Achieving excellent portrait lighting with a flash is very much possible, provided we recognize that the flash is just another source of light that we can manipulate. Although the light emitted directly from the flash is somewhat harsh, we can apply various techniques to blend it seamlessly with the camera, resulting in our desired image.
1. Bounce
When shooting in a dark space, one important factor to consider is whether there is a suitable surface available for bounce flash. This includes taking into account the color and distance of the narrow stage ceiling. Light-colored walls or ceilings can provide numerous reflective surfaces that can be utilized effectively. By applying the principle of light reflection, you can aim the flash towards the ceiling or wall, creating a softbox-like effect that produces a large area of evenly distributed light. Utilizing this technique allows for a wider range of illumination and helps to avoid the harsh direct light typically associated with flash photography. However, it is essential to note that when dealing with black walls or venues with excessive space, careful consideration must be given to the use of bounce flashes. Additionally, certain venues may have green or red walls, which affects the color of the bounce flash used.
2. First-curtain sync flash
There are two main working modes for the flash and shutter curtain. The first is front-curtain synchronization, where the flash fires right as the shutter curtain opens, allowing the camera to capture the initial state of the subject. On the other hand, rear-curtain synchronization occurs when the flash fires just before the shutter curtain closes, freezing the subject at the end of the exposure.
In stage photography, the front-curtain sync flash is often used to facilitate composition and light control. This is what I specialize in. To create a dynamic portrait effect and match the changes in stage lighting, I use the flash as the primary light source for the subject while utilizing the stage light as auxiliary fill light.
For this technique, I set both the flash and camera to manual mode (M) and adjust the camera's guide number and flash output according to my specific needs. To achieve a flowing effect, I typically set the shutter speed to less than 1/15s and adjust the aperture accordingly.
Here's how it works: I open the shutter curtain, let the flash illuminate the subject for a brief moment, and then purposely shake the camera. This freezes the subject under the flash's illumination while creating a flowing effect with the ambient light as it blurs with the camera movement. The result is a seamlessly integrated dynamic image.
To master this technique, one must possess a keen observation of the surrounding light conditions. With persistent practice, it becomes easier to determine how to achieve the perfect lighting match. A useful trick to employ is disabling the flash and allowing the camera to capture a test shot at the chosen shutter speed. This enables one to assess the presence and effect of ambient light, thereby gaining insight into the appropriate rendering mode for optimal results.
3. Off-camera flash
If photographers find themselves unsatisfied with the limited control over light when using on-camera or independent flash, they can achieve a greater level of control by utilizing a wireless flash trigger to separate the flash from the camera. This separation allows for the creation of perfect lighting conditions through the use of an external flash. By employing techniques such as jump flash and front-curtain flash sync, similar to those mentioned earlier, photographers can effectively direct the light in their desired direction. Thus, this method provides an enhanced level of light control for photographers seeking to improve their lighting techniques.
4. A filter paper
In the realm of elegant stage photography, we've grown weary of the glaring white light emitted by the flash and have found ourselves limited to making adjustments during post-production. However, we've devised a solution to enhance the ambiance of our scenes. By utilizing warm-toned scene lighting and incorporating color filter cards made of transparent paper, we can create a more pleasing visual experience. To achieve this, we now affix cool-colored filter paper, such as shades of blue and green, in front of the flash. This ingenious technique imbues the light with the hues of the chosen filter, thereby enriching our on-location photography. Moreover, it ensures that the flash's impact remains discreet, seamlessly blending into the overall aesthetic.
