Most of the time we want to be taking portraits with off-camera flash. It generally gives us a lot more flexibility and creates more flattering results, letting us use modifiers to further shape the light. However, sometimes, especially if we are shooting weddings and events, we cannot have the luxury of off camera flash, and must mount it on the camera.
It is still possible to create beautiful portraits with on camera flash, and there’s the added advantage with most speedlights of being able to use TTL metering. In this video, Mark Wallace gives us his approach to shooting with on-camera flash and gives his tips to avoid the dreaded rabbit-in-headlights look.
Basic camera setup
Mark begins by setting his camera to Aperture Priority Mode (Av), starting at an aperture of f/8 and an ISO of 160. This is to replicate settings from a previous video that used studio strobes. With an initial shutter speed of 1/60th of a second, he matches the ambient lighting for a balanced exposure.
Adjusting ambient light using exposure compensation
Mark explains how exposure compensation can be used to adjust the ambient light without touching the flash. Here’s a breakdown of how he does it:
Exposure Compensation Control: Every camera has a control for exposure compensation. By adjusting it up or down, Mark can change how much of the ambient light is captured in the shot.
Examples of Changes: He takes a series of shots, starting from zero exposure compensation and then going one stop lower, two stops lower, and three stops lower. As the exposure compensation is adjusted downward, the background becomes darker while the subject remains the same.
This process highlights that ambient light is controlled by the shutter speed. Mark notes that the camera adjusts the shutter speed to compensate for changes, allowing more or less ambient light into the shot.
Adding flash
Once the basic ambient lighting is set, Mark turns on the flash and explains how it changes things. Here are some key points:
Flash Exposure Compensation (FEC): He introduces flash exposure compensation, which works similarly to regular exposure compensation but only affects the intensity of the flash. This allows the user to adjust the flash power while leaving the ambient light unaffected.
Darkening the Background: By combining regular exposure compensation (to darken the ambient light) with flash exposure compensation (to control the brightness of the subject), Mark demonstrates how to achieve a balanced portrait with a well-lit subject against a darker background.
Using manual mode for greater control
Mark shifts from aperture priority mode to manual mode for full control over both ambient and flash. While using aperture priority mode is a good start, manual mode lets you have complete control over all your settings, and it’s really not as difficult as you might think.
Ambient Light Control: By manually adjusting the shutter speed, Mark can directly control how much ambient light affects the photo. Faster shutter speeds make the background darker.
Flash Exposure Control: The flash exposure remains consistent regardless of shutter speed changes, allowing him to independently control the brightness of the subject.
In manual mode, Mark shows that by using a faster shutter speed, the background gets progressively darker, creating a dramatic effect without affecting the subject, which is illuminated by the flash.
Try Flash Exposure Bracketing for tricky situations
Mark also explains how to use flash exposure bracketing to quickly capture three versions of a shot with different flash intensities:
Normal Exposure
One Stop Underexposed
One Stop Overexposed
This technique is useful when you’re unsure of the best flash exposure and want multiple options to choose from in post-processing. It’s similar to shooting in HDR mode on your camera, except that it’s the flash output that gets modified, not the ambient light. If you’re unsure what settings to use this might be a good option.
Final tips and tricks
Bouncing the Flash: Bouncing the flash off a white ceiling or wall, if available, can greatly soften the light and improve the quality of the portrait. Mark demonstrates this by bouncing light off a white overhang to create a more natural look. You could also use a bounce card, which often comes tucked inside the flash head.
Experiment with Flash Positioning: Different angles of the flash can dramatically change the lighting on the subject. Mark encourages experimenting with these angles to find the most flattering light.
Trial and Error: Mark emphasizes that practising different lighting techniques will help photographers understand how their specific speedlight works in various situations.
Like everything, using and becoming confident with shooting flash, whether on or off camera, is just a matter of using it, experimenting, and then practising until it feels automatic.
