#bounce flash

Get stunning low key black-on-black portraits with this quick tutorial from Daniel Norton.

Find out how you can achieve great low key portraits with a simple light setup. Do you have a portrait project in mind that requires a contrasty, low key look? Unlike high-key lighting, this technique usually lets you play with lights and shadows to lend a dramatic mood on your portraits. However, it’s also possible to get beautiful results without all the harsh shadows dominating your subject’s…

Harsh flash can dull the environment at a gathering, yet contorting a flashgun and utilizing its bounce card can provide a more common look. In this bounce flash instructional exercise we disclose all that you have to know to utilize harsh flash into delicate light. The draw out bounce card seen...

Harsh flash can dull the environment at a gathering, yet contorting a flashgun and utilizing its bounce card can provide a more common look. In this bounce flash instructional exercise we disclose all that you have to know to utilize harsh flash into delicate light. The draw out bounce card seen...

Harsh flash can dull the environment at a gathering, yet contorting a flashgun and utilizing its bounce card can provide a more common look. In this bounce flash instructional exercise we disclose all that you have to know to utilize harsh flash into delicate light. The draw out bounce card seen...

Harsh flash can dull the environment at a gathering, yet contorting a flashgun and utilizing its bounce card can provide a more common look. In this bounce flash instructional exercise we disclose all that you have to know to utilize harsh flash into delicate light. The draw out bounce card seen...

Harsh flash can dull the environment at a gathering, yet contorting a flashgun and utilizing its bounce card can provide a more common look. In this bounce flash instructional exercise we disclose all that you have to know to utilize harsh flash into delicate light. The draw out bounce card seen...

When I first learned about bounce flash, one of the first lessons I learned was that bouncing to the ceiling, particularly with the flash aimed at around 45 degrees forward, is not ideal because it leads to raccoon eyes (shadows around eyes, especially deep-set ones).  At the same time I learned that bouncing the flash from the side could produce more interesting lighting by adding greater directionality to the light.  Ever since then I rarely bounced the flash from the ceiling.  Why would I, when there are so many other directions available?  Sometimes however, bouncing from the ceiling is not a bad option.  

On Mother's Day, we went to one of our favorite restaurants, Maison Akira in Pasadena (CA) for lunch.  It was a 30-mile drive each way for us, but we didn't mind.  They consistently serve the best foie-gras, and everything we've tried on their Japanese-French fusion menu is perfect, even a dish as humble as rotisserie chicken.

The chocolates served for dessert were heavenly!

But I digress.  After our lunch, we asked to have our picture taken.  I aimed the flash so that it would bounce almost straight up, but slightly pointed to the rear. There are a couple of reasons I bounced from the ceiling.  First, this is a group shot.  If I bounced to the left or the right, some of us would be well lit while others would be dark, because of the inverse square law.  It's possible to bounce the flash far enough that the light would appear even on all of us, but that would require a lot of power and a lot of ceiling space. Second, the tablecloths were white and the flash bounced from the ceiling would also be reflected by the tablecloth, creating a glamour type effect and filling in what otherwise would be shadows around the eyes. Anyway, here are the shots we got (in post, I changed the color of the tablecloth because it was distracting in white):

Nikon D300 + Tamron 17-50 VC, f/4, 1/60, ISO 640.  TTL Flash at -1 FEC.

Nikon D300 + Tamron 17-50 VC, f/4, 1/60, ISO 640.  TTL Flash at -1 FEC.

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