LIGHTING

Fill-in-Flash

In the early days of photography the only source of light was, of course, the sun, so most photography depended upon long days and good weather.

It is said that Rejlander (1865) used a cat as a primitive exposure meter: placing the cat where the sitter should be, he judged by looking at its eyes whether it was worth taking any photographs or whether his sitter should go home and wait for better times!

‘Rejlander Introduces Rejlander…’, c. 1865, Oscar Gustave Rejlander, The Royal Photographic Society Collection, National Media Museum / SSPL

The first artificial light photography can be traced back as far as 1839, when L. Ibbetson used oxy-hydrogen light (also known as limelight) when photographing microscopic objects; he made a daguerreotype in five minutes, which, he claimed, would have taken twenty-five minutes in normal daylight.

Other possibilities were explored. Nadar, for example, photographed the sewers in Paris, using battery-operated lighting. (1861–2; Paris, Bib. N.)

Catacombs and sewers of Paris (1861–2; Paris, Bib. N.).

Later arc lamps were introduced, but it was not until Van der Weyde, who had a studio in Regent Street, opened 1877 the first studio lit by electric light. Powered by a gas-driven dynamo, the light was sufficient to permit exposures of some 2 to 3 seconds for a carte-de-visite. ‘Small-photographs, albumen prints card mounted sized at 2-1/2 by 4 inches. This presentation method was widely used across around the world.

Soon a number of studios started using arc lighting. One advert (by Arthur

Langton, working in Belgravia, London), boldly proclaims:

"My electric light installation is perhaps the more powerful in London. Photographs superior to daylight, Pictures can now be taken in any weather and at any time."

More from Arthur Langton's advertisement:

Quote: “CAUTION many photographers advertise 'portraits taken by electric light' but 9 out of 10 do not possess an electric light, owing to its costliness they use an inferior and nasty substitute... a pyrotechnic powder which gives off poisonous fumes."

In June 1850 an experiment conducted by Fox Talbot, probably using static electricity stored in Leyden jars, was conducted at the Royal Society: a page of The Times was fastened on to a wheel, which then revolved rapidly. Writing about this the following year Fox Talbot stated:

"From this experiment the conclusion is that it is within our power to obtain pictures of all moving objects.... Providing we have the means of sufficiently illuminating them with a sudden electric flash."

The object then had been to arrest fast action. A few years later William Crookes, editor of the Photographic News (October 1859) was responding to a query put to him on how to light some caves:

"A...brilliant light...can be obtained by burning.... Magnesium in oxygen. A piece of magnesium wire held by one end in the hand, may be lighted at the other extremity by holding it to a candle... It then burns away of its own accord evolving a light insupportably brilliant to the unprotected eye...."

That same year Professor Robert Bunsen (of Bunsen burner fame 1859) was also advocating the use of magnesium. Alfred Brothers of Manchester took the first portrait using magnesium (22 February 1864); some of the results of his experiments may be found in the Manchester Museum of Science and Technology.

It was however very expensive at that time and did not come into general use until there was a dramatic fall in the cost of magnesium a decade later. This, coupled with the introduction of dry plates in the 80s soon led to the introduction of magnesium flash lamps. They all used the same principle: a small amount of this powder would be blown, using a small rubber pump, through a spirit flame, producing a bright flash lasting about 1/15s. It also produced much smoke and ash!

Then in the late 1880s it was discovered that magnesium powder, if mixed with an oxidizing agent such as potassium chlorate, would ignite with very easily. This led to the introduction of flash powder. It would be spread on a metal dish the flash powder would be set off by percussion - sparks from a flint wheel, electrical fuse or just by applying a taper. However the explosive flash powder could be quite dangerous if misused. This was not really superseded until the invention of the flashbulb in the late 1920s.

Early flash photography was not synchronized. This meant that you had to put a camera on a tripod, open the shutter, trigger the flash, and close the shutter again - a technique known as open flash.

Certainly early flash photography could be a hazardous business. It is said, for example, that Riis, working during this period, twice managed to set the places he was photographing on fire!

Basically flash powder is an explosive, therefore; accidents will happen as they did. Simply grinding the components was dangerous enough, and a number of photographers died while either preparing the flash powder or accidentally setting it off.

In the beginning of the 20th century, the flash powder formula was refined and improvements were made and the process simpler and safer. The flashes now lasted for 10 ms only, so subjects no longer closed their eyes during the exposure which helped portrait photography enormously.

There were still enough disadvantages to the method, for example, the smoke was still causing trouble, making studio work quite difficult, so another invention was awaited

(Left) 5x4 View camera demonstrating the magnesium powder, when mixed with an oxidizing agent such as potassium chlorate. Right (A 1940s Re-en actor portraying a civilian press photographer using genuine cameras of the period)

Therefore as we stroll through the historical time line of photography so too must we look at the development of the flash gun.

The 'Sashalite'

Blue coating for protection and balanced For daylight

I understand from Brian Wilkinson (PCCGB Member) that the modern form of Flash Bulb was patented in 1925 by Dr Paul Vierkotter in Germany, though flash bulbs using magnesium ribbon date back to around 1900. Wikipedia says "The flash-lamp was invented by Joshua Cohen (a.k.a. Joshua Lionel Cowen of the Lionel toy train fame) in 1899. It was granted U.S. patent number 636,492."Amateur Photographer magazine for 10th September 1930 contains a report (page 244) on the 'Sashalite' flashbulb:

"According to the 'Morning Post', flash powder is likely to be superseded for photographic purposes. The British rights in a new invention have been acquired by Mr Alexander Stewart, a professional photographer carrying on business under the name of Sasha- hence the word coined for the lamp - 'Sashalite'. (Ilford Flash)

This lamp is an oxygen-filled bulb in which aluminium foil is burned, ignition being accomplished by a 4-volt battery. No details are given as to whether bulbs will be available for charges of different capacity, but it is clear that no single charge of foil would be suitable for all conditions and circumstances.

It is claimed that the light, although powerful, is soft and diffused, less trying to the eyes than flash powder, and that there is neither noise nor smoke when the charge is fired. As has been claimed, it will now be possible to take photographs in circumstances where the use of powder is out of the question-for example, in coal mines and operating theaters.

The 'Morning Post' published some exclusive photographs, taken with the 'Sashalite' of the engine-room and other compartments of a submarine. These were not only interesting as unusual subjects, but they indicated a high technical standard. The manufacture of the lamps has already commenced, and professional and commercial photographers particularly will await further information with considerable interest."

Flash Synchronization

By the late 1930s manufacturers began to incorporate flash synchronization into their cameras.

My earliest recollection of flash was the blue cube or bulb as above. ‘I certainly remember these and my granddad telling me off for touching them’. Initially, these flash bulbs were individual, disposable items - used once, then discarded.

Ten years on from the First World War, it became the norm for camera manufacturers to equip flash synchronization to all camera models. By December 1954. Alternatively, it was possible to fit an attachment to the cable release socket which fired the shutter and the flashgun together.

3mm coaxial flash synchronisation socket

By the mid-1950s the first electronic flash systems appeared alongside the bulb flash units. Over the next decade, bulb flash was largely superseded by electronic flash, as electronic flash units became cheaper, smaller and lighter.

Fast forward to today:

Each camera manufacturer has an upper limit sync speed with which flash can be used to expose an image. This said, then using a slower shutter speed will result in a more pleasing image. Many photographers operate in this way to tease out the ambient light from the environment and combine with the flash. This technique is used widely to freeze movement in an image, however that is a whole topic in its own right, so let us focus on the aim of FILL FLASH.

Technique:

Flash photography takes on two very basic forms. In regular flash photography, the flash is the primary light source for the photo. Flash metering is done for the foreground subject, and the background is metered by the camera’s regular exposure metering system. This can lead to the background being underexposed and dark if ambient light conditions are low. This is how most people think of flash - as a way of taking photos in dark places.

However, flash can also be used in bright locations or in daylight to lighten shadows, reduce the harsh contrast of full sunlight or brighten up dull images without being the primary light source for the photo. This is called “fill-in flash,”

This is often a source of surprise for non-photographers, who don’t expect to see photographers using flash units outdoors on sunny days in brightly lit settings. In such situations the fill flash is being used as a sort of portable reflector - shining a little extra light in certain areas.

A typical example might be a person who’s wearing a hat outdoors on a sunny day. Hat brims often cast dark shadows over the subject’s face, and a little flash can lighten up this shadow nicely. A backlit subject is another common use for fill flash - you can’t simply crank up the exposure compensation to expose the subject correctly as then the background lighting would be too strong. Or perhaps you want a little sparkle of light reflecting back from a person’s eyes - the “catch light.” Sometimes wildlife photographers use flash units at great distances from their quarry for the same reason - they aren't using the flash to illuminate the animal but to provide a lively catch light to the eyes.

In conclusion:

In all these cases you are, from the point of view of the camera, using two light sources at the same time. There’s ambient lighting, which is all the available light around you - reflected light from the sun or artificial light sources. And there’s the light from the flash unit, which is supplementing this existing light. As always, ambient light levels hitting the film or sensor are governed by the lens aperture and shutter speed and flash levels are governed by flash metering. By adjusting the output of the flash unit you’re essentially adjusting the ratio between flash-illuminated and ambient light-illuminated scene.

In fact you could argue that the two cases I present above - flash as primary light source and ambient light as primary light source - are an artificial distinction and that all flash photography is fill photography in a sense; just that in the first case the ambient lighting is so low as to be insignificant, whereas in the second case it’s the reverse. This is true enough, but I think the distinction is useful to make, particularly in terms of the way full auto and P modes work versus Tv, Av and M modes.

Example Images

Example of Fill-in-Flash from a recent wedding I shot, the bride and groom would have been drastically underexposed had fill-in-flash had not been deployed. Ian Meeson Photography

A further wedding example of fill-in-flash deployed as the sun was setting.

Ian Meeson Photography

Street photography and Fill-in-Flash

This image was created under low light conditions against a dark background. Opening up the camera to F3.5

ISO 200 and using the manual setting on the Canon 580 ex set to 1/32 power and deploying the pull out bounce card to direct a small amount of light to provide a catch light in the eye and gently lift the facial features.
Ian Meeson Photography

Street photography and Fill-in-Flash

This image was created under low light conditions against a dark background. Opening up the camera to F2.8 ISO 400 and using the manual setting on the Canon 580 ex set to 1/64^th power and deploying the pull out bounce card to direct a small amount of light to provide a catch light in the eye and gently lift the facial features.

Ian Meeson Photography

IMAGE RESEARCH

Martin Parr. His unique style does at first seem exaggerated with bright colours and his shooting and framing are unusual. His imagery conveys humour originality and are at most entertaining with an understanding of life. But also deliver a direct visual recording on how we live, how we present ourselves to others, and what we value.

Martin shoots the English season of events for Tatler magazine.

A simple elegant image of an English gentleman looking at his mobile. Well framed and lit beautifully and framed with the crowd in the background, balanced with fill-in-flash, lifts the image to display colour and tone.
Martin Parr

A fashion shoot for the Italian biannual publication Grey Magazine

This image although a fashion shoot, displays intimacy and could well be a mother and daughter, simply constructed, demonstrating a subtle but effective use of flash.
Martin Parr

An image by Theo Sion, a perfect example of fill-in-flash, demonstrating technical perfection and simplicity to produce a striking real time image. The image creates depth and displays a pleasing tonality and separation between the subject and the background.

Julie, February 29, 1994 a mother clutches her newborn baby to her bosom in front of the white walls of a hospital.

Above two very different images by Dutch born photographer Rineke Dijkstra The use of fill-in-Flash is expertly used to perfection. The images are engaging and offer a contemporary take on the genre of portraiture. Her style is posed compositions with a clear distance between herself and her models in their often startled, confrontational expressions. Further study of the soldier, demonstrates careful positioning to use the sun as a short light, lighting source supported by fill flash.

Ian Meeson Photography

The above image was created using fill-in-flash on a dull afternoon. The cloud base was heavy and threatening to rain. A perfect opportunity for an outdoor portrait.

Technique:

TTL metering for the sky and choosing a neutral area and not the brightest part and under exposing by 2/3 rd.’s so not to darken the background too much. The flash gun was hand held attached to a cold shoe bracket that would support a translucent umbrella (light modifier) to soften the light further.

Using the flash manual mode set to 1/8^th of its power an exposure was made. Overexposing slightly and the subtle use of flash creates an aesthetically pleasing result creating a gentle butterfly effect. In addition lifting the overall tonality and placing a catch light in the eyes the lift the portrait.

Further consideration was the background, producing a linear effect as the fence (camera left) and the housing (camera right) create depth and perspective.

FLASH PHOTOGRAPHY

Further notes:

FLASHGUNS

Guide Number (GN) is an indication of a flashguns power output and is based on ISO 100 film / metres. The GN can be used to calculate either, aperture setting on camera or maximum shooting distance, i.e. distance from camera to subject.

· E.g. 1 GN 40 40/f 8 = 5 metres

· E.g. 2 GN 32 32/8metres = f 4

N.B. Doubling film speed gives 50% more distance.

These guide numbers are based on use of a flashgun in an average shape and size room in terms of ceiling height, reflectance of walls and ceiling etc. If the flashgun is used in unusual conditions e.g. potholing, these figures are inappropriate. These calculations are used when pointing the flashgun directly at a subject and not bouncing light off a ceiling etc.

The camera shutter speed is dependant on the maximum flash synchronisation of 35mm SLR cameras having focal plane shutters. Medium Format cameras have leaf shutters; therefore any speed may be used. Typical flash synchronisation speed on modern 35mm SLR's are 1/125 sec, with more expensive cameras having 1/250 sec. Any shutter speed up to the camera’s maximum may be used depending upon the effect you are trying to create.

The slower the shutter speed the more ambient light will be recorded on film.

(Ambient light is the light already existing in the scene you are photographing i.e. daylight, street light etc).

SLOW SYNC. FLASH

A combination of a blurred and sharp image can be obtained when photographing a moving subject and happens if you use flash when there is ambient light around. As the burst of flash may be 1/1000 sec. or less your subject continues to record on film for the rest of the time the shutter is open.

FILL IN FLASH

The function of fill in flash is to reduce the lighting ratio by adding illumination to the shadows formed by existing light. Fill flash will also give catchlights to the eyes. A good balance is usually a flash to ambient light ratio of 1:4 that is four times more daylight than flash light. Some flashguns will allow power outputs of 1:1, 1:2, 1:4, 1:8, 1:16 etc. This makes the task simple. Other guns have auto modes allowing a number of different apertures to be selected for fill in flash. E.g. if the ambient light reading is f 11 1/125, f 11 set on your gun gives 1:1 light ratio. In order to lower the flash output to achieve 1:4 ratio, set the flashgun to f 5.6. The gun thinks the lens is wider open than it is and gives less light. In this way you can select ratios of 1:2 f 8 or 1:8 f 4.

RED EYE

The flash being too close to the axis of the lens causes Red eye. The light from the flash goes straight into the subject’s eye and bounces back into the lens. The red colour is caused by the pigmentation in the back of the eye. To correct it you need to move the flash away from the lens axis. On cameras with an integral flash this isn't possible. Try asking the subject to look away from the lens.

DEDICATED FLASH

Another version of dedicated automatic electronic flash works in conjunction with many of the latest model 35mm cameras. These are the so-called dedicated systems. Dedicated flash is designed to work with particular model cameras, hence the name, and they provide one or more features beyond the automatic exposure control provided by automatic, but not dedicated, equipment.

The most basic dedicated systems automatically set the correct shutter speeds on the camera when the flash is attached. They also provide a visual indicator in the camera's viewfinder to signal when the flash has recycled and is ready to fire. However, they still use the sensor on the flash for exposure control.

In addition to these two features, more sophisticated dedicated flash-camera combinations control exposure through a sensor located behind the lens, inside the camera. Since such sensors read only the flash illumination actually coming Through the Lens,

”TTL” flash systems have particular advantages in close-up and multiple-flash photography, and when using filters and very wide-angle and very long telephoto lenses. They also permit a greater choice of lens apertures than do most automatic flash units that use a sensor on the flash.

Most through-the-lens flash sensors actually read light reflected off the film's surface at the instant of exposure. They are, therefore, often referred to as off-the-film or OTF systems.

Dedicated flash units are designed to work with a particular camera model, most (though not all) dedicated flashes also have a sensor on the flash unit itself and can provide automatic flash exposures with any camera when set properly. Similarly, any camera containing an internal flash sensor and electronics designed for compatibility with a dedicated flash can also be used with any non-dedicated automatic flash when set properly.

Using Flash - This is a more tricky area for many people, even the more experienced. There are probably more combinations and chances of things going wrong here, than with any other type of lighting. It all depends on;

1. Is your flashgun or Speedlight "dedicated" to your camera?

2. Does it have a full range of settings, including E-TTL (Canon), I-TTL or D-TTL (Nikon) or full auto?

3. Does it fit on the "hotshoe" or base of the camera?

4. Does it have a bounce and swivel head?

5. Does it have "Slave" capabilities?

6. Does it have enough power?

In the days of old when I first started in photography, I just had a fully manual SLR and fully manual flashgun with a complicated chart I needed to use to get the exposure right. I guess if anything, it taught me about the qualities and properties of light.

You needed to work out the distance of your camera to the subject via the focussing ring, check the table on the back of the flashgun and set the aperture accordingly, all very time-consuming.

Then came along flashguns with what was called a "Thyristor". This was a small sensor at the front of the flashgun that would measure the amount of light bouncing back from the subject at the point of exposure and immediately cut off the flash's power leaving a well exposed image.

Nowadays, the manufacturers have moved things on nicely with their fully integrated Speedlight systems that work in conjunction with, and dedicated to your SLR/DSLR.

Using Flash - Daylight/Fill-in Flash

You are pretty much able to just set your camera up as normal with the settings you desire and simply set the flash to auto. It will work with the camera and "ping" just enough light to fill in the gaps using a modified version of the "Thyristor" I mentioned earlier.

Try using Av mode or aperture priority for fill in and just shoot as normal. Take a reading from behind your subject, recompose and shoot. The fill-in flash will take care of the main subject and your reading from behind will take care of the background.

Using Flash

It is well worth practising with your own set up as once you get the hang of it, you may well use flash for a lot more than just night or fill in shots.

I use the above for flower shots to decrease the shadows and enhance the colours or for pet shots to add some catch lights to their very dark eyes.

Using Flash - Night/Indoor Flash

Not my favourite of lighting as direct flash at night can leave the subject looking "whitewashed" and cause some pretty horrendous shadows. Here are a few tips for better flash photography;

Using Flash - Increase the Aperture in Auto/Program mode

With some DSLR's set to "program mode (P)" with auto or E-TTL flash, such as the Canon EOS 20D or EOS 1D MKII, the camera automatically sets the shutter speed to 60th/sec and the aperture to F4 and leaves the rest to the Speedlight.

If you want to increase the depth of field by decreasing the aperture size, try this;

You want to close the aperture for added depth of field and increase the flashguns power to compensate and give out more light!

On your DSLR, you should have a FEC (flash exposure compensation) button. This allows you to increase or decrease the power output via an override to the automatic system.

If you want to decrease the aperture for more depth of field, you need to close the aperture thereby letting in less light. To compensate, you must increase the power output on the Speedlight.

I usually close the aperture to around f6.7 or f8 and up the FEC by +2 or +3 stops. This works quite nicely.

Using Flash - Bounced Flash

The idea behind bouncing the flash from another surface is to break up the intensity of the light and diffuse it. Direct flash as we mentioned before tends to leave harsh shadows, overpowering light and sometimes causes "red-eye".

If your Speedlight is capable, and you are shooting indoors, try simply aiming the flash at the ceiling and shooting that way.

Using Flash

For effective bounced flash lighting, remember these tips;

By bouncing the light away from the subject, you are almost doubling the distance that the light travels. This may cause the camera to underexpose slightly. If it does you can either up the FEC +/- (flash exposure compensation) by 1 or 2 stops to increase the power output, or do the same with the camera's exposure compensation to let in more light. Either option will allow for more light to hit the subject thereby cancelling the effect of bouncing.

The angle at which you bounce the flash is directly related to the distance of your subject from the camera. For example, if your subject is a matter of 3 or 4 feet away, you need to aim the flash straight up. Anything else and the flash will bounce straight over their head and hit the area behind them.

If they are on the other side of a room, you need to angle the flash at about 45° so that it bounces from the ceiling and onto them. To simplify it, imagine you are throwing a ball at the ceiling at different angles, where will it land? That is where the flash light will land.

This basic principle applies also, if you are bouncing the flash from a wall or white card.

If your flashgun has a second "fill in" flash bulb like the Metz CL-4, use it. With both the bounced flash and fill-in flash, the effect is superb, almost studio-like!

Using Flash - Move the subject away from any walls

If you just have to use direct flash, if possible, move your subject away from any walls or large objects. This way you illuminate the person or object without the nasty shadows in the background.

Using Flash

In the shot above, take a meter reading from the background knowing that the couple would be well under-exposed. By pinging in a bit of flash, the whole scene was well lit with no unsightly shadows. I made sure that anything in the background was a long way off.