Flash techniques for receptions

[Arnie1]

We all loath hotshoe flash....but sometimes theres just no other options.

Whats your preffered method of keeping it subtle, reducing harsh shadows and keeping relatively easy to shoot?.


Arnie.

[PineCone]

to achieve this i normally bounce the flash up... otherwise i direct the flash upward and bring out the diffuser that comes with the flash (attached) and set to lowest f/stop

[Wedding Shooter]

Bounce with Lightsphere and expose for the background.

[DaveG]

We all loath hotshoe flash....but sometimes theres just no other options.

Whats your preffered method of keeping it subtle, reducing harsh shadows and keeping relatively easy to shoot?.


Arnie.

I'd use a bracket so whatever shadows fall, will be behind the subjects. Then I'd use a relatively high ISO since none of these shots are likely to end up bigger than 4x6. That way I can use a larger aperture and drag the shutter. Then my flash is just acting like a fill light.

That technique won't work if the room is really dark - you can't use available light if there isn't any. And there are certain shots at the reception that must be very sharp. But for small candid shots this should work well and look very natural.

[BLINN]

I tend to use a pocket bouncer sometimes with or with out a bracket.

[kawter2]

im usually at around iso 1250 or 1600 and shoot 2.8 1/30-40th with the omni bounce (that is if there is something to bounce off of.. if not. it is just direct flash ;)

[jamiewexler]

I also shoot at ISO 800-1600 with a flip-it diffuser positioned to best take advantage of the light. If there's a nice ceiling/wall to bounce from, the flipit is bent back to just throw a little light forward. If there's nothing to bounce from, the flipit is angled forward to send more light. I also use a bracket on one body.

[DAVIDJAY]

Another fun thing you can do is use Pocket Wizards for some off camera directional lighting and it can make for some really nice shots!

Here's a shot I took using a quantum setup but now I just use a 550 because those have more than enough power.

I've also just figured out a fun way to stick my flash to the wall using these little suction cup things that car photographers use!

Cheers,
DJ

[PIXI_666]

For someone who hasn't got a bracket just yet, i don't loath hotshoe i just work with what i have!

[llaamaboy]

I used a slave normally set to go off 1 stop brighter making the on camera stobe the fill light. It would be hand held by an assistant who was trained to bring in light giving camera something called "short" lighting. Taller assistants were perferred.

Llaamaboy

[Phil V]

My favourites are; bare flash bounced wall or ceiling (try bouncing the light from wall behind you), lightsphere bounced off ceiling, bare flash bounced off reflector behind me (assistant holds reflector).
I'm definitely going to try some slaved flash for effect, I love Davids shot above and I've also been inspired by some rim-lit dancing shots.

Always try to keep as much of the ambient as possible, and when trying to show movement use 2nd curtain sync.

[Arnie1]

Another fun thing you can do is use Pocket Wizards for some off camera directional lighting and it can make for some really nice shots!

Here's a shot I took using a quantum setup but now I just use a 550 because those have more than enough power.

I've also just figured out a fun way to stick my flash to the wall using these little suction cup things that car photographers use!

Cheers,
DJ

Cool shot.

I have 2 550's and need to get practicing with this technique....any advice?

Cheers
Arnie

[NGrinerPhoto]

bouncing monolightgs off the ceiling triggered by pocketwizards (filling the room with light)

[llaamaboy]

Be aware of bounce light in colorful rooms. Many cultures have different (read bright colors) mind sets for room colors and as your light bounces off said surfaces, the wall color changes the flesh tone (slighty).

I would almost suggest a small "soft box" to pass the stobe light through a translucent material. Again ... this is a personal creative choice we get to make, but I always liked light passed through tanslucence rather than bounced. The quality (nature) of the light approached that of the north window light.

Run some tests and make up your decisions on the best lighting for the job in front of you. Knowing more than one way to affect light is always a good thing. One very important aspect of photogrpahy is light, how its affected and how your medium records it. What I am trying to figure out now (remember 99% of my work has been film/print based) is how the digi camera records the scene so I will be able to see the scene as the camera does. A really good test for that is to go outside noon and photograph shadows. Take your result and look at the final product while you are looking at the same scene. The difference between what you see in front of you and what you see on your final presentation (Print?) might surprise you.

I do ramble... :D

[bpuppy]

Tv mode ... ISO 1600 ... 1/15 or even 1/10 with rear curtain sync and let things blur. If I want to minimize blur, I just raise the shutter speed.

I bounce when I can.

[BLINN]

bpuppy, nice I do that sometimes make for a nice dramatic shot. for the most part I try to keep shutter speed as close to the focal lenght as I can to minimize blur. Hey what ever work for ya, RIGHT?