1. Introduction to Off Camera Flash
Lights, Camera, now what?
Introduction to Off Camera Flash

2. What we will cover Types of flash Equipment Settings
Strobe vs. Speedlight
Equipment
Speedlight
Triggers
Modifiers and Reflectors
Light meter
Settings
The Exposure Triangle
TTL vs Manual
Where to start
Lighting (demo plus slides)
On Camera
Party Flash aka Deer in the headlights
Bounce (Ceiling, Wall)
Off Camera
Broad - Softbox with and without reflector
Short - Softbox with and without reflector
Clam Shell - Beauty Dish using reflector
2 Light Set Up
Hairlight
Lighting the backdrop
Working with a model

3. Types of Flash Strobes Speedlights
Large typically powerful flash units
Typically 2x to 10x stronger then speedlights
Numerous modifiers available
Modeling Light is standard
Require strong power sources
Plugged in or large battery pack
Not very mobile
Cost ranges from ~$200 to $1500+
Speedlights
Small flash units that can be attached to the camera via the hot shoe
Not a powerful as a Strobe
No true modeling light built in
Small light source that can be very harsh without modification
Modifiers becoming more inline with Strobes
Typically require AA batteries
Highly mobile
Cost ~$60 - $550

4. Equipment - Speedlight
Designed to work with the hot shoe on top of most SLR cameras
Power setting can be controlled either manually or via TTL
Manual control on the back of the unit
TTL though the lens allows the camera to control exposure with manual override
Newer models can be triggered via onboard optical or radio triggers when off camera
Prices range from $60 to $550

5. Equipment – Triggers Some allow for TTL control
Not required for Speedlights, but recommended
Enhances the reliability and range of remote flash triggering
Allows for more flexibility with the positioning of the camera and use of modifiers
Work via Radio Control Signals
Need a Transmitter and a Receiver
1 transmitter per active camera body
1 receiver per flash unit
Some allow for TTL control
Price range from ~$50 t0 $200

6. Equipment - Triggers

7. Equipment – Light Meter
Recommended whenever using manual lights
Less important if using TTL metering
A must have if shooting for clients
Allows for quickly dialing in exposure and flash power settings

8. Equipment – Modifiers and Reflectors
What is a modifier?
A modifier could be most anything that reflects, softens, or controls the light.
Why should I care?
A painter paints with paints, a photographer paints with light…control of light can enhance any portrait, change the contrast ratio

9. Equipment – Modifiers and Reflectors
Sheet of Fome-Core
Rogue Flashbender
Westcott 26” Rapid Octabox with Beauty Dish attachment
TriGrip Diffusor/Reflector
5-in-1 Reflector

10. Settings – Exposure Triangle
Aperture
Determines depth of field
Affects the brightness the flash in the image
Sutter Speed
Controls the amount of ambient light
Slower shutter speed = more ambient light that is present in the image
Higher shutter speeds are not always necessary to stop motion when using flash
ISO
Controls both Flash brightness and ambient light

11. Settings – TTL Flash vs Manual Flash
TTL – Through The Lens
Camera determines correct exposure via a pre-flash
In Aperture Priority camera will set Flash Power and Shutter Speed to determine correct exposure
In Shutter Speed Priority camera will set Flash Power and Aperture to determine correct exposure
Manual Mode (on Camera) camera will only set the Flash Power
A good place to start
Camera shutter speed: 1/125 to 1/200
Aperture: F8
ISO: 100
Depending on your camera, shutter speed must stay below 1/200 or 1/250 of a second for proper sync
High speed sync does allow for faster shutter speeds.

12. Settings – TTL Flash vs Manual Flash
When using a Flash in Manual Mode (on Speedlight) the camera does not determine flash power
Flash power is set on the actual speedlight or strobe
Some triggers do allow for remote control of flash power
A good starting point for shooting with manual flash is:
Camera shutter speed: 1/125 to 1/200
Aperture: F8
ISO: 100
Flash: ½ Power
Depending on your camera, shutter speed must stay below 1/200 or 1/250 of a second for proper sync
High speed sync does allow for faster shutter speeds.
Leaf shutters allow for higher flash sync speeds

13. Lighting – On Camera Party Lighting Bounce
Flash is attached to the camera pointed directly at victim
Flat light with no shadows and usually glowing red eye
Bounce
Flash is usually attached to the camera, but the head is turned either up, back, or to the side
Looking to use a wall or ceiling as a “new” larger source of light
Allows for directional lighting and creation of more attractive shadows
Light may take on color tint based on the color of wall

14. Demos Flash on Camera – Shoot directly at model
Flash on Camera – Use Ceiling as bounce
Flash on Camera – Use wall or similar (reflector/foam core) as bounce

15. Lighting – Off Camera Broad
The subject’s face is slightly turned away from center, and the side of the face which is toward the camera (is broader) is in the light
Makes a person’s face look broader or wider

16. Lighting – Off Camera Short Lighting
Lit part of the face is turned away from the camera
Puts more of the face in shadow, is more sculpting, adds 3D qualities
Helps to slim the face
Loop Style
Defined by creating a small shadow of the subjects noses on their cheeks
Light source must be slightly higher than eye level and about degrees from the camera

17. Demo Flash off Camera – Unmodified at 45x45, 5ft from model
Flash off Camera – 26in Rapid Box w/Beauty Dish plate and diffusion panel model
Broad and Short lighting
Work with model to show changes in pose and light
Bring in reflector to change ratios

18. Lighting – Off Camera Clam Shell Flash in front of and above subject
Reflector or 2nd flash in front and below subject
Used for glamour look
Fills in shadow areas and is very flattering for women and headshots

19. Demo Clam Shell use 26in Rapid Box w/ Beauty Dish no diffusion panel
Reflector mid chest 60+ degree angle

20. Lighting – Off Camera 2nd Light Can be used to either
Separate the subject from the background
Bring attention to areas in the background that help tell the story
Sculpt and lighten shadows to create a more interesting portrait

21. Demo Use speedlight to light shadow side
Add Speedlight behind 45 or so and above for hairlight
Use speedlight to light background
If time do dramatic light with key light slightly behind and camera left and hair light camera right

22. Lighting – On Location
Speedlights or Studio Flashes can be used on location shoots
Use same techniques as portrait lighting
Light(s) off camera
Triggered by camera or remote
Modifiers can assist for controlling contrast
Assist in capture of fast moving animals or birds
Can bring 1-2 stops more light to poorly lit objects or animals

23. Lighting – Be Creative
Ultimately the is no “right” or “wrong” way to light a subject
You, as the artist,must paint in a fashion that you like and find interesting
Speedlights and Strobes provide the paint with which a photographer works with
Modifiers (softboxes, reflectors, grids, colored gels) are the brushes that apply the paint to the canvas

24. Resources to Learn More
KelbyOne
Youtube
Search for B&H Event Series
Robert Harrington
Studio Lighting
Speedlights
Joe McNally