16. FLASHES AND LIGHTING
NINETY-FIVE PERCENT OF the time I utilize natural light or available light for travel photography. To me, something about introducing a foreign light source is more photographic intervention than I am comfortable with. That said, painting things with light can have badass results. I keep a few important lighting accessories in my camera bag when I travel, because subtle changes in lighting can mean the difference between a good photograph and a great one.
Reflectors
A small, collapsible reflector is a great accessory to have in the field. Whether you’re attempting to fill in shadows for a portrait, bounce a bit of extra light on a dish of food (Figures 16.1 and 16.2), or block direct light from a flower or other macro subject, a small reflector can be invaluable. It makes the best of the lighting you have naturally. I travel with a 12-inch-diameter reversible (silver on one side, gold on the other) reflector that collapses down to about 5 inches. It’s ultra-lightweight and ultra-handy.
16.1 A reflector was needed to fill in the shadows in a covered dining area at Guana Island, British Virgin Islands.
16.2 The resulting image of Goat Water (tastier than it sounds) at Guana Island, British Virgin Islands.
ISO 100; 1/60 sec.; f/5; 44mm
Flashlights
For painting with light, a flashlight or headlamp will do the trick. LEDs offer the best battery efficiency for the most light output, so they are my go-to travel light. Because LEDs put off a cool cast (Figure 16.3), you may want to tape a small piece of amber gel over the light to warm it up a bit. Alternatively, you can utilize a wild, totally unnatural color to paint some eeriness into your photographs (Figure 16.4). Just keep in mind that gels can cut the amount of light transmission depending on how intense the color is, so you’ll have to play with the length of your exposures to make it work.
You can also use a flashlight when shooting at night to help your camera’s autofocus lock onto the subject (though you should make sure the camera isn’t taking exposure readings off the autofocus point). Any sort of night shooting and light painting is a trial-and-error situation, so experiment and see what you can come up with!
Pop-Up Flash
We’ve all witnessed that one guy cluelessly firing his camera’s popup flash into a sunset landscape. Don’t be that guy. Your camera’s integrated flash is rarely a good option if you want to make professional-quality images. Because of its positioning, size, and power, the light from the popup flash is generally harsh, overpowering, and unflattering for any nearby subject and totally useless for any distant subject. Figure out how to override your camera’s flash and do it. If you feel like throwing caution to the wind and using the popup for a bit of fill light, then turn the power way down (if you can) and consider taping a diffuser over the flash to soften it a bit.
16.3 A cool flashlight was warmed up with gel to light paint a boat in Spanish Town, Virgin Gorda, British Virgin Islands.
ISO 100; 1.6 sec.; f/4.5; 17mm
16.4 Playing with red flashlights at the Coppermine, Virgin Gorda, British Virgin Islands.
ISO 100; 258 sec.; f/9; 8mm
Hot-shoe Flash or Strobes
For some travel portraits or for shooting interiors, a hot-shoe flash or studio strobe light can be useful. Harshness of light is still a concern, so the power output, direction of light, and relationship to ambient light levels are important. For a hint of light on your subject that still allows the overall scene to appear normal, expose the frame for the ambient light (the subject will look dark) and fire the flash to light the subject (Figure 16.5). This may take some experimenting with flash output and shutter speed, but it will be worth the effort. Make sure you modify the flash output with a softbox, diffuser, or a bounce to give the light a softer, more attractive quality when you can’t find softer, more attractive models.
16.5 NFL’s Chris Harris lit with an off-camera flash in Chicago, Illinois.
ISO 800; 1/5 sec.; f/4; 20mm