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Harsh, unflattering lighting can ruin a photo—and with flash, it's easy to get harsh, unflattering lighting. But flash is a necessary part of a photographer's toolset—after all, the world doesn't always provide you with the best natural light.
Fortunately, it isn't difficult to get great results from flash, and in this course, photographer, author, and teacher Ben Long details the concepts and techniques behind effective lighting with flash. Ben starts with fundamentals that build on exposure principles taught in other installments of Foundations of Photography—simple techniques that improve the results from a camera's built-in flash. He then focuses on fill flash techniques and on using flash as a key light. The course also explores topics ranging from bouncing and syncing flash to shooting with one or more off-camera flash units.
We're looking at a textbook fill flash situation here. I'm shooting Steven up against a bright setting sun. Let me show you what happens if I just frame a shot here. He is mostly a silhouette I have very little detail on his face at this point you should understand that my with some flash I can fill this in. I can even out the exposure between he and the background. My background exposure is pretty good that's whats happened here. My meter has metered for the bright sky, and in the process, underexposed him. I'm going to pop up my flash and again, this is mostly what the flash on your camera is for, is providing fill.
Right now it's providing too much fill so, I'm going to go to my flash exposure compensation. I'm going to dial it down quite a bit actually. I'm going to dial it down two stops. Because he looked really bright there. And that's getting a little bit better. Wow, there's a weird flare right under his nose. That's actually a lens flare, coming from the sun. So if I look through the Viewfinder, I can kind of see it. This is just inherently a problem of shooting directly into the sun. So I'm simply going to move the camera around until it goes away. I think that that's a little, I mean a little more flash and that's working better.
Notice that I still have good exposure in the background because of course a flash pictures two different exposure. There is the ambien exposure and as I said, the camera metered for that correctly. So that my sky still looks good but it totally screwed him up by popping up my flash and hitting him with a little fill light. I can even out this exposure. Flash exposure compensation to control how much of that light is on there. Next time you are on vacation in Hawaii and you want to shoot someone in front of the setting sun. This is what you're going to have to do or if you are shooting someone in your office out a bright window. This is what you are going to have to do.
This is what fill flash is for. It's for filling in shadowy details. In this case, the shadow is being cast by his own head in a way. The bright light is behind him and the back of his head is casting his shadow onto the front of his head that's not really what's happening but you can think of it that way and remember that's why you need fill flash.
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