Pardon me if this topic is rather newbie-ish, but sometimes I myself will be confused by things I see other people doing. So in a way, this is a post where I seek the clarify the situation for myself. That said, hopefully readers already know how to bounce flashes and the basics of lighting.
Having a flash directly mounted on the camera (not the pop-up flash) is quite convenient. You retain portability, and it’s the preferred way of shooting in an uncontrolled environment and crowded places (conventions, for example) where that extra light is needed, without the safety issues to do with having a separate lightstand.
But one thing I get really confused about is the sheer number of Stofen Omni-bounce type products out there, and why or how people use them.
In my own shooting style, one of the things I try to avoid at all costs is *that* look. That party drunk, caught-in-the-headlights look with super bright flash and harsh shadows. This look is a combination of a flash coming from the same direction as the camera, and the small size of the light source.
Certainly, we find that the particular look works for some people (and a number of photographers I admire), but personally, I don’t see myself ever using it.
A pop-up flash then becomes the cardinal sin due to its small size, and by virtue of it being positioned on the camera itself without any adjustments possible.
A mounted flash gun has a larger light emitting surface area so it is a bit better. But pointing it directly at the subject doesn’t really help with the second part of the equation.
The thing is, it doesn’t matter if you put some small piece of translucent plastic in front of the flash.
Let’s say it again. It doesn’t matter how milky-looking the light modifier is. Having a smooth piece of plastic will not “smooth out” the light from the flash. All it does is ensure the flash is properly distributed across the surface of that piece of plastic. But it won’t matter how well the light is diffused by the modifier if it is small (or the same size as the unmodified flash), and coming from a bad direction.
What the Stofen Omnibounce type products do is to transform the flash into something like a light bulb, with light emitting from four of its sides, as well as the front. This has certain advantages when used with other lighting modifiers, like beauty dishes.
However, if you are pointing a Stofen-capped flash on your camera directly at the subject, the advantages are relatively small:
If the above analysis is correct, then it stands to reason that using a larger bounce card would be preferable to using a Stofen cap, in such situations where the flash is on the camera.
But we will need to get out of the mindset that the light from the flash modifier is the key (main) light, and that whatever is bouncing around is fill. This is of course in contrast to how most modifiers are marketed.
Why?
I figure that short of walking around with something massive attached to the camera flash (or a ring flash), I would be unable to achieve the required surface area for the softer light I needed (first rule of thumb). Bounce, on the other hand, provides ample opportunity to enlarge the light source.
In other words, having a funky light modifier on your flash does not mean you don’t have to care about bouncing. In fact, if the modifier actually stops you from bouncing, my recommendation is to trash it.
Anyway, if the modifier is attached to the flash, which is attached the camera, using it as the key light doesn’t resolve the directional issues that cause flat lighting (the second rule of thumb). Bounce, once again, resolves this problem, since in effect, it uses another surface (to the side, to the top and bottom) as a “proxy” light source, if you will.
Thus, I will analyse the situation, and adjust the flash angles so that bounced flash provides the primary source of light for the subject. I tend to bounce the flash off things or people on the left or right sides, since I am not a particularly big fan of ceiling bounce either. Of course, the angle is variable, so I might bounce off part ceiling, part sides. I could also adjust the angle to bounce off things to the side, and behind me.
Since I usually have enough spare batteries, I don’t really care how efficient the bounce is. I can also bring up the ISO (and/or open up the aperture) so the ambient gets a bit brighter. The higher ISO also means even if the bounce from the flash isn’t particularly efficient (e.g.: bouncing on relatively dark surfaces, or walls which are quite far away), the camera will still catch it. If need be, I can always dial up the power of the flash to ensure the light is visible.
The bounce card’s only real function in my approach will be to provide a bit of fill and also catchlights for the eyes of the subjects (so they don’t look dead). I don’t want the bounce card to be casting too much light on the subject, so if possible, the bounce card will be translucent to further reduce its efficiency. It will also be angled straight up from the flash so it doesn’t catch fully catch the light which is supposed to be going out and bouncing.
Much as I am tempted to demonise the Stofen caps, I actually think they are useful for off-camera use.
Many off-camera light modifiers (some umbrellas, softboxes, beauty dishes) were originally designed to be used with studio lights. These tend to have some sort of bulb, which means light is emitted not just from the front of the unit, but also 360 degrees around the bulb.
Flashes, as we know, have the bulb hidden inside and so the light is emitted from the front flat surface.
My feeling (and this is just my hunch) is that the parabolic (or non-parabolic) curves on reflective surfaces of some of those modifiers are designed to catch and redirect that 360 degree light from studio lights, and using just the flat flash light source changes the performance of the modifiers.
Using a Stofen cap effectively modifies this and the flash performs in a manner closer to that of the studio light. Note that I haven’t personally experimented with it, but I think it would be fun to do so.