How a cardboard box can be turned into a useful light modifier for the grand sum of 60p
How a cardboard box can be turned into a useful light modifier for the grand sum of 60p
I was in my garage the other day and realised something; it’s full of empty cardboard boxes. It’s a shocking confession I know, but what with eBay and other things you just never know when you might need a box, right? The 53 I counted, however, maybe considered a little excessive. I started to think whether I could trim the numbers down a little and my mind drifted to the fact that I’d been taking some flash images a couple of weeks earlier where I’d been a little disappointed by the harshness of the direct flash light. Within moments, a plan was hatched.
After a root around in the section of the garage not populated with cardboard, plus the kitchen drawers, I ended up with this selection of goodies with which I decided to make a softbox:
1x small cardboard box
1x roll of kitchen foil
1x roll of electrician’s tape
1x pair of scissors
1x flashgun (I’m using an EF-42)
3x sheets of tracing paper at 20p a sheet
1x bottle of glue (optional)
I started by placing the flashgun in a central position on the box and drawing around it to give me an approximate shape of the flash head.
Grabbing the scissors, I cut the shape out, going slightly inside the lines I’d drawn to make sure that the head fitted through snugly.
Confident my cutting skills had progressed from primary school, I taped the sides of the box down. They could have been cut off, of course, but I preferred to tape them down to create slightly more robust sides to the box.
I used a couple of lengths of foil to coat the inside of the box. This could be glued down if you wish, but the nature of foil meant that it moulded to the shape nicely and stayed put. There’s no need to smooth it down, just as long as the light can happily reflect around, you’re fine.
Having covered up the hole in the box, I then cut a second hold through the foil and pushed the flash head back through.
Putting the box to one side, I took a sheet of the tracing paper and folded it in half to provide the diffusing panel for the front of my softbox. As it transpired, I only needed the one sheet, but you could use more if you wanted an even softer result.
The tracing paper was then taped on all four sides of the box leaving it ready for action.
Now, it’s pretty evident that my box had a flaw in that it covered up the AF illuminator. As I was only working in dim light, this wasn’t an issue, but if you want to shoot in pitch black you’re going to struggle. There are no worries about metering, though, the X-T2 I was shooting with has TTL metering so I could be sure of accurate exposures.
So, just how good was my softbox? I’d say the results speak for themselves:
This first image was taken without the softbox attached. As I was close to the subject with the EF-42 flash mounted on the camera’s hot-shoe, there’s an issue with coverage. The flash hasn’t illuminated the bottom part of the frame very well, plus the shadows behind the soft toy are very harsh. All in all, not the best.
With my softbox in place, however, there’s a real improvement. The coverage is much more even and the shadows are far less harsh.
But this shot is arguably even better, created by pointing the flashgun, with softbox attached, straight to the ceiling. It’s created a lovely even top light to the toy, which looks more like studio lighting than a flashgun with a cardboard box stuck on it.
X-Photographer Ben Cherry shows us just what it can take to get those great ‘right-place, right-moment’ shots. This is a very interesting insight into the world of wildlife photography and the challenges you can face.
There are many photographs which are taken in ‘the moment’ where something happens and if you know your camera well enough you’ll be able to quickly respond and get the shot. However, sometimes you have an image or story in you head that you simply can’t move past.
In this new series we are going to look at some examples, where photographers have to dig deep, problem solve and follow their vision. Hopefully lifting the veil on the phrase “Wow you were so lucky to be there just at the right moment, all of those factors came together”. What I’ve come to realise over the past few years is that if you look at the great photographers of our time, many have one thing loosely in common – time. Time to hone an idea, experiment with a subject, to get under the skin of a location, ultimately to fulfil an idea.
This is Laurel, who was one of my star birds when it came to this project. Notice the mark on the left side of his face, that was one of his unique markings.
I spent the second half of last year working as a scarlet macaw researcher (I’m also a zoologist by training) studying a reintroduced population in a rural part of South-Western Costa Rica. What this gave me, more than any other opportunity so far was that same key factor – time. Quite quickly into the placement I became fascinated with these gorgeous birds, it’s pretty easy to see why.
Away from their clear beauty, I wanted to show these impressive birds flying through the rainforest, how their vivid colours stand out so bright against the green dominated background. But there was one key issue – light. Rainforests are notoriously difficult to photograph any form of action in because they are so dark. The canopy above absorbs the vast majority of the harsh tropical sunlight, leaving it surprisingly gloomy in the undergrowth. Combine that with the humidity that leaves everything with a thin layer of moisture on it (had to put my clothes to rest at the end of the placement, they had gone above and beyond the call of duty!) and you’ve got yourself a hostile environment for camera kit.
A common way to move around this is to use a slow shutter speed (generally your only option) and pan with your subject to capture that sense of movement. This works up to a point but I wanted to freeze the detail so I tried to implement a simple on-camera-flash approach… Again it was progress but not what I wanted to finish with.
Panning only
Flash on camera approach
NOTE – I was cautious with the birds in regards to using flash (as you should always be with wildlife), these were wild birds, but because of my research position I was in relatively close proximity to them. They were not disturbed by the flash while in flight, however I was aware that I needed to keep the number of flashes down as much as possible per encounter.
Here is a video that we produced midway through our placement. Showing the initial results and set up as well as some of the problems.
Problem 1. Auto Focus
As the X-Series continues to develop, so does its autofocus capabilities. I’ve recently played with the X-Pro2 and wow, it is a definite improvement over the X-T1, which in itself is so impressive considering where the camera started and where it is now thanks to firmware updates. However, even the best cameras in the world would have really struggled with what I was attempting. Tracking a flying macaw under the rainforest canopy, flying at serious speed from tree to tree! This unfortunately meant that focus tracking was out of the window. But as time went on, I began to understand the routes the birds would fly, this allowed me to prefocus and develop my photo idea further.
Problem 2. Light source
With refocusing there still needs to be a degree of flexibility to keep the subject sharp. After all this is a wild animal and it isn’t on a scalextric track from tree to tree, they would often deviate by metres. To minimise these missed opportunities, I needed to use a relatively high F-Stop (F8-11) to allow me a good percentage of sharp images. However, high apertures need lots of light and to make it even harder I needed to use my flash(es) at 1/8 power output or faster. The reason for this is the relative time the flash fires for between full power aka 1/1 and quarter power (1/4), those flash duration are long enough for there to still be some motion blur as the birds are moving so quickly. 1/8 power freezes the birds in flight ensuring sharp details can be seen. HOWEVER, that is all well and good but when using F8/11, 1/8 flash power output and while trying to just about overpower ambient light, you need more than one regular flashgun to make this happen!
This was a key part of the project, it was initially all about finding a balance between the ambient light and the flash so I could still capture some of the surroundings, making it less of a studio shoot. To make this a reality I just dropped the shutter speed from the max sync speed of 1/180 to between 1/60-1/30. The flash would fire and freeze the details of the macaw but the slower shutter speed would create some motion blur and allow enough light from the background to reach the sensor to register the lush green environment.
Problem 3. Focal Length
I really like using a wider focal length with the macaws, however as the previous image illuminates, it often includes part of the canopy in frame. Light which penetrates the canopy shines down creating these blown out highlight trails. Sometimes these work quite nicely, but often they are difficult to make work, especially if the birds fly in front of a canopy gap, then you get these weird looking highlights cutting through the flapping wings!
Problem 4. Single Shot Flash
Fujifilm launched the update for the X-T1, allowing flashes to be fired in continuous shooting mode the week I left Costa Rica! Unfortunate for me, but it made for an interesting process, certainly a character building one. With ALL the other factors that had to be dealt with, I also only had one chance to take a shot per flyby! As you can imagine this got pretty darn infuriating at times. There were many times where I clicked at the wrong time and missed part of a wing, or got the wings up when I wanted them down etc.
The wings are usually the problem, but the long tail feathers can cause problems too! It is about finding the balance between the subject being too small in the frame and being able to fit it all in!
Steadily making progress…
Quite a strong light on the face that cast a shadow on the wing.
A softer light but less detail in the wings.
Better detail but just snagged the wing!
Then I raised the shutter speed to try and freeze the bird against a darker background. The reason why it is darker is because little of the flash light is aimed at the background (as multiple flashes were involved, all pointing toward the bird from different directions) and the shutter speed was now was 1/180 (max flash sync for X-T1) so it was 3/4 times faster than previous images.
Focusing on freezing the macaw.
Quite a striking, but studio like result.
I like the balance of blur and sharpness in this one.
Zoomed in to get more of an impact image.
All in all this process went on for three/four months. It was a very interesting exercise, and laying the photos out like this you can see how the project steadily developed. Often with projects like this it is all about problem solving, from fixing kit in the middle of nowhere to getting around problems out of your control, such as the flash-camera interaction. Though incredibly frustrating at times, it was a brilliant experience and yielded some good results by the end.
Final image
You may not agree but I like the balance in this image. the bird is clear and crisp while the background is still distinguishable.
Here is a 2 minute something video visually summarising my project and its issues.
Hopefully what you will take from this is that if you have an idea, don’t give up at the first hurdle, break it down bit by bit and steadily you can make progress.
What projects are you working on with your X-Series? Why not let Fujifilm UK know, the community is teeming with talent, ideas and people willing to lend a hand – lets bounce ideas off each other.
A little about Ben
Ben is an environmental photojournalist, zoologist and Fujifilm X-Photographer. His passion is showing the beauty and fragility of the natural world. Find more of his work at:
FujiGuy Marc takes you through all the exciting bits from the #5YearsofXSeries launch event 2016
What better way to celebrate 5 years of Fujifilm X series than by hosting our own event at our head office in Tokyo?! I was lucky enough to be here so I’m sharing the experience with you.
Counting down to the start of the event
The event started at 13:30 local time, while most (but not all) of you were probably tucked up fast asleep. We had a countdown that had been running on our X-Pro1 website for the last ten days.
Mr Nakajima explaining our company’s strategy since the decline of film sales
At 13:30 sharp [3m 9s], Fujifilm President Shigehiro Nakajima gave an introduction speech about how our company has evolved in recent years. Film sales peaked in the year 2000 and since then has quickly declined. We took our core competencies and technologies and the diversified our business to ensure survival of the company. At the heart of our company is, and always will be, photography. This is why the X series is so important to us.
Mr Takahashi makes a great case for using a smaller, lighter system
Afterwards, the top man in the whole Optical Division, Mr Takahashi, [13m 21s] took to the stage to explain in more detail about the last 5 years of X series. He explained the key benefits of using our APS-C system, including image quality, operability, and portability. He thanked all of the Fujifilm X users across the world, with a special nod to the Official X-Photographers, for not only using our products, but for helping us design future products. It has been the constant feedback that has enabled us to make these products we all love so much.
Toshi explained and demonstrated the advantages of the Hybrid Viewfinder. We all know that an EVF is great because it shows you the image you are going to get, including your exposure settings and any other Film Simulation or White Balance options you have changed. But in a world where EVF refresh rates and LCD resolution seem to make Optical Viewfinders redundant, why on earth would an OVF be required anymore? Toshi explained how having a Rangefinder style OVF allows you to see what is going on outside the frame. This is something that cannot be done on a D-SLR, nor by using an EVF.
Fujifilm X-Pro2 – the first and only Interchangeable Cameras with both OVF and EVF
Also, two ‘problems’ still exist with using an OVF: “Parallax”, where the angle of the Viewfinder is slightly different from that of the lens making it hard to know precisely where the edge of the frame will be, and Manual Focus is virtually impossible because changing the focus ring doesn’t affect the OVF on a rangefinder. The X-Pro2 has overcome both of these problems by displaying a small LCD panel in the bottom of the frame. This can be used to either show the entire frame in a miniature form, or it can be used to zoom in to the focus point to allow manual focus while in OVF mode.
Using the ERF to manual focus while using the OVF to frame the shot (image by Wex Photographic)
The X-Pro2 contains the new X-Trans CMOS III – the third generation sensor, which at 24-megapixels, has 50% more resolution that our current. It contains technology that allows faster transfer allowing lower noise at higher ISO.
80 years of film development gives us the expertise to recreate skin tones and other colours with exceptional realism. Toshi also talked about the new Acros film simulation monochrome mode that features smoother gradation, deep blacks and beautiful textures
Acros tone curve, as demonstrated by X-Photographer Patrick La Roque’s son
Next up, Toshi invited Magnum and National Geographic photographer David Alan Harvey onto the stage to talk about how he has found the X-Pro2 since using a prototype for the last few months. Here is the short movie that was played just before he joined Toshi on stage
David’s approach to photography is nothing short of inspiring. David likes simplicity. He wants his camera to be as simple to use as possible, while achieving the quality he needs to do his work. He used the camera in full-auto mode most of the time, wanting to spend more time worrying about the content of the image than what shutter speed to use. This attitude towards photography is exactly what we are trying to get to when we made this camera. We want people to enjoy photography and in order to do this you need to not think about the camera, and instead think about your art.
Next up, Toshi introduced the new X-E2S camera. It’s basically a rangefinder brother for the X-T10. All of the technical features that made the DSLR-style X-T10 a more attractive camera have been matched, leaving the user to choose between the style of camera rather than the specifications.
If you want to be able to shoot with your right eye leaving your face fully exposed to engage with your subject, or you want the classic retro look of a rangefinder of days passed, the X-E2S will be for you. If you prefer the more modern look of a D-SLR, plus the advantage of having a tilting screen for shooting high or low angles more comfortably, the X-T10 will probably be your preference.
Either way, you now get to choose your camera based on who you are, rather than which one was better on paper. Current X-E2 users can also rejoice in the fact that the software enhancements in the X-E2S will be coming to the X-E2 via a FREE firmware update in the very near future.
“This new 100-400mm lens looks like it was worth waiting for” – DPReview
Toshi showed a series of images [1h 13m 20s] that were all shot on the same camera + tripod. They were of a lighthouse and the showed the view at 10mm, and varying focal lengths right up to the final one showing the XF100-400 lens at its maximum zoom, with the XF1.4X converter on it. This did a great job of demonstrating just house varied our lens line up has become in the 4 years since the introduction of the X-Pro1. He then explained which of Fujifilm’s core technologies [1h 14m 0s] went into the creation of our new “Super Telephoto” lens, the XF100-400mmF4.5-5.6 R LM OIS WR.
Jeff Carter, talking about his switch from D-SLR to Fujifilm X
Jeff has been a professional photographer for many years and he switched to Fujifilm on a recommendation of a peer. His chosen subjects to shoot vary massively from shooting at The 24 Hours of Le Mans race, to shooting landscapes near his home in Scotland. He’s been fully converted to the X system since 2014 and has most of the lenses in our lineup and finds a use for all of them. They went through a number of Jeff’s shots and discussed the lens lineup and direction and also his reasons for making his final switch and going full-Fujifilm X.
Toshi ended his interview with Jeff by talking about a product meeting Jeff had attended a few months ago. (You may or may not know that Fujifilm REALLY listen to their users for product feedback). He asked him if he remembered a particular request that Jeff had. This particular request was for a flashgun that could fire continuously and would also be weatherproof to suit his X-T1. Jeff confirmed that he remembered the request, to which Toshi then presented the next product…
The only product not due to be released in February is the EF-X500 flash. Similar to our lens roadmap updates, we wanted our users to know that we listen to their feedback and we are working on a hotshoe mount flashgun to compliment the X series.
It’ll have a low-profile design that is perfectly suited to X-Series cameras, and will support high-speed sync up to 1/8000 sec. (the same speed as the shutter in the new X-Pro2). It will also be weather and dust resistant, just like the X-T1 and X-Pro2 cameras.
The final product that was presented was the X70,. This camera is essentially an X100T + WCL-X100, in a tiny body. It doesn’t have a viewfinder, which is the reason it can afford to be so small, but it does have a tilting LCD screen to compose your shot with.
“Awesome little compact camera” – Fujifilm UK’s Theo Georghiades
The same sensor as the X100T, the same processor as the X100T and an amazingly high-quality lens made by Fujinon (like the X100T). Now you can have a camera in your pocket at all times that won’t sacrifice image quality at all. Coupled with a 180° tilting LCD that’s pretty handy for selfies, the X70 really is the ultimate travel camera for someone that really needs to travel light but wants great results still.
If the answer to the question: “How do you get on with using flash?” is “Pretty badly” you will want to have a read of this very helpful blog.
So how do you get on with using flash? If you’re like 90% of the world’s photographers the answer to that will be ‘pretty badly’. You’re never quite sure what it’s up to, never feel fully in control of what’s going on and are never completely happy with the results you get. And that’s a shame because, when you come to think about it, flash is the most controllable light source you have at your disposal. You can fire it when you want, put out lots of power (or very little) and you can even shape or colour the light. Just imagine what brilliant landscape photographers we’d all be if we had the same amount of control over daylight! So, flash isn’t the bad news that many photographers consider it to be, it’s simply a question of learning the functions you have at your disposal and how to bend them to your creative will.
No doubt, after the rousing words of my opening paragraph you’ll be wanting to get to grips with multiple flash set ups right from the off. But that’s a little like competing in the 100m at the Olympics before you can walk. Let’s ease you in more gently by giving you an overview of the flash features you have at your disposal on a Fujifilm X-series camera and when you might press them into service. In this particular case, I’m heading to the Flash Set-Up menu on an X-T10.
Within that menu you’ll find the Flash Mode option, which gives you five choices: Forced Flash, Slow Synchro, 2nd Curtain Sync, Commander and Suppressed Flash. The last option is perhaps the most obvious; selecting Suppressed Flash means the flash won’t fire even if it’s popped up ready for action, nor will a hot-shoe flash fire if it’s attached to the camera and switched on. But seeing as this a guide to firing the flash, we best move on.
No flash
-1 fill-in flash
Forced Flash is the polar opposite of Suppressed Flash. As long as the integral unit is flipped up or a hot-shoe flash is attached and switched on, the flash will fire on every shot, irrespective of how bright the light in the scene is. This may sound a little odd, but you’re actually most likely to use this mode in bright daylight for a technique called fill-in flash. This is where you ‘fill-in’ shadows – typically in a portrait – with a low powered burst of flash, which is achieved by combining Forced Flash and the Flash Compensation mode. Take a look at the two shots above. The one on the left is taken without flash. It’s OK, but the subject’s face is in shadow. By using Forced Flash and -1 Flash Compensation, we got a lower powered burst of flash that filled in the shadowy area and put a nice catchlight in our subject’s eyes.
Next on the menu is Slow Synchro, which is used to add a touch of dynamism to action images or to shoot portraits in low light conditions. Selecting this function and a slower shutter speed produces the sort of image you see above on action shots. Panning the camera during the exposure introduces the blur, but then the burst of flash momentarily freezes the subject so you get this look. The shutter speed doesn’t have to be too slow – the shot above was taken at 1/8sec, but it adds an extra dimension to your shots.
Equally, using Slow Synchro can help capture more ambient light in low light conditions. Take a straight shot with flash at night and you’ll end up with a shot like the one below left – rather dull. Use Slow Synchro and the longer exposure ensures the background appears while the flash illuminates your subject perfectly. In this case you’ll need to keep both the camera and the subject still – we’d recommend a tripod and a head brace. Ok, maybe just the tripod.
Note: It’s worth noting that Slow Synchro is only available on the menu in aperture-priority and program exposure modes. If you want to combine a slow shutter speed in shutter-priority or manual modes you still can – just switch to Forced Flash and select the shutter speed you require.
Normal flash
Slow Synchro flash
2nd Curtain Sync is another one for those who want to make movement look natural and, much like Slow Synchro is a question of combining a burst of flash with a longer shutter speed. The ‘curtain’ part of the equation refers to the camera’s shutter curtain. In any given exposure, the first curtain begins the exposure, the second curtain ends it. Typically, when you’re using flash, the flash is fired at the start of the exposure – when the first curtain moves. But switching to 2nd Curtain Sync, the flash fires at the end of the exposure. This is largely irrelevant if the exposure is a fraction of a second. But it’s important with a longer exposure. Take a look at the two shots below. For the shot on the left, the flash has fired at the start of the exposure and then the car has moved to create the blurred light effect. The trouble is, it looks as though the car has reversed. It didn’t, it moved forwards. By selecting 2nd Curtain Sync, the flash fires at the end of the exposure after the car has moved, so you get a more natural-looking effect with the blurred lights.
Note: When using 2nd Curtain Sync with a built in or hot-shoe flashgun, two bursts of flash will fire. The first at the beginning of the exposure, is purely designed for the camera to get an exposure assessment and does not effect the actual exposure. The second flash, at the end of the exposure, is the one that actually illuminates the subject.
1st Curtain Sync
2nd Curtain Sync
Finally, we have the Commander mode, where you can use the camera’s integral flash to fire a second flash away from the camera. This is used for more creative on-location effects, like the one below. It’s simple enough to do and produces professional looking results.
So that’s the top line when it comes to shooting flash. Hopefully, this top-line introduction has armed you with enough information to start getting to grips with the flash modes you have available. But we’ll be going into more detail on each of these techniques in subsequent blogs over the next few weeks.
X-Photographer Ben Cherry shows us how he captures Macaws in flight using flash.
I am currently in the middle of a six-month research stint with the Wild Macaw Association, gathering data on a scarlet macaw population for a study in Costa Rica, associated with Gent University. This remarkable opportunity allows me to study these birds closely and to explore the surrounding area during our two daily treks. To find out more about this very successful project, in which 75 macaws were released from 2002-2012, please check out this link here.
Scarlet macaws are incredible birds, with their bright colours and quirky behaviour making them very photogenic. However, they are often found within the rainforest and this often means in dark conditions, too dark for even the XF50-140mm F2.8 and high ISOs to capture any sort of motion. This problem will sound familiar to many of you in different situations, where OIS is redundant as the problem is subject movement, not camera shake. There is however one way to get around this: add artificial light. It may not be suitable for some situations but with a little bit of time and understanding this can allow for that otherwise impossible shot.
Here is a video showing how I developed my flying macaw photographs.
For me, there are two reasons to add flash to an action situation; we’ll take a look at both of these in a little bit of detail.
You need more light to freeze the subject/scene
In other words you simply can’t get a sharp image without more light. This is the most common reason to switch to flash. Most will start with the popup flash on their cameras and/or then get a dedicated flash and mount it on the hotshoe of the camera. There are photographers who can produce exceptional images using just this simple technique, and if you have a TTL (through the lens metering) flash then this becomes relatively quick and simple as the camera will communicate with the camera how much flash output there should be. Generally this will be fine for most needs, especially if you are short of time and need to take a variety of photos.
If you do have a TTL flash and you haven’t experimented with manual flash outputs before I would highly recommend that you give it a go. This slows you down and makes you think more about what you want to produce – do you simply want the flash to give a little bit of fill light to an otherwise correctly exposed scene? Or would you rather the camera underexposes the scene while the flash exposes correctly, so bringing the focus onto your subject and away from the darker background? These are all fun things to play with.
This all sounds great but flash photography can drive you around the bend if you’re not careful. On current X-Series cameras the maximum flash sync is 1/180sec (except the X100 series because of a leaf shutter allowing 1/1000sec flash sync). Anything more than this will not allow proper flash input. When it comes to action 1/180sec is pretty slow! There is one flash currently available, the Nissin i40, which is different. It offers high-speed sync (HSS), which allows you to use the flash up to 1/4000 sec, this is certainly helpful when adding some fill flash but it does cut the overall output of the flash. The reason for the downgraded power in this mode is because the flash sends out a series of very high speed flashes (instead of one, more powerful flash) that are fast enough to expose the subject within the maximum shutter speeds.
1/180sec flash sync isn’t enough to freeze background movement when following a fast moving subject. This can be fine as it shows some motion. The illuminated subject should generally be sharp because a flash pulse is so fast. However this can be improved by using second curtain/slow sync that I will talk about soon.
If you want to freeze the subject and aren’t bothered by the background then what you want to do is find an exposure combination that creates a totally black image. For example 1/180sec (max sync), F11, ISO200 – a mix which should require too much light for a lot of scenes, thus leaving your image black/heavily under exposed. The next thing to do is to add the flash that will offer all the light on the subject. If your subject is moving quickly then you’ll want to cut the flash output, this sounds counterintuitive, but as you cut the light output say from 1/1 to ¼ then the flash time is four times faster than maximum 1/1 power. This ensures that the subject is completely frozen.
Stopping the feathers in mid-beat using ¼ power of the flash ensured it froze the macaw. However, when you do this you’ll often need more than one flash to get enough light to illuminate the subject with the ‘ambient stopping’ settings and the fractional flash power output.
The scene isn’t dramatic enough so you add artificial light
Sometimes a scene just looks flat and no matter what you do images just don’t ‘pop’. This is where some creative artificial light can make an image. In the rainforest undergrowth this definitely applies, as apart from being really dark, there is generally very little direct sunlight so the light is muted. Some images where I panned with the subject came out ok, partly thanks to the wonderful colours of the birds, but I still felt that it need an extra something. This is where the aforementioned video shows the progression from initial photos to more dynamic, off-camera flash images.
There are countless blogs on creative use of artificial light and I’m not going to pretend that I am a flash master, instead I’m simply going to show the set up I ended up using and why.
First of all I love off-camera flash, it opens up so many more opportunities compared to simple on-camera flash (this is just my opinion and not fact). So I very quickly knew that for the image I had in mind, I needed to use flashes off camera. I experimented from backlighting the birds to using the two flashes one from each side and then from slap bang in front. But the combination that created the image I really wanted involved having both flashes to the right-hand side, where the bird was flying. One flash was in line with where the birds fly over, while the other was slightly around towards me so giving a bit of light onto the side of the face towards the camera. This gave sufficient light onto the face to freeze the detail (especially as the face is lighter than the body) but didn’t cast enough light onto the rest of the bird to freeze more detail so creating motion. Here is a sketch to indicate what I did.
Different Flash Curtains
There are two curtains in a flash exposure. The first curtain reveals the sensor to the light coming through the lens and then the second that closes the sensor to light, completing the exposure. This is important to understand as it can greatly affect how you use flash.
First curtain flash
Where the flash is triggered as the first curtain opens. This is the most common set up, where your main priority is the flash. The go-to set up unless you’re using slightly slow shutter speeds with subjects or moving lights. It captures the exact action that you press the shutter to capture, if you use second curtain/slow sync then you could miss the split-second moment you were hoping to catch.
1st curtain is great for portraits.
Second Curtain Flash
As the second curtain is about to come up and finish the exposure the flash fires making it effectively the last light to hit the sensor. This method does send off a flash initially to get a meter reading if used in aperture priority mode (no meter flash in manual mode). I generally avoid this method as it can give weird results (see video).
Look at the weird double freezes, by the metering flash and 2nd sync flash.
Slow Flash Sync
Slow sync is only available in aperture priority/auto-shutter speed modes, generally it is the same as second curtain flash but without the disruptive initial metering flash (note that it can only go down to 1/8sec). This is my favorite option for any kind of action photography and is the method I used for the panning images. The reason why this works best is it lets the ambient light reach the sensor first; correctly exposing the background and THEN the flash is triggered reaching and freezing the subject. This is preferential for panning/slow shutter speeds because it prevents ghosting – where the subject is flashed and but there is time afterwards for some light to reach the subject and any subject movement creates a bit of a psychedelic feel!
Slow flash sync is my favourite option.
Conclusion
There concludes a rough/quick break down of different flash curtain types for the X-Series. To summarise there are a number of ways you can use flash to help your action photography:
Fill flash either up to 1/180sec or higher if using a HSS flash.
Causing a correctly exposed subject with a darkened/underexposed background.
Freezing a subject
Capturing motion with a bit of detail while panning with a moving subject.
Blending ambient light with directional flash light.
I hope that gives you a little bit of inspiration to get out there and try your hand at creative flash photography.
Ben is an environmental photojournalist, zoologist and Fujifilm X-Photographer. His passion is showing the beauty and fragility of the natural world. Find more of his work at:
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