Ambient light vs flash light for outdoor portrait

[benjamin_kim2]

<p>I always shoot portrait at outside without any light modifying tools. Cause I usually shoot pics by myself. Because of that, I tend to shoot portrait under the shadow area to get even lights. Well, it's quite limited for other conditions like sunny day. Without the speed light, it is impossible to prevent overexposed sky or else. mounting on camera's hot shoe is not that helpful unless I have separate tripod with octabank. I know that photographers can decide which method to use. I know some photographers never use any speed light or studio flash light instead of reflector. Although, I do like portrait images with speed light or studio flash light that I can control the light. But for now, I should prefer to shoot by myself till I get a real job.</p>

<p>Do you think that I should use both methods to become professional photographer?</p>

[User_6502147]

<p>Personally, I prefer to enhance the ambient light with a white board/reflector/s. As a pro, you'd have to be ready to deal with any unique situation. You can install lights, etc on stands, and still do this solo.<br>

Les</p>

 

[howard_m]

<p>Use whatever method results in getting the shot that you or your customer has envisioned. I hear a lot of photographers say 'Oh, I always shoot outdoor w/o any flash/etc' and it turns out that they never have used flash and dont know how to control or creatively apply it.<br>

It's certainly easy enough to drag a small nano lightstand w/ you and pop a speedlight or a reflector. It makes YOU in control of the image vs. letting the available light dictate.</p>

[Bill C]

"Do you think that I should use both methods to become professional photographer?"

 

You can often find "natural" locations with pretty fair lighting for portraits - at least certain styles of portraits. And I'd say that a pro could

specialize in this if they chose to, and there would be no need to know how to use flash.

 

I think that the "more complete" photographer should be able to work either way, with or without flash. It simply gives one more capability

to operate in different conditions.

 

I've made a full-time living in photography for my entire adult work life, largely in either the sort of portrait work that customers buy, or

technical work related to that. One thing that I've noticed is that photographers who don't know how to use flash well often say that they

avoid it because they don't like the way it looks. Now this doesn't necessarily imply the other direction, but if someone tells me

that they don't like the look of flash, I often suspect that they just don't know how to use it that well.

 

Now personally, for outdoor portraits, I tend to work like Leszek, with reflectors (assuming everyday semi-casual work). And if there's not

good available light it can be useful to bounce a flash into the reflector. A point to make is that reflecting ambient light is almost always the

right color, but flash will often be different. So it may occasionally be a good idea to balance the flash with colored gels. One more note on

portraits: If you plan to sell portraits to the customer, there are certain quality-related things you have to do; people generally want to look

good. But for editorial portraits, satisfying the portrait subject is not necessarily a requirement.

 

Ps, if working alone with posed shots, don't overlook the possibility of using a tripod-mounted camera which you can trip remotely while you are hand-holding the lighting apparatus; it's harder for the wind to blow over a camera than the lights.

[henryp]

<p>For outdoor portraits, especially in shade, I will use a reflector, on-camera flash (at -1) or off-camera flash in an umbrella or softbox 95+% of the time.</p>

<p>Henry Posner<br /><strong>B&H Photo-Video</strong></p>

[ObiWon]

<p>I find that using a fill in flash makes the portrait 'pop' especially if you can get a touch of 'catch light' in the eyes. My advice is to experiment and find a method that works for you, the essence of being 'professional' is to make reliable pictures that the customer likes. He who pays the money is the final arbiter of success, if they like it and pay good money for it then you are a winner.</p>

<p>Jim :-)</p>

[jpb]

In my opinion, a true

professional is able to use all

industry standard equipment and

options for their given subject

matter or style and needs to know

how and when to apply and modify

each skill to its best advantage.

If you plan a natural light shoot

and then the natural light

doesn't accomodate you, the only

way to guarantee results for your

client is the improvise like a

master.

[jcuknz]

<p>I suggest you play with the 'on-board' flash cut down by one or two stops to learn what it gives you, but not if the subject is looking at the camera [ red-eye ]. I have my camera set at minus one stop but for waist shots it needs to be cut further. The idea being to fill the shadows to an acceptable level without it looking like a 'flash-shot' ... much the way some use reflectors ... same principle but easier for a solo worker on the hoof.<br>

A quick way to reduce it further is to hold your finger over part of the flash.</p>

[bob_bill]

<p>My philosophy is similar to my snow skiing goal of all mountain all conditions. In photography I strive to be able to pull off great shots no matter the condition or the minimal or truck load of gear. Shoot with just ambient, reflectors, speedlights and studio strobes and be able to pullout the needed technique as conditions and gear dictate. </p>

[jamie_coburn]

<p>Light is Light is Light....Natural or strobe...it matters not.<br>

Your image quality will follow the quality of natural light if that is all you shoot. Absolutely you should be able to manipulate light! Reflector, speedlights, studio strobes...are all options you should ultimately be employing.<br>

Speedlights modified with a small umbrella are very effective because you are not lighting the subject out of doors you are filling in the subject and perhaps underexposing the bright background with the strobe. How does this work? Imagine a nice sunset where the compromise settings are f5 1/100 (the faces as bright as possible)...With the addition of a speedlight you could go to f8 1/100 reducing the exposure on the background from slightly over exposed blah background colors to a nicely underexposed background...and watch the colors pop! Background too dark? Lower the shutter speed...Not dark enough? Raise the shutter speed! The exposure on your subject never changes!<br>

All it takes is a cheap little Yongnuo 560III, a cheap Yongnuo trigger, an umbrella, and a lightstand...under $200.00 and is capable of world class images. <br>

<br />Light is everything!<br>

Add a second cheap speedlight and you can make the blah day from hell look like a sunny day!</p>