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ON CAMERA FILL IN FLASH
A different use for on - camera flash is to counter the high contrast of a backlit scene by filling in the shadows . Without flash , there are just two choices when the background is bright and the subject in shadow : setting the exposure to record detail in the subject ( which will leave the background overexposed and washed out ) , or exposing for the background ( which may leave the subject almost in silhouette ) . If it is important to have both well - exposed , fill - in flash is the answer .
The one important precaution is to make sure that the illumination actually does fit the description and ' fills in ' the foreground shadows rather than takes over entirely . There is a temptation to use too powerful a setting , but the result is distinctly artificial . As a rule of thumb , fill - in flash works best when it is not immediately obvious from the photograph that any extra lighting was used .
The simplest approach to calculating the amount of flash output is first to decide on the ratio of flash to daylight . A ratio of 1 : 2 is the absolute maximum ; if the flash is any more powerful , the effect will be unnatural . A more useful ratio is around 1 : 4 , which means that the flash output is four times ( two stops , in other words ) less than the level of the daylight . A more understated effect is possible with ratios of 1 : 6 and 1 : 8 . Less than this and there is virtually no effect at all .
Apart from those flash units that deliberately allow a fill - in setting , you can adjust the flash - to - daylight balance either by altering the flash output or by altering the camera's aperture setting and shutter speed . Altering the shutter speed affects only the daylight exposure , not that of the flash , but there is an upper limit the flash synchronization speed .
First take an exposure reading of the daylight level from the background . Set the shutter and aperture to give this . The job of the flash is now to boost the brightness of your shadowed foreground subject , so first calculate from the distance what the aperture setting should be for a full flash effect . For a 1 : 4 ratio , what you want is two stops less than this . So , if the reading from the background is 1 / 125sec at f / 11 and the full flash setting for the subject works out at f / 8 , you would need to reduce the flash output by one further stop or make the aperture smaller by one stop . One answer here would be to shoot at 1 / 60sec at f16 ; another would be to lower the flash output , either by its output selector ( if it has one ) or by covering the head with a neutral density filter or a piece of white cloth with the flash unit on manual exposure .
OPPOSITE AND BELOW LEFT The trick with fill - in flash is not to make it obvious ; the viewer must be fooled into thinking that you photographed the scene as you saw it . To achieve this , the temptation to use too powerful a burst of flash must be resisted . Rather , especially in scenes such as the ones shown here , a clever balance must be reached between the fore- and background lighting .
ON CAMERA FILL IN FLASH
A different use for on - camera flash is to counter the high contrast of a backlit scene by filling in the shadows . Without flash , there are just two choices when the background is bright and the subject in shadow : setting the exposure to record detail in the subject ( which will leave the background overexposed and washed out ) , or exposing for the background ( which may leave the subject almost in silhouette ) . If it is important to have both well - exposed , fill - in flash is the answer .
The one important precaution is to make sure that the illumination actually does fit the description and ' fills in ' the foreground shadows rather than takes over entirely . There is a temptation to use too powerful a setting , but the result is distinctly artificial . As a rule of thumb , fill - in flash works best when it is not immediately obvious from the photograph that any extra lighting was used .
The simplest approach to calculating the amount of flash output is first to decide on the ratio of flash to daylight . A ratio of 1 : 2 is the absolute maximum ; if the flash is any more powerful , the effect will be unnatural . A more useful ratio is around 1 : 4 , which means that the flash output is four times ( two stops , in other words ) less than the level of the daylight . A more understated effect is possible with ratios of 1 : 6 and 1 : 8 . Less than this and there is virtually no effect at all .
Apart from those flash units that deliberately allow a fill - in setting , you can adjust the flash - to - daylight balance either by altering the flash output or by altering the camera's aperture setting and shutter speed . Altering the shutter speed affects only the daylight exposure , not that of the flash , but there is an upper limit the flash synchronization speed .
First take an exposure reading of the daylight level from the background . Set the shutter and aperture to give this . The job of the flash is now to boost the brightness of your shadowed foreground subject , so first calculate from the distance what the aperture setting should be for a full flash effect . For a 1 : 4 ratio , what you want is two stops less than this . So , if the reading from the background is 1 / 125sec at f / 11 and the full flash setting for the subject works out at f / 8 , you would need to reduce the flash output by one further stop or make the aperture smaller by one stop . One answer here would be to shoot at 1 / 60sec at f16 ; another would be to lower the flash output , either by its output selector ( if it has one ) or by covering the head with a neutral density filter or a piece of white cloth with the flash unit on manual exposure .
OPPOSITE AND BELOW LEFT The trick with fill - in flash is not to make it obvious ; the viewer must be fooled into thinking that you photographed the scene as you saw it . To achieve this , the temptation to use too powerful a burst of flash must be resisted . Rather , especially in scenes such as the ones shown here , a clever balance must be reached between the fore- and background lighting .
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