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Flash fill

What does the phrase optical fill flash mean?
Answering this question in the required manner will have a great impact on our photos in the future, especially since we will not find disappointing photos after that because of their poor exposure.

How often has it happened with you that that beautiful, backlit portrait ended up with a disappointing result after so many hopes were pinned on it, and the reason is that the subject's face did not get enough exposure and there is no life in it. ?

The simple secret to solving this dilemma of disappointment is mastering the fill-in flash. It should be noted that this solution is not half as difficult as you think.
It's a style that professional photographers always use, and there's no reason not to add that professional touch to your photos.
Flash fill-in is particularly useful for highly contrasting subjects when you want to capture shaded detail visible to the human eye. The problem is that film is not at all as sensitive as the human eye and works in a much narrower range of color contrast.
From here, what you need to do is push a little light into the shadows while the basic exposure is proportional to the available daylight (ambient light) that illuminates the subject.

As for the flash fill-in equation, it requires you to calculate the exposure resulting from daylight and prepare your camera on this basis, then adjust the flash to give less power than the one it gives while you plan to take the same photo lit by the flash alone.
The law calls here to make the flash give half of the light it gives, and you take the picture directly with it alone.
Remember to set the camera at the correct shutter speed, the one that achieves synchronization with the flash, in cameras with a vertical-run shutter, this usually means 1/125 of a second, while a horizontally operated focal plane shutter will synchronize, perhaps at 1/60 second . There are only a few cameras that sync at speeds greater than this, which is a distinct advantage. Of these cameras, we find Nikon (FE2), which achieves synchronization at 1/250 second, while Nikon (FM2) achieves synchronization at 1/200 second.

If your camera syncs at 1/60 of a second or less, you will find that the flash fill-in is much easier with slow movies, 100 fps or less. Set it to the available daylight to achieve the base exposure.

Website account:
The method of calculating the locations of the camera and the flash varies in the flash fill-in process, with a difference in
The types of devices that you use, and it is said that the easiest combination for those who use a 35 mm camera is a camera (SLR) with an automatic flash that allows you to choose from at least three aperture locations, and the first step is to set the shutter at the correct speed to synchronize with the flash. Then take the daylight meter reading and set the appropriate aperture on your camera lens, matching the sync shutter speed you set. And in the end, select a stop (F) on the flash unit, which is two stops larger than the aperture that was secured on the lens.
Let's say, for example, that a daylight reading gives you a location of 1/60 of a second at F/11. Here you put f/11 on the camera lens, while you put f/5.6 on the flash unit, and this measure tricks the flash unit into emitting less light than it would if left alone.

In general, black and white film needs less fill than color film when working on a colorless subject from here, and while you may place the flash unit at two larger apertures, influenced by black and white film, you will place it at one larger aperture only for color film. Then why not bet on the outcome and take two frames in alternate locations.
The confusing fact about what you have to memorize from all of this is that the location of a pause in the largest on the flash will cause it to emit less light. The unit will think that you put that hole on the camera lens, but you did not do that, but put there a smaller hole.

manual style:
If you plan to fill in the flash using a manual flash unit and a camera with a leaf type shutter between the lenses, you will need to know the guide number of the flash unit. These are given in feet or meters - do not confuse the two, otherwise your second calculations will be useless.

Calculate the distance between the camera and the subject, then divide this distance by the guide number. This will give you the appropriate slot to put on the camera lens.

Let's say that the guide number for the flash in meters is 012 and that the subject is only two meters away, by dividing 2 by 12, the answer as you learned in school is 6. In photography, the answer is f/5.6, because this is the aperture closest to f/6.
After that, you take the daylight reading and choose the shutter speed that matches the aperture you previously calculated, if it occurs to you that you need to reduce the light fill effect.
Then put a smaller aperture on the lens, and adjust the shutter speed accordingly.
The beauty of a camera with a leaf shutter, such as the Hasselblad or the Mamiya (RB67), is that it will synchronize with the flash at whatever shutter speed it has available and the reason is that the shutter opens like a shutter ring rather than scans on film as a flat-focus shutter, or a shutter that works vertically. If you set the wrong shutter speed, synchronize with a focal flat shutter. It will happen to a part of the frame that is not exposed to light at all.
variable power:
Now, if you're lucky enough to have an automatic flash with a variable power rate setting, you can control the amount of fill light with great precision.
As is the case with the traditional automatic flash, your first step here is to set the appropriate shutter speed to synchronize with the flash. Take a daylight reading, put the appropriate aperture in line with the location of the shutter speed, then either measure or estimate the distance between the camera and the subject, and adjust the power adjustment dial until the distance is parallel to the aperture you have equipped. To reduce the effect of the fill light, all you have to do is reposition the flash to a location with a lower power rating.
When you start dealing with flash fill-in, it is worth remembering that the indicative numbers of the flash are just a guide and nothing else. If you decide, for example, that you want to adopt the fill-in photo, the face photo is taken inside the house. Subject: This means that the flash fill light tends to exaggerate the illumination of the subject.
The simple remedy here is to use less light fill.
Against this, if you intend to photograph a dark subject against a white background, you will need more fill light. And you can do a lot with a reflector located just outside the frame, either in front of the subject or at one of its sides.
And don't ignore the benefit of fill light when shooting indoors using the light reflected from a window as the only source of light—lightening shadows and revealing texture can be of value beyond
each amount..
The most important thing is not to be intimidated to make an attempt, add sparkle to the eyes of the one you love, and give the fair right to what is traced inside, and work to show the shaded structure, and you will be surprised after that that this little effort that you made will produce a big difference that your photos enjoy ⏹

⏺ method:
Flash fill light is very useful for daytime shots like these two, with or without makeup.
Careful use of light fills can preserve the effect of backlighting, but add detail to the subjects' complexions.
By using the automatic flash on a 35mm SLR camera, your first step is to
The shutter speed is set to coincide with the flash.
Take a daylight reading and work with an aperture that matches the shutter speed you set.
And at the end, set a /P stop on the flash and it's two stops larger than the aperture you set on the camera lens ⏹