![]() The next example in this lesson is a very useful trick for using bounce flash to improve your quick snapshots. The shape, color and lighting ratio of the model is greatly improved because the light is coming from the side. In review, the set up accomplishes two goals: The light source does not bounce back into the camera, so that we are allowed to look directly at the window. In figure 8 we see a wide shot of the setup for figure 7. Avoiding the direct incident angle of light has improved the color, defined the shape of the subject’s face, avoided the flashback in the window, and created a more natural feel to the photo. The result in figure 7, compared to our original shot in figure 8, shows a dramatic improvement. Even though the camera is on-axis to the window, the flash is off-axis, so the flash bounces off the window at an angle and misses the camera. In figure 7 we’ve used an extra small OctoDome® with a StarFire™ flash to the right of the camera to light our subject. In addition, we’ve added a 22 inch LiteDisc reflector to bounce some of the stray light onto the dark side of our subject. 6, we see a typical setup where the shadow of the subject and the incident reflection are avoided. As long as the light is off-axis from the background, the hot spot will not appear in the photo. Shooting directly into an on-axis background is easily accomplished by using an off-camera light source positioned to the left or right of the camera. Some situations with an on-axis background include photographing flat art, showing a person in front of a large window, or showcasing a feature of an architectural interior. However, there may be times when you may want the wall on axis behind your subject. (figure 4)įigure 5 shows the improved result when we change an on-axis flash to an off-axis flash. In the diagram of figure 4 we see that the camera is now off-axis from the wall, and the reflection from the camera flash is no longer bouncing back into the lens. Taking a few steps to one side or another causes the (camera mounted) flash to hit the background surface at an oblique angle, so the light misses the camera when it bounces back. The hotspot of light from a surface behind our subject perfectly illustrates that a flash aimed directly at a wall or window (on-axis) will bounce directly back at us. ‘On-axis’ flash, creating the ‘bounce back flash’ that frequently ruins photos, is shown in fig. If the on-camera flash is fired when the camera is on-axis, a direct incident reflection results, as illustrated. When the camera sensor is parallel to a surface in the photo, we call it ‘on-axis’ positioning. This occurs when the light from a flash hits a surface that’s parallel to the camera sensor and bounces right back at the camera. One of the most common problems in flash photos is the ‘flashback’ reflection behind the subject. That’s the most basic illustration of the concept, but as we’ll see, there’s a lot more to consider. ![]() Finally, we’ll explore the useful and fun aspects of the angle of incidence.In this simple diagram we see that a beam of light enters from the left, strikes a surface, and exits to the right at the same angle. Then we’ll provide solutions to problems that arise from unintended reflections. This often mentioned law of lighting physics is easily demonstrated, as in the photo of me holding a laser pointer, but how can it be used for creative purposes? In this lesson we’ll show you how the angle of incidence works in scientific terms. Understanding additive and subtractive lighting.Using reflections to achieve interesting effects.Avoiding common problems from unwanted reflections.Learning about this aspect of lighting all begins with the phrase: The angle of incidence equals the angle of reflection. We don’t think about the physics of light and reflections very often, but a basic understanding of light theory can be helpful. The surfaces might be skin, water, leaves, flowers, clouds, buildings, even the sky, but they’re all reflections. Unless your camera is pointed directly at a light source, like the sun or a light bulb, you’re photographing light reflecting off of a surface. Almost all photographs are simply a record of reflections. ![]()
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