When do *you* use off camera flash?

I'm interested in when people use off camera flash and what setups they usually use and when, especially shots

that aren't large groups. Everyone has different preferences and ways of working so it would be interesting to

hear the different methods and approaches.

 

Right now I'm using one light in a softbox for the formals I'm finding it's very easy to make shots look very

'lit' and unnatural outdoors which may be great for fashion but probably not what most couples want.

Underexposing the ambient by one stop seems to be a good mix. For very small groups I'm using one flash though an

umbrella with ambient one stop under.

 

For slightly larger groups I go for a flash 3ft from the side of me as high as possible around the same level as

ambient for fill and a bit of zing and some spark in eyes

 

For the first dance I have a bare flash setup and and wait/move until the couple are backlit by the flash

 

Not had the confidence to use flash off camera during speeches and cake cutting yet, I'm worried about blocking

guests view, getting it knocked over or having to very quickly move it/dial it in again for different speakers.

<p>when i want my light coming from another place other than on top of my lens.</p>

<p>have an assistant hold the lightstick with the flash and move with you..it beats sitting waiting for the couple to move to the right place ( which they may not ). </p>

<p> </p>

Hey Mark, My lighting setup is different then yours, because I don't use assistants. For indoors I usually 2 or 3 mono lights on stands. Usually placed in the corners of the rooms and not aiming at the dance floor, but the eating tables. Sometimes bare bulb, most of the time not. The third light works sometimes if it's placed behind the DJ and the ceilings are somewhat on the white side. This approach seems to really light up the room.

 

Sometimes I will set my camera flash to bare bulb, but in general I prefer a soft dome. For the cake images with candle lights around the cake my setting is 1/5th at f5.6, ASA 400 and the camera flash is bounced off of the wall at 1/32 , to get rid of the brown that may/will appear in the background. I also you a star #4 filter.

 

There's really no set rules here for the reception, nor the outdoor group shots. I'm always looking for shade and 99% there is shade somewhere. Often if the eyes are lit up with the natural sun I won't use a flash at all. If I do need a hint of flash I will meter the shaded area, say F8 at 125th of a sec and set the flash to F4 or even less. Just enough to get the eyes to sparkle; as you referenced above. If you set the flash to F8 the photos won't look right. For example the white dress will probably be blown out and the faces will look a bit over exposed, no details in their faces, and the background will most likely be about a stop under exposed.

 

Everyone has there ways of setting up multiple lights and franky if your lights are underexposed by a stop the results should look very pleasing.

 

At reception rooms that are dreadfully dull, say brown walls everywhere, I often add some extra lights aiming at the walls using color filters and maybe even barn doors to direct the light. Trust me, the bride and groom will surely like colored walls and not that dreaded look. Something this seperates the pros from the point and shoot people.

<p>Mark L.--I might suggest you narrow your question. I find it hard to answer because I don't use off camera lighting the same way all the time. It all depends on the situation, the lighting, and the environment. One of the very important factors at weddings is whether one has the time to use off camera lighting, and whether it is feasible, given we usually have little control over circumstances. What is it that you really want to know?</p>

I'm pretty new to the game and know no other photographers so I was trying to establish, given the time pressures and feasibility at weddings, in which situations people typically employed off camera lighting as a reference.

 

Any info on particular favourite and 'go to' setups would be helpful appreciting the fact that all weddings have different venues/weather/challenges. For similicity, we can exclude any larger groups since there are enough discussions on this.

<p>Mark, I use it much in the same way you do. Right now I use a Nikon SB900 on my camera with an SB800 off camera on a lightstand with an umbrella or sometimes bare. I will use it w/umbrella for formal group shots to my right and raised. I will use it for various formal shots of the B&G if I feel that it's needed, and I have A LOT of fun using it bare at the reception. I will set it up in a corner out of the way or close to the DJ stand and since the SB900 is so easy to switch between master and normal mode I find myself assessing the situation to see if i want or need the OCF. If the reception hall is large I might aim the sb800 towards the ceiling and fire it off, I have to use an external battery pack though b/c it will chew through 4 AA's in no time. I also use a little pocket slave flash from Smith-Victor to backlight the veil for some formals. I position the SB800 to my side (which ever side I need to make my lighting pattern I want) and then I place the slave on the ground about 10-12' behind the bride. The SB800 handles the lighting in front and triggers the slave to light up the back. I really want to upgrade to a Quantum set up b/c the Nikon CLS system isn't totally reliable, but I'm doing just fine for now.</p>

<p>I will add however, that there have been times that I didn't have time to set up OCF, or CLS failed me. In which case I had to make lemonade out of lemons and I either solely used my on camera flash with a large white card attached or I have my wife (lol, my assistant) hold my largest reflector to my right and I would bounce the flash off of it. Neither of these yield BAD results, but not as nice as my OCF when I have it working correctly.</p>

<p>I work with off cam lights all the time. Daylight, evening, receptions, engagements, etc., etc.</p>

<p>Generally using speedlights on a stand these days. One if its just one or two people, two if its a group and I need fill.</p>

<p>They are not as nice as studio w/softboxes and hair lights, but will add great dimension versus on cam direct.</p><div></div>

<p>Hmmm...</p>

<p>1. Group family photos after the ceremony. In a church, a Sunpak 120J into a 60" umbrella as key, on camera as fill, typically. Outside, a single, unmodified Sunpak 120J as key.</p>

<p>2. Some formals--as above, depending upon inside/outside, but with smaller umbrellas. Inside, may bounce the 120J off a wall. Mostly, will use the off camera if balancing with a brighter background, such as sunlit ones. Otherwise, for natural light that is just fine unaugemented, I go with natural light alone or with an extremely weak fill.</p>

<p>3. As 'room lights' at receptions--most of the time. Sometimes, I just go with on-camera. Depends on what effect I want. When using off camera, I use them either bounced or with the heads directly forward--depends. I don't normally use off camera (beyond the already placed room lights) for cake cutting or bouquet toss, although I have been known to place a flash as key light for these sometimes. First dance shots, I utilize the room lights already placed for back light, etc.</p>

<p>4. Most of my off camera flashes are on stands. I also use clamps, bungee cords, Velcro and whatever if necessary and space is limited. When really pressed and outside, I use my lightstick and practiced camera/hand holding positions (no assistant) to give directional light. I also carry a Morris wide slave in my bag. It is great for backlighting without having to carry a whole flash on a stand.</p>