Wireless Diffuser Question

[dsze]

Question for those who regularly do work with twin lights wirelessly; Do you put any sort of diffuser or reflector on the slave? I would often like the slave light less harsh, but I also tend to place it farther away and am worried that something like a stoffen on it will kill too much output. ...Specifically for outdoor portrait work.

thanks,

[scottbergerphoto]

I think your best bet outdoors is a hot silver/black umbrella. I have two 45 inch Photoflex umbrellas that work well.
http://www.bhphotovideo.com/bnh/controller/home?O=productlist&A=details&Q=&sku=42515&is=REG&addedTroughType=search

[dsze]

Thanks Scott. So, in your experience the umbrella causes less light loss than a stoffen or omnibounce type of thing? My other concern is that the umbrella will be too hard to move quickly....for something like outdoor wedding work. Does it fold up pretty quick?

Oh, and what about using reflector discs in comparison to an umbrella. I have a 5-in-1 reflector kit, but have neglected it because I often need another person to hold it at the right angle, etc.

thanks,

[scottbergerphoto]

An Omnibounce does nothing to change the nature of the light source. With or w/o an omnibounce outdoors with the flash pointed straight on, you still have a small light source. An umbrella creates a large light source with softer shadows. Umbrellas close up very easy. No difference from a rain umbrella.

You can easily use one flash with an umbrella and one reflector. You just need someone to hold it and point it where you tell them to.

I'm not sure what you are asking about the reflector vs. the umbrella.

[dsze]

Thanks Scott. Regarding the refl. vs. Umbrella...I was just asking, if I have the reflector kit already, how much point is there in getting an umbrella set up as well? But... I've gone ahead and ordered 1 silver umbrella (45"). At $30, its not a huge investment either way.

thanks,

[DaveG]

Question for those who regularly do work with twin lights wirelessly; Do you put any sort of diffuser or reflector on the slave? I would often like the slave light less harsh, but I also tend to place it farther away and am worried that something like a stoffen on it will kill too much output. ...Specifically for outdoor portrait work.

thanks,

I almost never use an umbrella or light modifier when I'm using the Canon wireless system. I know that the light should be very harsh when you point a flash directly at the subject but what's the definition of "harsh"? I'd say that it's high contrast. Well when I use the wireless in a 3:1 lighting ratio the contrast is low (one stop between highlight and shadow) and yet the light is neither flat nor contrasty, just interesting.

Even when I shut off the flash pulse in the Master flash and use only the light from the slave, the results are really nice and this MUST be high contrast. See the thing is that contrasty lighting (think Ansel Adams) that isn't originating from the camera position is just fine. Geez we get up early in the morning to get warn but very directional (contrasty?) light.

So before you buy a light modifier try it out without one.

[robertwgross]

I almost never use an umbrella or light modifier when I'm using the Canon wireless system. I know that the light should be very harsh when you point a flash directly at the subject but what's the definition of "harsh"?

I understand "harsh."

Three weeks ago I was setting up to do a family portrait, and the room was way too warm. As a result, the subjects were beginning to get a little sweaty on their faces. The first test shot (to check flash exposure) clearly shows each and every drop of sweat.

Then, we shifted. We cooled the room better, relaxed the subjects, and I put a mini-softbox over the main flash. Then things worked as expected.

---Bob Gross---

[Wilt]

I always shoot weddings with double lighting, with small softbox on the remote light and mini softbox on the on-camera light (both Metz, radio trigger for the remote). (Yes, I know the fill should be the larger one, but putting a 22x16 softbox on camera is too unwieldy!) Easy to set for formals, easy to set even for dance floor, and a whole lot more natural appearing than on-camera alone!!! I drag the shutter to capture the ambience of the surroundings, while getting exposure of the main subjects well lit.

[dsze]

Wilt,

thanks for the advice. Can I ask a related question. Do you use twin lights for the processional/Recession. as well? I've never been brave enough to do it for one reason or another, but for this Saturday I'm really thinking about putting a second speedlight up about 6ft and to the side of the bride in addition to my on camera light. This particular church processional is an extremaly backlit situation, so I'm just considering ways to pound more light onto the foreground while not blowing out the windows in the back.

thanks,
daniel

[dsze]

Wilt,

...I posted this in another forum as well, but for more clarification, here's my situation;

I visited a wedding venue last weekend that I'll be shooting this weekend to learn that there are lots of LARGE windows at the back of the church making for a VERY backlit processional set-up. There was no one else in the church to use as a model to practice fill-flash settings, so I just used a spot on the floor where I imagined I'll want to release the shutter. I didn't get very good results. The windows were either completely blown-out OR the spot on the floor was 2-3 stops underexposed. I was using a sigma 500 Super with Stoffen. It didn't hit me until later that I had C.FN.14 Enabled (auto-reduction of fill flash). W/out being able to go back today and try it again, I thought I'd post some questions here:

Will disabling CFN.14 help my situation?

Any other suggestions for this type of processional shot?

Would using twin speedlights in a wireless master-slave set-up be worth considering for this processional?

thanks

[Wilt]

I never have set up dual lighting for a processional/recessional, primarily because I have considered it too obtrusive to the wedding ceremony. After all, the bride's mom and dad are on side side at the front where there is a bit of room, and setting light in the aisle gets in the way. My suggestion is to partial meter the window, and see if you have a combination of f/stop and shutter speed which can knock down the brightness a reasonable amount, and then use your flash to provide the main light source for the party walking up the aisle to the altar using that f/stop as the lens setting. You can always try to convince a guest to be your surrogate wedding party and stand in the aisle as you take a test shot before 'the real thing'. But my guess is that you just won't get the combination you need, but can only hope that the light output might serve as fill.