When AND when NOT to use a mounted flash...Nissin Di622 MKII

Ok, I am new to external flashes. I just picked up a Nissin Di622 MKII and am starting to work it into my sessions and experiment with what works and what doesn't. I don't have a studio, I shoot on location. Hoping you guys can save me some time with your experience! This is the only flash I have for now so lets keep it related to a single mounted flash...

When should I or shouldn't I use this flash?!

Thanks for reading!

On a the camera itself? As little as you have to. Since you're learning flash. Learn to use it off camera and on the occasions you have no choice, your on camera stuff would be better. Maybe check out strobist101 at http://strobist.com

losangelino wrote in post #17090843
On a the camera itself? As little as you have to. Since you're learning flash. Learn to use it off camera and on the occasions you have no choice but on camera your stuff would be better. Maybe check out strobist101 at http://strobist.com

Thanks! Looks like a good source! I was hoping to get a good thread going on here though. Any advice as to specific situations that call for it or particular settings that work best, etc.

BlakeC wrote in post #17090804
When should I or shouldn't I use this flash?!

Thanks for reading!

This guy's site is superb for learning flash: http://neilvn.com/tang​ents/

If on-camera and indoors, try to aim the flash at a wall/ceiling and think of that area as a large light source (the technique is usually referred to as "bounce flash"). With a suitable surface it's often difficult to spot that the scene was lit with a flash (no harsh shadows or panda eyes).

If on-camera with nothing to bounce off, then a small on-flash softbox may help, but it's not ideal.

Off camera: a pair of cheap radio triggers (Cactus or Yongnuo) are great; though it would still be better put into a softbox or fired into an umbrella rather than bare. You can also get cheap ETTL leads to have it off camera but wired.

Syl Arena's book is also good: http://www.amazon.com …TF8&qid=1407850​481&sr=1-1

IRC His general approach is ETTL if you're moving around with quickly changing light levels, and fully manual when lighting is consistent (as ETTL can be fooled by overly reflective/absorbent) surfaces. I don't do much rapidly changing work, so prefer to shoot manual as much as possible (as you get consistent results during a shoot).

sploo wrote in post #17090896
...
If on-camera and indoors, try to aim the flash at a wall/ceiling and think of that area as a large light source (the technique is usually referred to as "bounce flash"). With a suitable surface it's often difficult to spot that the scene was lit with a flash (no harsh shadows or panda eyes).

If on-camera with nothing to bounce off, then a small on-flash softbox may help, but it's not ideal.

...

I have tried the Lumiquest flash-mounted softbox and the Stofen diffuser. I get better results, without spending money, by using neither. And this method uses less flash power, conserving your batteries. For short distances (3' to ~8', also focal length dependent) I point my flash head (580EX II) straight up, deploy the wide-angle diffuser and extend the reflector card. For more distant subjects, I angle the flash head at 45 degrees. If trying to fill odd-shaped rooms/spaces evenly with light, rotate the head left or right as needed.

On the 430EX II, I extend the diffuser plate. I have a folded and taped 3x5 white card that fits over the diffuser plate. I keep that card rubber-banded to my flash head. If you extend the plate, and place the card over the diffuser, you can easily get it to stay in the vertical position. I use it the same way I use the diffuser/reflector panel on the 580EX II. The larger flash has a lot more reserve power to rely on.

Sometimes it works better to turn the head around backwards, with the reflector deployed. It helps eliminate hot spots on close subjects, and more evenly lights a greater depth. Experimentation required.

sploo wrote in post #17090896
If on-camera and indoors, try to aim the flash at a wall/ceiling and think of that area as a large light source (the technique is usually referred to as "bounce flash"). With a suitable surface it's often difficult to spot that the scene was lit with a flash (no harsh shadows or panda eyes).

If on-camera with nothing to bounce off, then a small on-flash softbox may help, but it's not ideal.

Thanks for the link! I am bookmarking these references! Im usually outdoors. My Nissin does have a built in wide angle diffuser and bounce card.

I thought it would be nice to have so I could be more versatile and not be restricted by my gear. I have turned down indoor events bc of poor lighting and I had no flash before.

I was also thinking, bc it has the diffuser and the flash card, that it may be helpful outdoors to soften up shadows on the face and indoors when there are super tall ceilings or no walls nearby.

Am i on the right track here?

BlakeC wrote in post #17090955
Thanks for the link! I am bookmarking these references! Im usually outdoors. My Nissin does have a built in wide angle diffuser and bounce card.

I thought it would be nice to have so I could be more versatile and not be restricted by my gear. I have turned down indoor events bc of poor lighting and I had no flash before.

I was also thinking, bc it has the diffuser and the flash card, that it may be helpful outdoors to soften up shadows on the face and indoors when there are super tall ceilings or no walls nearby.

Am i on the right track here?

You can get a white 3x5 card and a rubber band. Some folks have asked my why I have a rubber-band and piece of paper on my flash. I usually just say, "Because it works."

GeoKras1989 wrote in post #17090964
You can get a white 3x5 card and a rubber band. Some folks have asked my why I have a rubber-band and piece of paper on my flash. I usually just say, "Because it works."

Does the bounce card I have not work as well as a 3x5 card?

BlakeC wrote in post #17090971
Does the bounce card I have not work as well as a 3x5 card?

Sorry, I read that twice and got ... does not have a ... out of it. Is it too early for a good IPA?

GeoKras1989 wrote in post #17090953
I have tried the Lumiquest flash-mounted softbox and the Stofen diffuser. I get better results, without spending money, by using neither. And this method uses less flash power, conserving your batteries. For short distances (3' to ~8', also focal length dependent) I point my flash head (580EX II) straight up, deploy the wide-angle diffuser and extend the reflector card. For more distant subjects, I angle the flash head at 45 degrees. If trying to fill odd-shaped rooms/spaces evenly with light, rotate the head left or right as needed.

On the 430EX II, I extend the diffuser plate. I have a folded and taped 3x5 white card that fits over the diffuser plate. I keep that card rubber-banded to my flash head. If you extend the plate, and place the card over the diffuser, you can easily get it to stay in the vertical position. I use it the same way I use the diffuser/reflector panel on the 580EX II. The larger flash has a lot more reserve power to rely on.

Sometimes it works better to turn the head around backwards, with the reflector deployed. It helps eliminate hot spots on close subjects, and more evenly lights a greater depth. Experimentation required.

Good suggestions.

BlakeC wrote in post #17090955
I was also thinking, bc it has the diffuser and the flash card, that it may be helpful outdoors to soften up shadows on the face and indoors when there are super tall ceilings or no walls nearby.

Am i on the right track here?

Yes - a flash outdoors in bright sunlight seems counterintuitive, but can help to brighten up deep shadows. Sometimes a suitable gel filter (e.g. a CTO) is useful to match the daylight colour; otherwise you can get orange/red evening sun on one side, and white/blue flash on the other.

BlakeC wrote in post #17090971
Does the bounce card I have not work as well as a 3x5 card?

Size matters. Within reason, the larger the light source is in relation to the subject, the softer the light appears. Thus you can get the light closer, or make the light larger (with a diffuser or reflector).

sploo wrote in post #17091002
Yes - a flash outdoors in bright sunlight seems counterintuitive, but can help to brighten up deep shadows. Sometimes a suitable gel filter (e.g. a CTO) is useful to match the daylight colour; otherwise you can get orange/red evening sun on one side, and white/blue flash on the other.

Size matters. Within reason, the larger the light source is in relation to the subject, the softer the light appears. Thus you can get the light closer, or make the light larger (with a diffuser or reflector).

The size thing makes sense.

As far as modes, when should I use which modes when it is mounted? I have played with it on the auto mode and just pointed it straight ahead and let it adjust with my focal length and camera settings, bouncing off the flash card, bouncing off the ceiling, and ive tried manual.

When it what mode more useful?

BlakeC wrote in post #17091030
The size thing makes sense.

As far as modes, when should I use which modes when it is mounted? I have played with it on the auto mode and just pointed it straight ahead and let it adjust with my focal length and camera settings, bouncing off the flash card, bouncing off the ceiling, and ive tried manual.

When it what mode more useful?

I only use manual when shooting controlled environment studio stuff. I have an offer to shoot some real estate. That will also be done manually. Other than that, ETTL-II is quite good. Sometimes it pays to switch camera modes, (P, Av, M) more than flash modes.

GeoKras1989 wrote in post #17091039
Sometimes it pays to switch camera modes, (P, Av, M) more than flash modes.

I usually shoot Av unless i have time for M. Anything to watch out for in either mode when using the flash?

I think P works well outdoors for fill flash. Av, with floating shutter speed, is very good in receding light for blended ambient and flash outdoors. Indoors, I generally use Av (locked at 1/180) to freeze subject movement. I only use TV, when pushing the HSS envelope. HSS over 1/500 gets dodgy.

I forgot to mention this, but auto-ISO is not your friend when doing flash work. Every Canon camera I've ever had will happily underexpose flash in auto-ISO, with no warnings at all. My personal rule is keep the ISO above the denominator in the aperture. f/8 needs 800, f/11 needs 1250, and so on, when bouncing reflecting flash. That is with a 580EX II. Flash is good light, so I don't worry about noise when pushing the ISO.

GeoKras1989 wrote in post #17091104
I forgot to mention this, but auto-ISO is not your friend when doing flash work. Every Canon camera I've ever had will happily underexpose flash in auto-ISO, with no warnings at all. My personal rule is keep the ISO above the denominator in the aperture.

Sounds like im on the right track w Av then.

I learned many moons ago the hard way about auto iso...lol. I usually shoot family photos around f8/iso 800. I never noticed i did that until u just mentioned it, but i follow the same rule without doing it on purpose. Just found that thats wut works.