Workshop 5 - Shot List
I shot Photographs 1-4 using built-in flash and high speed sync at distances of 10m, 5m, 2m and 1m.
Camera settings in Program mode were as follows: Aperture f/5 (f/5.6 in shot 1), Shutter speed 1/60.
ISO 100 was used in all shots, 1-20.
Photos 5-8 used direct flash from 3m. In the four shots, flash compensation was set as follows: -2, -1, 0 and +1. (My camera was not able to be set at a flash compensation above a value of +1.) Settings in Program mode were: Aperture f/4.5 (4.8 in shot 8), Shutter speed 1/60.
Photographs 9-13 used direct flash from 3m. In the five shots, exposure compensation was set as follows: -2, -1, 0, +1 and +2. Settings in Program mode were: Aperture f/5, Shutter speed 1/60.
In photo 14, I shot a stationary subject using high speed sync. Settings in Program mode were: Aperture 5, Shutter speed 1/60.
In photo 15, I repeated the previous shot using slow speed sync. Camera settings used in Program mode were: Aperture f/5 and Shutter speed 30 seconds.
In Photo 16, I shot a moving subject using front/Ist Curtain slow sync flash. The subject was walking left to right across the field of view carrying a light source from a mobile phone.
Camera settings in Shutter Priority mode were: Aperture f/3.5, Shutter speed 3 seconds.
In photo 17, I repeated the previous shot using Rear/2nd Curtain sync flash. Camera settings in Shutter Priority mode were: Aperture f/3.5, Shutter speed 3 seconds.
In shots 18-20, I used bounce flash (from a flash accessory) to test results of flash bounced either from to the side and top of the subject; or from the side of the subject in a small room with overhead light turned on and white walls acting as a reflector. Camera settings in Program mode were as follows: Aperture f/5.3 (f5.6 in shot 18), Shutter speed 1/60.
Here are the resulting images:
Shot 1
Shot 2
Shot 3
Shot 4
Shot 5
Shot 6
Shot 7
Shot 8
Shot 9
Shot 10
Shot 11
Shot 12
Shot 13
Shot 14
Shot 15
Shot 16
Shot 17
Shot 18
Shot 19
Shot 20
Comments
Reviewing shots 1 to 4, we can see that the camera’s built in flash gives a fairly well exposed image at a distance of 2m or closer. Comparing shots 2 and 3, we would expect that the limit to gaining an adequate exposure would be between 2m and 5m.
As we can see from shots 5 to 8, we can achieve adequate exposure using the built in flash from a distance of 3m. Varying flash compensation between -2 and +1 achieved a range of exposures. From the results here, I found that flash compensation of zero provided the best exposure. Reducing or increasing flash compensation produced a slight under or over exposure of the image.
In shots 9 to 13, I varied exposure compensation between -2 and +2. This also gave an optimal result at a variation of zero.
I found that flash or exposure compensation gave similar results. Both proved a useful way of adjusting the level of exposure.
Comparing shots 14 and 15, we can see differences in the exposure of the subject and its surrounds. In shot 13, using high speed sync, the subject is well exposed but without illumination of the surroundings. Using slow speed sync, I found that ambient light over the 30 second exposure made the background better lit. However, with this longer exposure, the subject looked slightly over-exposed compared to high speed sync.
In shots 16 and 17 we can see dramatic differences in the use of Front/Ist Curtain flash vs. Rear/2nd Curtain flash. In shot 16, front curtain flash captures the light from the mobile phone as a bar of light preceding the subject. However, in shot 17, rear curtain flash produces the opposite effect with the bar of light appearing behind the subject.
I used a flash accessory unit in shots 18 to 20 to gauge the effect of bounce flash. As we can see from shot 18, pointing the flash unit at a side reflector succeeds in illuminating the subject but also gives better lighting to the side of the face nearest to the reflector. The result is a pleasing contrast to the lighting of the face. However, bounce flash from above the subject did not produce a good level of exposure. The high ceiling in the studio – beyond the range of the flash - negated any possible benefit of bounce flash from this angle. Regardless of height, the black painted ceiling would also have markedly reduced the reflection needed to light the subject from above.
In shot 20, I used bounce flash reflected from a white wall to one side of the subject; and there was the added benefit of a fixed light in a small enclosed room with low ceiling. Here, we can see that good lighting applies to not only the subject but also the background. Further, the use of bounce flash to give a fill flash effect ensures a good level of exposure to the subject. We can also see the added benefit of the bounce flash, reflected from the side, giving pleasing contrast to the lighting of the subject’s face.
I shot Photographs 1-4 using built-in flash and high speed sync at distances of 10m, 5m, 2m and 1m.
Camera settings in Program mode were as follows: Aperture f/5 (f/5.6 in shot 1), Shutter speed 1/60.
ISO 100 was used in all shots, 1-20.
Photos 5-8 used direct flash from 3m. In the four shots, flash compensation was set as follows: -2, -1, 0 and +1. (My camera was not able to be set at a flash compensation above a value of +1.) Settings in Program mode were: Aperture f/4.5 (4.8 in shot 8), Shutter speed 1/60.
Photographs 9-13 used direct flash from 3m. In the five shots, exposure compensation was set as follows: -2, -1, 0, +1 and +2. Settings in Program mode were: Aperture f/5, Shutter speed 1/60.
In photo 14, I shot a stationary subject using high speed sync. Settings in Program mode were: Aperture 5, Shutter speed 1/60.
In photo 15, I repeated the previous shot using slow speed sync. Camera settings used in Program mode were: Aperture f/5 and Shutter speed 30 seconds.
In Photo 16, I shot a moving subject using front/Ist Curtain slow sync flash. The subject was walking left to right across the field of view carrying a light source from a mobile phone.
Camera settings in Shutter Priority mode were: Aperture f/3.5, Shutter speed 3 seconds.
In photo 17, I repeated the previous shot using Rear/2nd Curtain sync flash. Camera settings in Shutter Priority mode were: Aperture f/3.5, Shutter speed 3 seconds.
In shots 18-20, I used bounce flash (from a flash accessory) to test results of flash bounced either from to the side and top of the subject; or from the side of the subject in a small room with overhead light turned on and white walls acting as a reflector. Camera settings in Program mode were as follows: Aperture f/5.3 (f5.6 in shot 18), Shutter speed 1/60.
Here are the resulting images:
Shot 1
Shot 2
Shot 3
Shot 4
Shot 5
Shot 6
Shot 7
Shot 8
Shot 9
Shot 10
Shot 11
Shot 12
Shot 13
Shot 14
Shot 15
Shot 16
Shot 17
Shot 18
Shot 19
Shot 20Comments
Reviewing shots 1 to 4, we can see that the camera’s built in flash gives a fairly well exposed image at a distance of 2m or closer. Comparing shots 2 and 3, we would expect that the limit to gaining an adequate exposure would be between 2m and 5m.
As we can see from shots 5 to 8, we can achieve adequate exposure using the built in flash from a distance of 3m. Varying flash compensation between -2 and +1 achieved a range of exposures. From the results here, I found that flash compensation of zero provided the best exposure. Reducing or increasing flash compensation produced a slight under or over exposure of the image.
In shots 9 to 13, I varied exposure compensation between -2 and +2. This also gave an optimal result at a variation of zero.
I found that flash or exposure compensation gave similar results. Both proved a useful way of adjusting the level of exposure.
Comparing shots 14 and 15, we can see differences in the exposure of the subject and its surrounds. In shot 13, using high speed sync, the subject is well exposed but without illumination of the surroundings. Using slow speed sync, I found that ambient light over the 30 second exposure made the background better lit. However, with this longer exposure, the subject looked slightly over-exposed compared to high speed sync.
In shots 16 and 17 we can see dramatic differences in the use of Front/Ist Curtain flash vs. Rear/2nd Curtain flash. In shot 16, front curtain flash captures the light from the mobile phone as a bar of light preceding the subject. However, in shot 17, rear curtain flash produces the opposite effect with the bar of light appearing behind the subject.
I used a flash accessory unit in shots 18 to 20 to gauge the effect of bounce flash. As we can see from shot 18, pointing the flash unit at a side reflector succeeds in illuminating the subject but also gives better lighting to the side of the face nearest to the reflector. The result is a pleasing contrast to the lighting of the face. However, bounce flash from above the subject did not produce a good level of exposure. The high ceiling in the studio – beyond the range of the flash - negated any possible benefit of bounce flash from this angle. Regardless of height, the black painted ceiling would also have markedly reduced the reflection needed to light the subject from above.
In shot 20, I used bounce flash reflected from a white wall to one side of the subject; and there was the added benefit of a fixed light in a small enclosed room with low ceiling. Here, we can see that good lighting applies to not only the subject but also the background. Further, the use of bounce flash to give a fill flash effect ensures a good level of exposure to the subject. We can also see the added benefit of the bounce flash, reflected from the side, giving pleasing contrast to the lighting of the subject’s face.
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