Lighting at weddings

[leila_griffiths]

<p>MiniTT1 & FlexTT5 I was thinking of buying this along with a canon 580 ex ii speedlite, I was not sure if it was worth it.<br>

Basically it is for those moments when it is dark during the ceremony when you are allowed to use flash but I was wondering will it look like you have used direct flash? or is it best to use a flash bracket on your camera...this for when a high iso will give grainy pictures and when low apeture is not quick cutting it.</p>

<p>sometimes it is obvious that you have used bounce flash...Im basically trying to make a picture look as natural as possible.</p>

<p>(yes I am a prime fan)<br>

The equipment I will be using is<br>

canon 5d mark ii<br>

canon 35mm f1.4L<br>

canon 135mm f2L </p>

[shawn_mertz]

<p>I am guessing you are planning on using the flash off camera, since you mention a pocket wizard. this can work, putting a tungsten cc gel on the flash will help sometimes help it look more room light. Placing it far off to the side and only as bright as you need it helps. Multiple lights help too.</p>

[picturesque]

<p>I gather you don't want to go extremely high ISO. If so, bouncing a shoe mount isn't usually going to help much during ceremonies in larger places, although if you use your primes wide open, they can go a long way, with some use of high ISO.</p>

<p>If you don't use the flash direct, it won't look direct. If you bounce the flash (not white card or similar type of bounce), with no light from the flash getting directly to the subjects, it will look soft. Whether or not it is obvious you've used bounced flash is dependent upon how you use the flash--how skillfully you blend it in with the ambient.</p>

<p>Whether it is worth it is up to you. What, exactly, is the thing you're trying to avoid?</p>

[michaelmowery]

<p>Dont follow what your question is. If it is too dark in the ceremony as you say why would you take your only flash off your camera? You need two lights, one on your camera as a fill and the second to do what ever you want it to do. You need an assistant for this. I wouldn't invest in a flex but rather the plusII or the new plusIII. You have to be very informed when using the flex system as it has many many advance modes. Also the mini is a waste and has many issues with misfires. If you are set on these it is best to get two Flex's. You question about how the flash will look like will depend how you use it. The most flattering lighting is when two stobes are used as a main and fill senario. This will take experience and practice to get it looking good.</p>

[savagesax]

Direct flash for sure. When bouncing the light with those lenses the light fall off won't carry very far. Even if you jack up the ISO/ASA to about 1600 your colors will look weird and very hard to color correct in PS. Clients may not be too happy.

[leila_griffiths]

<p>Im trying to make my pictures look as natural as possible...I dont want it to look too flashy. ( I have seen pictures where people use direct flash and their face looks greasy. What flash system do you recomend? Is it really worth me getting strobe lights? Im guessing it would be useful in doing those traditional shots ie. mother of bride and bride pictures, father and son etc pictures.</p>

 

[michaelmowery]

<p>I guess you are just starting out to shoot weddings. There is no way around not using a flash if you plan on getting into this business. We don't like flash anymore than you do. I wish we could shoot natural light for the whole job but that is not gonna happen. Your second question about flashes is a different scenario than your first. The formal pictures of the family are done non direct flash. You shoot your strobe into an umbrella to soften the light.</p>

[leila_griffiths]

<p>Okay thanks</p>

[avangardphoto]

<p>Try using remote flashes. You can buy cheaper radio triggers on ebay.<br>

Mario</p>

[leila_griffiths]

<p>Is there any specific brand you recommend?</p>

[savagesax]

I took a Quantum flash with the dome attachment on it and then I painted the center on the dome white. I had the same issues as most, but this caused the flash to avoid a direct hit to the faces and it works very well. In most cases you can't tell if I used a flash.

 

Dierct flash causes these hot spots and this is one of the reasons why I painted the center of the dome. I can post a pic if anyone wants to see this the dome. Since you can't bend like you have to change the hemispherical angles of light flow, such as this dome or bouncing the light with whatever device works best for you.

 

Leila, since you are a bit far away with bouncing the light. most likely light won't carry far enough, I put a in a lot of research into this problem. You can use a Sunpak 120 J, I think thats the name of the flash unit, or perhaps a Norman, but those are manual units only. However they have domes.

[JRCrowe]

<p>There is the Lastolite Joe McNally softbox that is designed for pole mounting with a speedlight. Its a 24x24. When you get to a certain distance from your subject though it will just become another point source of light and eat up lighting power with no apparent benefit. The picture I am posting shows one being used at a demonstration for a bride, groom or engagement shoot. This was at the WPPI convention. Thanks B&H. The photographer also had another assistant behind the subject holding a bare speedlight as a kicker or rim light. I think I would try it and learn its limitations by using it. It seems like a useful tool whether or not it gives you the result you are looking for. I think its lighter weight would make your wife a happier camper.</p><div></div>

[fotografz]

<p><strong>Leila, if you are not in a big hurry, I'd wait before buying Canon 580EXs and Pocket Wizard TTL</strong> radio systems for them. Canon has announce a new 600EX flash with the radio built-in (which will also trigger any existing EX flash). While it will be a more expensive speed-light, it will surely be less expensive than a current 580EX with a set of TTL Pocket Wizards, and most certainly not as complex to operate. Plus the new flash has other improvements ... like auto reflector adjustments to 200mm which means your 135 will be properly covered.</p>

<p><strong>As far as avoiding "deer in the headlights" direct flash, hot spots and a greasy skin look</strong> ... that is a combination of off-camera flash and a more diffused light source.</p>

<p><strong>There are two basic qualities of light</strong>: diffused and specular. When shooting in ambient without flash, more direct sun is specular and overcast skies are diffused. Same holds true for flash ... direct flash whether on-camera or off, will be specular, where flash with a diffuser will mitigate the harshness somewhat.</p>

<p>Diffused doesn't mean soft ... it means it isn't as harsh. "Soft" light is the product of a large diffused light source (like that big overcast sky), light that wraps around the subject with a soft or gentle tonal transition, and even diffusion.</p>

<p>In a studio, photographers use huge 5' X 7' soft-boxes often with 2 diffusers to light just a full length figure, as if there was a huge picture window with indirect north light. This is not practical for wedding photography, so some people use a 7' foot shoot through translucent umbrella that is easier to take with and set up.</p>

<p><strong>A classic, easy wedding set-up is</strong> one 10' or 12' light stand, an umbrella elbow bracket that holds a speed-light that fires into a 60" or 7' umbrella ... and one speed-light in the hot-shoe of the camera set lower for filling the shadows. The speed-light in the hot shoe is the trigger for the off-camera speed-light. There are even umbrella type soft-boxes with diffusion covers.</p>

<p><strong>If you have an assistant,</strong> they can be a mobile light stand, using what is called mobile boom arm or "Painters Pole" ... one of the best for this is the $25. Interfit Strobie Boom Arm which opens up longer and is more secure than ones costing twice as much ... so the operator can often rest the base on the ground as opposed to standing there holding it up, or using a sling brace.</p>

<p><strong>Be aware that even the most powerful speed-lights are relatively weak in output</strong> ... usually about 70 watt-seconds of illumination ... where the standard strobe unit puts out 320 to 500 w/s. When you use any modifier like an umbrella, or soft-box, then that output is diminished even more. So, while you may want to shoot at lower ISOs with a speed-light, you may have to compromise that ideal somewhat by using a higher ISO (depending on how low the light is where you are shooting).</p>

<p><strong>Hope this didn't confuse, and maybe helped a bit</strong>. <em>Here is an example of a two light mobile off-camera flash result. One TTL flash in the hot shoe for FILL, the other on a mobile painter's pole with a 40" shoot through umbrella camera right to create the KEY, "directional or dimensional light" on the subject as opposed to "flat, head-on lighting" with no dimensional modeling of the subject.</em></p>

<p> </p><div></div>

[leila_griffiths]

<p>Thats a lovely picture. I will hold fire on the flashes now that you are telling me about the new flashes.</p>

<p>That is helpful.</p>

[fotografz]

<p>You are welcome Leila. Best of luck!</p>

[joseph_federer]

<p>Don't be afraid of Flash.... embrace it so you know exactly when and where and how to use it.<br>

I'm a nikon guy, so I don't need pocket wizards or secondary triggers to use off-camera lights. For the coming down the aisle stuff, I've had great luck setting a flash over in a corner bouncing off a wall and triggering that remotely. i'm still at a high ISO, but with a little extra 'burst' where and when I need it the results are more shaped and let me get away with better shutter speeds.</p>

<p>Later in the night I'll use off-camera flash to help on the dance floor as well - still high-ISO larger-aperture work... but with a little pop of light to help mold and shape. <img src="http://alyssaandmark.federerphotography.com/Dance/slides/AlyssaAndMark_Wedding-400.jpg" alt="" width="1220" height="818" /></p>