When do you use a diffuser

<p>I recently did some studio portraits for a pal, during which apart from studio lights, I used direct flash on camera, with an EOS 3 and a 420EX, just experimenting I took some with the stoffen diffuser on and some without the diffuser, (the film was rated 200) I thought the images without the diffuser looked a lot better, even with direct flash on the camera. It got me thinking maybe the E TTL flash metering system of the EX speedlights is so good, it makes the use of diffusers redundant? I would be interested to know in what situations people would choose to use a diffuser, the stoffen type over the head of the flash unit. Im not talking about soft boxes etc, im an experienced photographer with a good understanding about various lighting techniques, before anyone enlightens me (no pun intended) about bounced flash etc. Thank You.</p>

<p>G`da, our work, mostly candid and all flash, we use diffusers all the time. direct flash on its own creates to many hot spots for us, many venues are warm and in nightclubs subjects often have moist skin. Generally use the gary fong tupperware, recently stopped using the sto fens and I have a few, one for each flash, am now using a mini one size fits all softbox which fits on with a large band, it has given far better and even soft light and not many highlighted flash reflections (1/4 the price). The sto fen was designed for bounce and pretty well useless straight on, even when bounced we still use a bounce card with the sto fen. most venues we do are dark with dark walls and ceilings. The canon flash works ok as a fill light when the studio lights are the main source, this I would rarely do, if my trigger circuits failed then it would be the workaround. </p>

<p>I think you are saying that using the canon flash on its own? Possibly with film you may get a better affect, for years we had little problem using T90`s with Metz 45/60`s, when we moved to digital in`01 we kept using the Metz till got a 550ex, it was then we noticed the flat even looks and highlight reflections and of course the ghostly looks in portrait modes and started on diffusing. The GF LS2 enables us to keep portability without brackets, the flash above the body and a soft spread of light, even then had to modify it as the light was not equal high to low in the frame. Of course the diffusers come of for distance shots, it may be a personal taste but we get many clients each night giving more favourable comments with the GF and softbox results, YMMV... ;-) </p>

<p>>>It got me thinking maybe the E TTL flash metering system of the EX speedlights is so good, it makes the use of diffusers redundant?<<</p>

<p>Actually, metering only affects *quantity*, not *quality* of light - the latter being affected by light modifiers, such as <a href="http://sites.google.com/site/canoneosusers/canon-speedlite-ex-flash-tips-and-techniques">diffusers</a> .</p>

<p>I don't choose to use a Stofen type diffuser at all. It also makes a difference how you used the Stofen. Did you use it tilted 45 degrees? Or straight ahead? Even though you are not talking about bounce, the Stofen's results are dependent to some degree on surroundings. A diffuser used without bounce in mind is normally to flatten out specular highlights on skin and such.</p>

<p>When I use on camera flashes for people photography, I am using the on camera flash (usually as fill) bare headed because when used as fill, those pesky specular highlights don't appear. The main or key light determines the quality of the light. My main or key light is normally my Sunpak 120J (parabolic reflector and slightly larger than a shoemount reflector) or a flash into an umbrella or softbox, or bounced flash.</p>

<p>I am very experienced with the Sto-Fen diffusers. These type of diffusers are for use <strong>indoors only</strong>. You see plenty of photographers (including many so called professionals) using them outdoors... they are wasting their time and wasting valuable flash power.</p>

<p>The Sto-Fen works by scattering the light from your flashgun up towards the ceiling and out across the walls of the room you are in. This scattered light then rebounds back onto your subject creating a more natural daylight effect. The Sto-Fen <strong>MUST</strong> be used with the head of the flashgun tilted 45 degrees upwards. If you use it straight on you usually end up with underexposed photos and your flash power is reduced needlessly. If you switch your camera to the portrait position you must also adjust the flashgun head so that the Sto-Fen points upwards by 45 degrees. The size of the room and the brightness of the ceiling and walls determine the effectiveness of the Sto-Fen. A small room with bright walls and ceiling will give a better result. A large room (e.g. a hall) with dark ceiling and walls will drastically reduce the effectiveness of the Sto-Fen.</p>

<p>When used correctly, the Sto-Fen produces stunning results indoors. It is a favourite of mine and I always have one in my camera bag. Common situations where a Sto-Fen would be used to great effect would be indoor wedding photography, indoor portraiture, indoor journalism and they are also excellent for photographing interiors of buildings e.g. estate agents etc.</p>

<p>If you use a Sto-Fen outdoors all you are doing is stifling the power of your flashgun and therefore reducing its range. Beware of the cheaper foreign imitation diffusers from the Hong Kong sellers on FeeBay. They aren't the correct opacity and can introduce colour casts in certain circumstances.</p>

<p>Hi, Thanks for your responses, most helpfull, iv often wandered myself why photojournalists or the paps use the stoffen diffuser outside? The underexposed look when using the stoffen without tilting it 45 degrees up, (as I was doing) explains why my results looked better without it. It also sounds like this techniqe is better suited to film cameras. Thanks for your explanation Jamie on how the stoffen is meant to be used, i was unaware of this, but it makes perfect sense. Best wishes to all, Tim.</p>

<p>You're welcome Tim. However, I would say that the Sto-Fen is as much suited to digital as it is to film and is still a very good accessory that everyone should own.</p>

<p>I am sure photojournalists use the OmniBounce for reasons that have more to do with expediency than anything else. Being a wedding photographer and not a photojournalist, I can only guess, but I would say that they use it because it is a diffuser that can be left on the flash without very many consequences. When inside, it can actually help with bounce. Since photojournalists use high ISO, flash output is not a concern. When outside, it does nothing hugely different from direct flash (head straight on, not tilted). Plus, it is small.</p>

<p>If you used it untilted in your portrait test, I can see why you thought your images looked better without it. The underexposure, can, of course, be corrected by using flash comp. While outside, with the Omni on and flash head straight on, you really don't get any benefit except for cutting specular highlights very slightly. When inside with the Omni straight on, there is actually a bit of a difference from direct flash in that light is scattered out the sides of the Omni a bit, which can raise reflectivity, based on what is around you. Not the best way to use it inside, but it <strong>is</strong> different from direct flash.</p>

<p>As for use with film or digital, they are both the same.</p>

<p>Yeah, problably not much diff film to digital, film handles a lil overexp better and easier to burn back detail. but always done my own d&p. I only used the metz built on diffusers till hot shoe flash :)</p>

<p>Not to hijack, but what's the advantage of using the OmniBounce compared to just bouncing straight up at the ceiling and using an index card for catchlights? I get great results doing this, so I'm not sure how the OmniBounce would help...</p>

<p>Benjamin--might not be an advantage--it depends on what you think. In my opinion, the Omni's results are not that different from direct flash, unless you are in a small white room.</p>