fall into and why I do not do it.

I hope that makes the reason for my comments, clearer.

WW

[Digital]

Bill, your point was well taken. I can see why you do not favor aperture priority since this mode does influence the shutter speed which in turn influences the exposure for the ambient light. Which in turn changes the ratio of light from the flash, and the ambient light. I can also see the advantage of changing the ISO upwards to allow the light from the flash to "dominate" the ambient light.
Given the same scene that I photographed would a higher ISO setting increase my shutter speed faster than 1/60 so as to offset subject and/or camera movement. It should be noted that the flash was set to high synch mode (At one time, by placing the flash in a high speed synch mode, and going to manual mode, I was able to almost completely eliminate the ambient light by this method.) I will have to check my camera's manual; however I think by setting to HSS allows you to use shutter speeds beyond 1/350 up to the max SS. I realize that I did not need HSS to eliminate camera and/or subject movement. I really went off on a tangent discussing HSS.
I want to thank you again for your mentoring, and please do not hesitate to correct me if I am missing the point.


Bruce