Or, the Easy-Breezy Mostly-Well-Lit Happy-Snapper
Here’s something a little different from trees, guns and 4-wheeling. First of all, I don’t take much in the way of happy-snaps when out with friends. Second, I will steal and claim credit for these photos, but they were taken on my D90, which I handed to a rather outgoing girl who knows her way around a Canon AE-1. Third, there are tons and tons of much better lighting related websites out there, but devoted to much more serious pursuits than happy-snaps, but hey lighting is lighting. I don’t want this to come off as a Strobist-wannabe tutorial post, but I have a lot of friends interested in this stuff, so I’ll gladly introduce them to it, then point them in the right direction (i.e. someone else!)
When I first started photography, oh, five years ago, the first thing I tried was shooting on auto, with straight on-camera flash. Not too flattering, so I QUICKLY moved onto available light with a 50mm f/1.8. Great lens, but I still wasn’t happy with the result though I still shoot available light some times. Then I got an SB800 and fired that on the ceiling, but didn’t like the tell-tale bounced flash look with the dark pockets under the eyes, and relying on a low white ceiling. Safe, but boring. Speaking of SB800, everything here I am doing on the SB900, I did with the SB800. I presume the SB600 would work just the same.
I’ll talk about how to do this on the Nikon, and while I don’t want to make any assumptions, I will venture a guess one can do the same thing (with a few accessories) on the Canon, but I don’t really know how the exposure and flash systems work on other brands of cameras. First thing to do is to enable to camera to trigger the flash remotely. There are tutorials on how to do this on the Intrawebz, as well as Joe McNally’s great books, and the Bob Krist and Joe McNally lighting DVDs. Then set your SB600, SB800 or SB900 to fire on that same channel. I know I am skipping a whole lot of details here, but your manual and other sources out there explain it way better than I can.
Next, I set my camera to manual exposure and dial in a baseline ambient exposure. I think McNally, according to his book, fires on aperture priority and sets the ambient using his exposure compensation, then dials his flash power back up. I tried this method but was unable to get predictable results and I prefer going manual exposure with the ambient, then shooting with zero compensation on the flash.
Here we are at ISO 400 at f/4 for 1/20th of a second.
I decided I liked it around here at ISO 800 at f/4 for 1/15th of a second. The ISO, f-stop and shutter speed don’t matter as much as it Looking About Right.
I handed the camera off to a friend to fire while I held the flash… Actually ALL these photos (other than the two test shots above) were taken by her with my D90 + 16-85VR + SB900. As for me, I was too lazy to go around shooting and I been spending more time with my camera than I have with people these days. I just brought my camera in with me since I didn’t want to leave it in my car parked out on the street.
Here’s what I did—I was a flash-monkey most of the night
I also wanted to emphasize that once you got this stuff dialed in, you don’t have to stress out a whole lot about the lighting setup. If you have a camera that can trigger a strobe, dial that bad boy in and you’ll hopefully get good results, too. It’s just a flash in your left hand. Granted it’s not as simple as bouncing off the ceiling or going available light, but I personally like the end result better. Your mileage may vary.
Pop a flash and here we are. Notice how Malia on the right is a tad brighter than the others? I should have gotten the flash at an equal distance from them. At spitting distance, light falls off rather quickly.
I’m off to the side here but am standing farther back to try to get a more even amount of light on the subjects. Notice the spotlight effect gradient on the wall here on the wall? That’s from the edge of the cone of light coming out from the flash. I kind of like the natural vignette, but you may not; there are tons of options for lighting your subject, this is just the most convenient for me and I tend to like the result.
Again the spotlight effect of the flash. Notice that there is little light falling on the hands of the left and right subjects, and the gent in the background, due to the lack of light falling on him, is not the visual clutter he would be if we shot with available light or a bounce flash due to the evenness of light caused by those methods between foreground and background. Also notice the green light in the back, yeah that’s fluorescent light! You can control the amount of stuff not being hit by the flash by adjusting your shutter speed.
Presumably you will be shooting in incandescent/tungsten indoor lighting. In general, at least. I put the amber gel on my camera, and set my camera white balance on incandescent. While I sometimes like the separation from mismatched color balances, that night I wanted to stick to all tungsten.
You also want to be cognizant of whether your light is hitting the subject in the first place, since it’s being held presumably in your left hand, or by a bystander who may or may not know much about lighting. Yes, buckshot spreads, but working at these distances, you still need to aim a shotgun. It’s the same thing with a flash. At first it can be a bit much going on at once, and really when you are shooting with flash, you are doing two things at once: shooting an ambient exposure and shooting a flash exposure.
When it does work, though, you can use it to highlight, so to speak, someone who is the center of attention and let the light instead of (or in addition to) captions, the people’s expressions, etc. guide you to the subject.
Back to what I said earlier about light falling evenly on the group, I held out my flash so it was more or less equidistant from all the subjects. Easier said than done due to the kitchen island being in the way.
The shooter shifted locations, but due to the light still being in the same place (ah, the marvels of modern technology), we have the same repeatable lighting solution for different compositions. Yeah it’s dark and I could have fixed it with some dodging and burning, but all these are more or less straight out of camera. I did have to correct the preset (my camera lives pretty much dialed in for landscapes) in post-processing. For people, I like sharpen and undersaturate slightly. Since I’ve gotten nerdy enough, for you Nikon shooters, my sharpening is at 6, contrast is on auto D-lighting and saturation is at –1.
Most cases I would have touched this up, but I wanted to show the out-of-camera results since most folks aren’t going to want to fine-tune their party snaps. I sure as heck don’t.
Final cheap shot. Rick, my friend here, is a Canon shooter, and this is my ‘don’t you wish your camera did this’ face. But he’s saving his pennies for a 7D, which if you are a Canon shooter, you should take a look at.
I hope this has been of use to some of you who have taken an interest in lighting but not sure what it can do for you. If not, hopefully it at least serves as proof I actually interact with other humans.
Though I still talk to the cactus when no one is around.























































































































