CHAPTER 1
You Already Know This
This is for my fellow natural light photographers.
OFF-CAMERA FLASH SUCKS
I remember the first time I tried off-camera flash (OCF) on the job. I was posing a family group of about 30 people. I tested my light about 39,485,787 times before I started posing everyone; it worked fine all 39,485,787 times. I got all 30 people into position, made everyone look at me, and snapped the shot.
Nothing.
And everyone knew it. I heard a riveting chorus of “Your flash didn’t fire!” from the perfectly posed peanut gallery judging me. Thank you Captain Obvious, I’m quite aware that it didn’t #$*%&!@ fire!
That’s the thing about OCF: It’s one of the only ways your clients will think you have no idea what you’re doing. They can see that things are going wrong and conclude, like mine did, that you’re an idiot.
It could be because I threw it into the truck of my car and gave it the finger, but I never got my flash to work again that day. It wasn’t until about 10 years later that I mustered up the courage to give off-camera-flash another shot.
When I did try to learn off-camera flash again, I quickly discovered that almost every tutorial and workshop I came across teaching about off-camera flash sucked. It really did. Flash was almost always taught in a way that was impossible for a beginner to learn. It was like listening to someone speak to me in some foreign language before they bothered to find out if I understood that language. And worse, if I admitted I didn’t understand the language of flash—shame, shame, shame you fake photographer, who doesn’t know flash like a “real” photographer should.
No more.
This book is going to give you exactly what you need to feel confident in your lighting abilities. By the end, I’ll bet you’ll find off-camera flash so easy and inspiring that it will become one of your favorite ways to take photographs.
Togs—I don’t know if you know this, but OCF takes the imaging process away from molding the available lighting circumstances to your will, and puts full creative control back into your hands. You get to be a photographer that creates whatever you envision—not just alter what you see. Want it to be nighttime? Easy peasy. Need a golden hour glow? No problem. Craving light and airy when it’s dark and gloomy? Sure thing. Want to make all of that look completely natural and in line with your brand? You’ve got it. You can make whatever you want to happen, happen in your photos.
REASONS TO START USING OCF
If I haven’t convinced you yet, here are some things to consider.
Everyone else shoots natural light. So many photographers complain about the saturated industry. Guess what? They’re right. There are a million (or more) of us. And they are all shooting in natural light, praying to God that it’s a good quality that day. What if you could promise your clients the sun even when it isn’t there? What if you didn’t have to worry about an overcast day? Shooting with flash differentiates you from other shooters photographically, and your clients will be impressed that you can deliver the shots they want regardless of the weather.
FIGURES 1.1 AND 1.2
CHECK OUT THIS CRAZY COMPARISON! LOOK HOW MUCH MORE THE OCF IMAGE (ON THE RIGHT) POPS!
BOTH IMAGES: CANON 1DX, CANON 85MM 1.2, ISO 200, F/2.2, 1/200
CANON 580EXII SPEEDLIGHT WITH CTO GEL
Annoy Uncle Bob. This is one of my favorite things to do. You know Uncle Bob? The one with the awesome, brand-new camera that he’s testing out at his niece’s wedding; the one with no regard to getting in your way or stealing your perfectly posed shots. Yeah, that guy. Well, shooting with flash lets you put your subject in heinous natural light. His photos will be crap, but your photos will be out of this world.
Be a better photographer. Learning to use a flash has been one of the best things I’ve done for my knowledge of natural-light photography. Learning about flash filled the gaps in my photographic knowledge like crazy. Do your craft a service and keep growing into it.
Make more money. There is a direct correlation to how many big, printed images I’ve sold and my use of OCF. If you’re taking epic, gorgeous images, do you think your clients will be satisfied printing them as a 3x5 for an album? No way! These images will hang as 24x36 canvases on their walls!
It’s not hard anymore. With the help of this book and the wonderful lighting and imaging technology that we have today, it’s not nearly as difficult to master OCF as it used to be. So let’s get going!
YOU ALREADY KNOW THIS
Attempting to learn off-camera flash was crazy difficult for me. When I looked at the flash, I felt like I was looking at a foreign object that defied all physical laws as I knew them. Not to mention that I’m seeing an almost-too-fast-to-see light flash, and somehow I’m supposed to know what it’s going to do, or what it did after the fact.
Guess what? There’s no crazy magic happening with a flash. The light that comes out of a flash follows the same rules as light from the sun. “Light is light” as they say. The only difference is that the flash light comes out in a quick burst versus sunlight, which lives in the sky all day. The light that comes out of any flash or piece of continuous-light-producing equipment follows the same rules that govern all light. Just think of it as your own portable mini-sun.
You’re likely a natural-light photographer. Most of us started taking photos on our phones or point-and-shoot cameras before we ever thought of taking photography a step further. For many, it’s more cost effective to buy just a camera, not a camera and a light.
As natural-light photographers, we’re used to seeing light as it is and molding what is already there to work for our images. We see it, photograph it, and sometimes manipulate it with a window, reflector, or shade. Because of this, we often don’t think about why and how the light from the sun is behaving and being altered.
To get started on the right foot, here are some things you already know, but haven’t necessarily thought about before.
Light travels in straight lines. Every. Single. Time. No secret voodoo happening here.
Light reflects at equal angles. It’s back to high school geometry class for this lesson! The angle of incidence of the light equals its angle of reflection. It’s just like playing pool. When a ball hits the wall of the table at an angle, it bounces off at the same (but reverse) angle. Practically speaking, this means you can use a reflector with an off-camera flash just like you’d reflect the sun. Pretty cool.
The smaller the light is in relation to your subject, the harder the light will be. Think of the sun here. In relation to where we are in the universe, the sun is actually a super small light source (you can cover it by squinting one eye shut, or hiding it behind your pinky finger) in relation to us, even though it’s a huge object. For an example of the quality of light this creates, think about the sun shining directly through slits in the blinds. You can see the lines of the blinds casting strong shadows into the room or onto your subject.
The larger the light is in relation to your subject, the softer the light will be. This soft light will create more gradual shadows. Using the sun example: If you were standing right next to our big, beautiful sun, it would be a large light source in relation to you. It would create a beautifully soft light wrapping around your gorgeous face. It’d burn you to a crisp, but you’d look great while screaming in terror. Totally IG worthy.
The closer the light is to your subject, the more contrast it will create between light to shadow. You see this all the time when you put something next to a window and take a picture of it. One side, the side shielded from the light, is super dark, and the other side, the one directly in the light, is super bright.
The farther the light is from your subject, the less contrast you’ll see between the light and shadow. This is the opposite of the previous concept and there’s a really great mathematical explanation for this if you’re interested. Google “inverse square law” if you want extra credit.
You essentially have four elements (near, far, big, and small) at your disposal when molding and positioning your light.
- You could have a big light source that’s far away, such as a wall of windows, that’s on the opposite side of the room. That would be a big, soft light that does not produce a lot of contrast between the light and dark of the shadows.
- You could get closer to that big light source by walking over to the window side of the room. That light will be big and soft, but now it will have more contrast between the light and dark of the shadow.
- You could have a small light source that’s close to you. Say a cell phone flashlight an inch away from your face. That would be a hard light, with more defined lines. Also, it’s close, so there will be a big contrast difference between the light and shadow side of the subject.
- Move that same cell phone light four feet from your face. You still have a small light source creating hard lines, but you’ll have a less drastic difference between the light and shadow sides of the subject.
MAKE IT HAPPEN
Look in your Y2K closet, go-bag, or under your bed, and grab your emergency flashlight. Take out your favorite Barbie doll or action figure (it’d easily be Wolverine for me), go to a dark room, and play with shadows. Move the flashlight closer and farther away from your subject and see how it affects the light and shadows.
Next, grab a piece of white paper and put it in front of the flashlight, close enough so that the light is only hitting the white paper. Your light source is now bigger. It’s the size of the paper versus the size of the flashlight head. See what happens to the type of shadows that are on your subject’s face when you put the piece of paper in front of the flashlight versus when there’s nothing in front of it.
This type of exercise, without holding a camera at all, is a great way to start understanding (and then later predicting) how to mold light to create a certain effect. Later, when you start using a strobe as your off-camera flash, you can do the same type of exercise using the strobe’s modeling light function. A modeling light is essentially the flashlight for the strobe you’re using and you can use it to see what you’re doing with the light before you start taking pictures. Very helpful.
ABOUT THIS TEACHING METHOD
I’ve created this book for the photographer that wants to learn flash but doesn’t know where to start. Or maybe you tried to start, but got hit in the face with a firehose of information and got overwhelmed. Perhaps you grasped a little bit of information but still don’t have the mastery you’d like. This book is for you.
This book is not for the photo guys with light meters around their necks and the inverse square law tattooed on their forearms. I love you guys, but you will absolutely 110% hate this book. I know, I know. Feel free to send nastygrams to @VanessaJoy on Instagram. I collect them so I have an excuse to eat Cold Stone Peanut Butter Cup Perfection ice cream, by the pint, by myself, with a glass of Napa red Zinfandel wine.
For everyone else who is ready to dive in, I solemnly swear that I am up to all good and hope to give you the easiest explanation of off-camera flash possible. I don’t want to bore or intimidate you, and hinder you from picking up your flash. My goal is to get you using your off-camera flash as quickly as you can. If you listened to my “Make It Happen” instructions, then you’ve already used off-camera flashlight. Congrats!
You won’t find complex narratives and diagrams about ratios and the inverse square law in here. They’re great, and you should certainly learn them at some point. But I’m choosing to give you lighting basics that you can instantly use in your photography, without potentially overwhelming you with the technical jargon. I strongly believe that the best way to learn is by doing, and, if at the end of this book you’ve spent more time reading than doing, then I have failed you.
Hopefully I’ve inspired you to get moving. Go grab your camera and your flash(light) and a bottle of wine, and let’s go. You’ve got this.
“If you don’t make mistakes, you’re not working on hard enough problems. And that’s a big mistake.” –Frank Wilczek