Regardless of whether you work in the built-in flash camera, external speedlite'em or head light studio , remember that if you stand close to the background , very difficult to get rid of the shadows. Only a softened light will cause them to become weak ( refer to the article on the studio light modulators ) . I think it's not a problem. You can still be regarded as assets shadows pictures .External study lampHowever, if you want to get rid of the shadows , you have to use a very soft starters ( eg large octagonal softbox ) . You can also bounce light from the opposite wall or run away from the background. In the outdoors can be set in such a way that the shadow is not at all visible in the photograph .Working with a study lamp , remember that when you light the face of it , you have to control the shadows resulting from the construction of the body model or a model. When the flash is set to the side, you can easily make yourself the hassle odkładającym a shadow nose. Not always looks good. Especially if your model has a more proven nose . Similarly , things are out of eye sockets . If the eyes are deep- set , need to be careful of too high a setting flash.
Reflection of light from the wall , ceiling or other surface will be much softer , but remember that when the wall is a color (especially when it is painted matt paint ) , the reflected light will be the color of the wall color. Feel free to bounce the flash of gleaming surfaces , including the windows, but then do not get so soft light as the opaque material .TTL flash - SpeedliteSomeone once told me at a workshop that working with a Speedlite external flash is not professional , because it gives a fairly flat light. Indeed, the system operating in the external flash TTL system does not give too beautiful lights when you are working in automatic mode. Also, remember that the size of the burner is much smaller than the studio lights ( the smaller the light source , the harder light). There is therefore no point in using the flash in a departure from the model. A few meters away is the maximum - if you go on, the light Speedlite will be too hard, if at all it reaches the model .
Outdoor lights make it possible to adjust the flash output. When you come close to the model, often it is necessary to subtract the flash, the portrait does not become too "flat".
He very often I use speedlite'a outdoor session. I do not believe, however, Canon's E-TTL system II, turn the manual mode and adjusts the flash output for the conditions. Nikon has a much better developed system of a flashlight, but it does not always copes with what you want to achieve. Much faster and easier to switch equipment to the manual mode, which allows for greater control.
Last year's Pirelli Calendar photographed by Terry Richardson's work is created using a Speedlite flash.
The
external lamps are adjustable head , thus being in the interior, the
light can be reflected from the walls , as in the case of studio
lighting . On the other hand, in the open air , taking the blend , you can bounce the light was from her. Unfortunately, sometimes shortages and a need for someone who can help .On the market there are also all kinds of diffusers, which are designed to soften the light speedlite'ów . I
do not like them - I prefer the pure light coming directly from the
burner lights , but this is a matter of personal preference. Each light differently , each in a different way modulates the light. I encourage the test , try and then buy . Similar modulators can also perform household methods . YouTube is full of different solutions .Regardless of how you will work with the flash , make sure the hardware will not do for your images . The more you control your work , the greater your impact on the finished effect in the form of photographs. One lamp mastered much faster than whole studio . Just from this one lamp must begin only when it will not be a mystery to you , reach for more light ...
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