Speedliter's Handbook · Learning to Craft Light With Canon Speedlites by Arena, Syl -- Read -- Imperial Library of Trantor

Index

Title Page Copyright Page Dedication Page Insights on this second edition Contents Online Resources Welcome Speedliter!

This is a Book About How I Shoot The How and Why of The Handbook I am a Photographer, Not a Retoucher Pay Attention to the Sidebars

Chapter 0. Quick Start Guide to Speedliting

The Short Version Essential Concepts for Speedliters

Control Your Speedlite On Your Camera’s LCD Think About The Ambient Light Before You Turn On Your Flash Establish Workflows And Stick To Them A Pop-Up Flash Is Not A Speedlite Your Camera’s Hotshoe Is Not The Best Place To Put Your Speedlite Use Manual: Automatic Modes Limit Your Understanding Of What’s Going On Always Take Behind-The-Scenes Shots Take The Shot And Make The Mistake

Control your Speedlite via the LCD on your Camera

Speedlites That Can Display Their Menu On A Camera LCD EOS Cameras That Can Display Speedlite Menu Use Your Camera’s My Menu Screen The New External Flash Function Quick Menu

The Two Kinds of Light in a Flash Photograph

Ambient Light—The Light That Is Already There Flash—The Light You Create

Manage the Ambient Light First

You Can’t Dim The Sun...Or Can You? How To Get The Ambient Light You Want In Av Mode, Use Exposure Compensation To Brighten Or Darken The Ambient Light

Controlling the Brightness of the Flash

Speedlite Mode—Controlling The Power Manual Flash ≠ Manual Exposure E-TTL And Manual Modes—Both Have Their Strengths Fine-Tuning E-TTL With Flash Exposure Compensation Setting FEC On A 600EX-RT Setting FEC On A 580EX Or EX II Setting FEC On A 430EX Or EX II

A Simple Four-Step Workflow

A Simple Four-Step Speedlite Workflow

The Limitations of On-Camera Flash

Why Off-Camera Flash Looks Better

E-TTL Fill Flash: A Great Use for an On-Camera Speedlite

In Bright Sun, Shoot E-TTL Fill Flash

Part 1: Before Speedlites, There was Light

Chapter 1. Learn To See Light

The Short Version The Poetry of Light Character of Light

Intensity Direction Path Temperature Shadowline Contrast Consistency Highlights Chiaroscuro

How You See vs. How Your Camera Sees

You Have Two Eyes, Your Camera Has One You See Brighter Brights And Darker Darks You Can Distinguish Many More Colors Than Your Camera Can Record Your Brain Adjusts Various Light Sources To White; Your Camera Might Not

Chapter 2. Exposure Exposed

The Short Version Connecting Exposure Settings: Aperture, Shutter Speed, and ISO

Think “Stop” To Connect Exposure Settings

Aperture: Controlling Depth of Field

Whole, Half, And Third Stops Aperture And Depth Of Field Lens Focal Length And Depth Of Field

Shutter Speed: Managing Motion or Ambient Light ISO: Connecting the Aperture and Shutter Speed Equivalent Exposures

The Inverse Relationship Between Aperture And Shutter Speed Equivalent Exposure = Same Number Of Stops In The Opposite Direction Strategies For Choosing Aperture And Shutter Speed ISO Watches As Shutter And Aperture Dance Together Use Equivalent Exposures To Express Your Vision

Exposure Modes

M—Manual Av—Aperture Priority Tv—Shutter Priority B—Bulb [C1, C2, C3]—Camera User Settings P—Program “Green Box”—Full Automatic [CA]—Creative Automatic

Metering, Metering Zones, and Metering Modes

Metering Zones Metering Patterns

Exposure Evaluation for Flash Photography

Good Idea: Use The Image On Your Camera’s LCD To Check Lighting Bad Idea: Use The Image On Your Camera’s LCD To Judge The Exposure Essential Idea: Use Your Camera’s Histogram To Evaluate Exposure Three Things Your Camera’s Histogram Can Tell You Don’t Worry About The Shape Of The Histogram What The Histogram Can’t Do For You

Your Vision Determines the Proper Exposure

Chapter 3. Mechanics Of Light

The Short Version Taking Color’s Temperature

Color Temperature Is A Matter Of Degrees

White Balance

White Balance Settings White Balance In Action Which White Balance Setting To Use?

Incidence Incidentally

Light On The Straight And Narrow Mirror, Mirror... Direct vs. Diffuse Reflection

Soft Light Proves that Size is Relative

Consider Your Shadow’s Edge Big Is Not Always Big Making Speedlites Appear Larger Is A Big Part Of Speedliting

Falling Off, Or How to Love the Inverse Square Law

A Way To Visualize The Inverse Square Law In Action The Inverse Square Law Is Trying To Tell Us Something

Thinking About Flash-to-Subject Distance as Stops

1.4—The Photographer’s Magic Number My F-Stop Measuring Stick

Chapter 4. Manage The Ambient Light

The Short Version The Role of Ambient Light

Sources Of Ambient Light The Clues Of Ambient Light What You Can Do To Manage Ambient Light

Shutter Speed: The Key to Controlling Ambient Light in Flash Exposures

Why Shutter Speed Does Not Control Flash Exposure Dial The Background Down With Faster Shutter Speeds Going All The Way—Turn Day Into Night With A Fast Shutter Drag The Shutter To Brighten The Background

The Effect of Aperture and ISO on Ambient Light in Flash Photography

Aperture Affects Flash And Ambient Equally ISO Also Affects Flash And Ambient Equally

Blending Ambient and Flash

Matching The Color Of Your Ambient Light Matching The Direction Of Your Ambient Light

Chapter 5. Position Is Relative

The Short Version The Lighting Compass

Every Light Has An Angle You Can Tell A Lot About A Light By Its Angle Light Gets Brighter When It Comes At You

On-Axis and Off-Axis Light

Defining On-Axis Flash Off-Axis Flash Is Easy

Light from Above...And Below

The Lighting Inclinometer Shadows Fall...Usually

Part 2: Speedlites Fundamentally

Chapter 6. Meet The Speedlites

The Short Version Which Canon Speedlite is Right for You?

Considerations For Buying A Speedlite

Speedlite 600EX-RT

The World’s First Radio-Enabled Speedlite

Speedlite 600EX-RT Function Buttons in Non-Wireless Modes

E-TTL Menu M (Manual) Menu Multi (Stroboscopic) Menu Ext.A (External Auto) Menu Ext.M (External Manual) Menu

Speedlite 580EX II

A Versatile Speedlite

Speedlite 430EX II

A Great Starter Speedlite

Speedlite 320EX

An Entry-Level Speedlite That Provides A Full Set of Features

Speedlite 270EX II

A Compact Speedlite For Small Cameras And Travel

Speedlite 90EX

Canon’s Smallest Master Speedlite

Legacy Canon Ex Speedlites

580EX 550EX 430EX 420EX 380EX 270EX 220EX

Speedlite Transmitter ST-E3-RT

A Low-Profile Transmitter For Radio Speedliting

Speedlite Transmitter ST-E2

Transmitter For Optical Wireless Speedlite Control Resist The ST-E2 Temptation

Macro Ring Lite MR-14EX II Macro Twin Lite MT-24EX Third-Party Speedlights and Transmitters

Considerations For Buying Third-Party Gear

Chapter 7. Control Your Speedlite

The Short Version Control Issues: How, When, and Where

Breaking Speedlite Control Down Into Three Simple Tasks

How—Setting the Flash Power via Mode

The Basic Flash Modes: Manual And E-TTL Specialized Modes: Multi And External

When—Using Sync to Specify when the Speedlite Fires

Sync Begins With A Pair Of Curtains 1st-Curtain: The “Normal” Sync 2nd-Curtain: The “Motion” Sync High-Speed Sync: The “Midday” Sync How To Change Speedlite Sync Slow-Speed Sync / Dragging The Shutter

Where, Part 1—Using Zoom as a Flash Modifier

Automatic Zoom Manual Zoom Pull-Out Wide-Angle Diffuser Creating Dramatic Light With Zoom

Where, Part 2—Using Pan and Tilt to Aim the Speedlite

The Range Of Pan And Tilt Basics Of Bounce Flying The Light Over Or Around Beyond Bounce—Feathering Pan And Tilt When Shooting Optical Wireless

Chapter 8. Flashing Manually

The Short Version Manual Flash—Getting Started with the Most Versatile Flash Mode

To Start, Just Play With Manual

When to Use Manual Flash

Use Manual When The Distance From Subject To Flash Is Fixed Use Manual To Learn The Basics Use Manual When The Subject Will Pass Through A Preset Zone Use Manual To Maximize Your Speedlite’s Power Use Manual When Triggering Flashes And Strobes With Optical Slave Eyes

The Numbers of Manual Mode

Whole Stops Of Flash Power Intermediate-Stops of Flash Power on the 600EX-RT Intermediate-Stops of Flash Power On the 580EX/EX II And 430EX/EX II

Setting Power Manually on The 600EX-RT Setting Power Manually on The 580EX / EX II Setting Power Manually on The 430EX / EX II Setting Power Manually on The 320EX / 270EX II / 90EX Setting Manual Power on The LCD of 2012–Newer Camera Models Setting Manual Power on The LCD of 2007–2011 Camera Models My Workflow: Using One Speedlite in Manual Mode

Camera Mode (Varies By Situation) Decide On The Role Of The Speedlite Evaluate Ambient Light Setting Up The Speedlite

Chapter 9. E Is For Evaluative

The Short Version Deciding When to Set Your Speedlite to E-TTL

Best Situations For E-TTL The Frustrations Of E-TTL

The Mechanics of E-TTL

Ambient And Flash Metering Are Done Separately E-TTL Begins With The Preflash How ETTL Meters Ambient And Flash The Evaluative Part Of E-TTL Sometimes E-TTL Considers Camera-To-Subject Distance...But Not Always E-TTL—The Best Fill Flash For Backlight

Limitations of E-TTL

E-TTL On-Camera Flash Will Still Look Like On-Camera Flash E-TTL Does Not Factor In Your Visual Intent E-TTL And Hyper-Fast Blinkers E-TTL And Optical Slave Eyes

E-TTL and Camera Modes

Manual (M) Aperture Priority (Av) Program (P) Or Full Auto Shutter Priority (Tv)

FEC—Flash Exposure Compensation

FEC Increments Adjust FEC In The Same Direction As The Dominant Tones In Your Shot Set FEC On Your Camera Or Your Speedlite, But Not On Both Options To Set FEC Via Your Camera Setting FEC Via The Top-panel FEC Button Setting FEC Via The Quick Control Screen Creating An FEC Button Via Custom Controls Setting FEC Via The Flash Settings Menus Setting FEC Directly On The 600EX-RT Setting FEC Directly On The 580EX II Setting FEC Directly On The 480EX II Use EC And FEC At The Same Time

FEL—Flash Exposure Lock

Putting FEL To Work You Have 16 Magical Seconds FEL Is Not Always Available Activating FEL On Your Camera Use FEL When Shooting Alternate Compositions

Troubleshooting E-TTL

E-TTL Over-Exposes Your Shots E-TTL Does Not Change The Flash Power E-TTL Always Fires At Full Power

Chapter 10. Specialty Flash Modes

The Short Version Beyond Manual and E-TTL

Multi (MULTI) External Auto (Ext.A) External Manual (Ext.M) Group (Gr)

Multi Mode: Flashing Again and Again

What You Need For Multi/Stroboscopic The Three Settings For Stroboscopic Flash How Many Pops Of Light Do You Need? Maximum Number Of Flashes Setting The Hertz Power Level Shutter Speed Setting Your 600EX-RT Speedlite For Stroboscopic Flash Setting Your 500-Series Speedlite For Stroboscopic Flash

Single Speedlite Stroboscopic

Is A Single Speedlite Enough For Stroboscopic?

Multi Speedlite Stroboscopic

Advantage #1: Better Light Quality Advantage #2: More Pops Advantage #3: Broader Field Of Light Advantage #4: More Even Light Advantage #5: Faster Pops How To Configure A Slave For Stroboscopic Flash

Other Considerations for Stroboscopic

Move In The Right Direction Play With Gels Spinning vs. Linear Motion Pitch Black Is Not Pitch Black

External Flash Metering: Think “E–TTL Without the Preflash”

Canon Re-Introduces External Flash Metering On Speedlites Making A Case For External Flash Metering

External Auto (Ext.A)—Talks with the Camera

The Automatic Aspect Of External Auto: Aperture And ISO Setting Your 600EX-RT Speedlite For External Auto Flash Flash Exposure Compensation In External Auto Mode On The 600EX-RT Setting Your 580EX II Speedlite For External Automatic Flash Flash Exposure Compensation In External Auto Mode On The 580EX II

External Manual (Ext.M)—Works Independently of the Camera

Setting Your 600EX-RT Speedlite As An External Manual Flash Activating Your 580EX II Speedlite As An External Manual Flash Setting The Aperture And ISO On A 580EX II Fine-Tune Flash In External Manual Mode—Almost Like FEC

Other Tips for External Flash Metering

How To Use The Distance Scale With External Flash Metering There Is No High-Speed Sync For External Flash Metering

The Basics of Group Mode

The Flexibility Enabled By Group Mode The Gear Required For Group Mode Learn More About Group Mode

Part 3: Off-Camera Speedliting

Chapter 11. Triggers For Off-Camera Flash

The Short Version Choosing an Off-Camera Trigger is Always a Matter of Control

Cords As Triggers Optical Wireless Triggers Radio Wireless Triggers

E-TTL Cords: Affordable and Versatile Control of An Off-camera Speedlite

Coiled vs. Straight E-TTL Cords Hand-holding A Speedlite Connected To An Off-Camera Cord Flash Brackets With Off-Camera Cord Extra-Long E-TTL Cords OCF Gear—My Little E-TTL Cord Company Connecting Your E-TTL Cord To A Lightstand

Optical Slaves Eyes: Enable Canon Speedlites to Be Used With Other Brands

Canon Speedlites Need A Canon-Compatible Optical Slave Eye Sonia Canon-Compatible Optical Slaves: Think Green OCF Gear Smart Eye™

Canon’s Built-in Optical Wireless System “Fire Now!” Manual Radio Triggers

Yongnuo RF-603C II Transceiver Cactus V5 Transceiver Vello FreeWave Fusion Pro Pocket Wizard PlusX / Plus III / MultiMax

“Power-Adjusting” Manual Radio Triggers

Yongnuo YN-560-TX Flash Controller Yongnuo YN-560 IV Speedlite Cactus V6 Transceiver PocketWizard AC-3 Zone Controller

E-TTL Radio Triggers Compared to the 600EX-RT Radio-Enabled Speedlite

Yongnuo YN-622C-TX Flash Controller Phottix Odin II Controller Phottix Mitros+ Transceiver Flash RadioPopper PX PocketWizard ControlTL: MiniTT1/FlexTT5

Comparison of Trigger Systems

Chapter 12. Optical Wireless: The Canon Way

The Short Version Canon’s Optical and Radio Wireless Systems

Canon’s Optical Wireless Uses Pulsed Light Canon’s Radio Wireless Uses Invisible Radio Waves

The Optical Master: Someone has to be in Command

Most Settings Are Made On The Master The Flashtube Is The Transmitter Range And Coverage Of A Master Speedlite Line-Of-Sight: The Master Must Have A Visual Path To The Slaves

The Optical Slave: Worker Bee of Wireless Flash

Where To Make Settings On The Slave The Receiver Is On The Front Of The Slave The Slave’s Ready Indicator Twist The Slave Zooming A Slave

Master and Slave Settings for Optical Wireless

Settings That Must Be Made On The Optical Master Settings That Must Be Made On The Optical Slave

Using a Pop-Up Flash as an Optical Master

Master Set-Up Via Camera LCD On 7D- and xxD-Series Master Set-Up Via Camera LCD On Rebel T6i, T5i, T4i, and T3i

Activating a Speedlite as an Optical Master

Activating The 600EX-RT As An Optical Master Activating The 580EX II As An Optical Master Activating The 580EX As An Optical Master Activating The 550EX As An Optical Master Using The Text-Based Speedlite Control Menu To Activate An Optical Master Using The Icon-Based Speedlite Control Menu To Activate An Optical Master

Moving Your Master Speedlite Off-Camera

In Bright Sun, Position The Master Speedlite Where The Slaves Can See It Master As Off-Camera Key Or Fill Light Run An Optical Master Over To The Window To Talk To Slaves Outside Control An Optical Master And Slaves Inside A Softbox

To Fire Or Not To Fire: The Optical Master Wants to Know

Why You Might Want To Disable The Master Why You Might Want To Enable The Master The Speedlite LCD Makes It Hard To Tell If The Master Is Enabled Or Disabled Master Flash Firing On/Off Via The 600EX-RT LCD Panel Disabling And Enabling The Master On The 580EX II / 580EX LCD Panel Disabling And Enabling The Master On The 550EX LCD Panel Disabling And Enabling A Pop-Up Master Disabling And Enabling Speedlite Master Via Camera LCD

Activating a Speedlite as an Optical Slave

Activating The 600EX-RT As An Optical Slave Activating The 580EX II As An Optical Slave Activating The 580EX As An Optical Slave Activating The 550EX As An Optical Slave Activating The 430EX II As An Optical Slave Activating The 430EX As An Optical Slave Activating The 320EX As An Optical Slave Activating The 270EX II As An Optical Slave

Channels: Master and Slaves Must Be the Same

Setting The Channel On The 600EX-RT Optical Master Setting The Channel On The 600EX-RT Optical Slave Setting The Channel On The 580EX II / 580EX Setting The Channel On The 550EX Setting The Channel On The 430EX II / 430 EX Setting The Channel On The 320EX The Channel Is Preset On The 270EX II Using The Text-Based Speedlite Control Menu To Select The Channel For An Optical Master Using The Icon-Based Speedlite Control Menu To Select The Channel For An Optical Master Setting The Channel When Using The Pop-Up Flash In Master Mode

Groups: Assigning Jobs to Specific Speedlites

Setting The Flash Group On A 600EX-RT Optical Slave Setting The Flash Group On A 580EX II Optical Slave Setting The Flash Group On A 580EX Optical Slave Setting The Flash Group On A 550EX Optical Slave Setting The Flash Group On A 430EX II Optical Slave Selecting A Group On A 430EX Optical Slave Setting The Flash Group On A 320EX Optical Slave The Group Is Preset On A 270EX II Optical Slave

Adjusting E-TTL Flash Power in Optical Wireless

Flash Groups: ALL, A:B, A:B C E-TTL Ratios / FEC In E-TTL Wireless The Right And Left Of Ratios Converting Ratios To Stops

A:B Ratios: Two-Group E-TTL

Hard Light With Ratios For Portraits Soft Light With Ratios For Portraits Ratio Between On-Camera Fill And Off-Camera Key Ratio Between Opposing Off-Camera Speedlites

A:B C Ratios: Three-Group E-TTL

Canon’s View Of Three-Group Photography Setting Group C Via Camera LCD Monitor Setting Group C Via Master 600EX-RT LCD Setting Group C Via Master 580EX II LCD Setting Group C Via Slave LCD Panel

Adjusting Manual Flash Power in Optical Wireless

Setting Manual Power For Wireless Groups Via Camera LCD Monitor Setting Manual Flash Power Via LCD On A 600EX-RT Setting Up Wireless Manual Via LCD Panel On A 580EX II Or 580EX Setting Up Wireless Manual Via LCD Panel On A 550EX

Adjusting Multi Flash Power in Optical Wireless Activating a Speedlite as an Independent Slave

Setting Up A 600EX-RT As An Individual Slave Setting Up A 580EX II / 580EX / 550EX / 430EX II / 430EX As An Individual Slave

Chapter 13. Radio Speedliting: Canon’s New Frontier

The Short Version Why the 600EX-RT is a Revolutionary Speedlite

The Advantages Of Radio Over Optical Wireless Interactive Menu System Makes Control Much Easier Fully Compatible With Entire Range of Canon Optical-Wireless Speedlites ST-E3-RT Transmitter Matches The Interface Of The 600EX-RT Speedlite

Canon Options for Radio Master and Slave

Two Options For A Canon Radio Master Only One Option For A Canon Radio Slave

The 600EX-RT Interactive Menu System

The Two Buttons That Cause Changes On The Screen Display In Radio Wireless, Push The Menu Button To See More Options

Pre-2012 Cameras and Radio Wireless

2012 And Newer EOS Cameras (Post-2011) Pre-2012 EOS Cameras Other Concerns Of Shooting Pre-2012 EOS Cameras With Radio Wireless Need A Reason To Upgrade Your Camera?

Master and Slave Settings for Radio Wireless Activating The 600EX-RT as a Radio Master

Activating The Radio Master On The Speedlite LCD Activating The Radio Master On Cameras That Lack The Quick Control Menu For Flash Function Settings Activating The Radio Master On The Camera’s Quick Control Menu

Activating The 600EX-RT as a Radio Slave

Activating The 600EX-RT As A Radio Slave

Channel: Master and Slaves Must Be the Same

There Are 16 Options For The Channel Setting Setting The Channel On The Radio Master/Slave Setting The Radio Master’s Channel Via The On-Camera Quick Control Menu

Wireless ID: Master and Slaves Must Be the Same

Setting The Wireless ID On The 600EX-RT Radio Master/Slave Setting The Radio Master’s Wireless ID Via The On-Camera Quick Control Menu

Flash Groups: Assigning Jobs to Specific Speedlites

Setting The Flash Group On A 600EX-RT Radio Slave The Ratio Setting On The Master Controls The Number Of Flash Groups In The Shot

The Link Light Confirms your Master/Slave Communications

Radio Master Link Light Radio Slave Link Light What To Check If The Link Light Is Not Illuminated What To Check If The Link Light Is Red What To Check If The Link Light Is Intermittent

To Fire Or Not To Fire: The Radio Master Wants to Know

Do You Want On-Camera Flash From Your Hotshoe-Mounted Master? Have You Moved Your Master Off-Camera? Enabling/Disabling The Radio Master On The Speedlite LCD Enabling/Disabling The Radio Master On The Camera’s Quick Control Menu

Fine-Tuning E-TTL Flash Power in Radio Wireless

How The Ratio Setting Affects Power Adjustment In E-TTL Wireless The Right And Left Of Ratios Think Of Ratios In Terms Of Stops Ratio First, Then Use FEC Globally Setting An E-TTL Ratio On A Radio Master Setting An E-TTL Ratio Via The On-Camera Quick Control Menu

Setting Manual Flash Power in Radio Wireless

How The Ratio Setting Affects Power Adjustment In Manual Wireless Setting Manual Flash Power On A Radio Master Setting Manual Flash Power Via The On-Camera Quick Control Menu

Multi Mode in Radio Wireless

How The Ratio Setting Affects Power Adjustment In Multi Wireless Multi Mode Settings On A Radio Master Controlling Multi Mode In Radio Wireless Via The On-Camera Quick Control Menu

Group Mode: An Exciting and New Way to Speedlite

Controlling Flash Groups Individually In Group Mode Global Flash Exposure Compensation In Group Mode Controlling Group Mode Via The On-Camera Quick Control Menu

Remote Release and Linked Shot

Making The Connection Remote Release Linked Shot—Master and Slave(s) The Delay In Linked Shot Linked Shot—Will The Speedlite Fire?

Non-Canon Speedlites with Radio Built-In

Yongnuo YN-600EX-RT Speedlite and YN-E3-RT Transmitter Phottix Mitros+ Speedlite And Odin Transmitter Yongnuo YN-560 IV/III Flashes And YN-560TX Transmitter

Part 4: Gear for Speedliting

Chapter 14. Go Ahead, Mod Your Speedlite

The Short Version Why Mod?

Two Places For Mods Three Purposes Of Mods

Built-In Modifiers

Tilt And Pan Zoom Wide-Angle Diffuser Catchlight Panel

Options for Mounting Mods

Honl Speed Strap Vello Cinch Strap DIY Strap Built-In Strap

Globe and Dome Diffusers

Strobros Globe Diffuser Sto-Fen Omni-Bounce Vello Universal Bounce Diffuser Use A Dome Diffuser In Close

Bounce Reflectors

Rogue FlashBender Large Honl 8″ Speed Snoot/Reflector Vello 8″ Snoot/Reflector LumiQuest ProMax Bounce System Your Hand...Seriously

Softboxes that Attach to Speedlites

Lastolite Ezybox Speed-Lite Impact Quikbox Micro Westcott Pocket Box Kit Rogue FlashBender 2 Large Softbox Fstoppers Flash Disc LumiQuest Softbox III Vello Universal Softbox

Ring Light Adapters

RoundFlash Magnetic Ringflash Ray Flash 2 Orbis Use A Ring Light Adapter Off-Camera

Grids

Strobros Beauty Dish II And Grids Rogue 3-In-1 Honeycomb Grid Lastolite Strobo Grids Honl Speed Grids

Snoots

Rogue FlashBender Large Honl 8″ Speed Snoot/Reflector Strobros Snoot Lastolite Strobo Collapsible Snoot

Projectors

Spiffy Gear Light Blaster Lastolite Strobo Gobo

Flags

Rogue FlashBender Large Other Flags DIY Flags Consider Whether To Use The Black Or White Side To The Light Use Two Flags To Create A Slash Of Light

Random Essentials

Gels Rosco Cinefoil Gaffer’s Tape

Deciding Which Mods are Right for You

Two Novice Essentials Gear For The Enthusiast A Well-Stocked Speedliting Kit

Chapter 15. Those Big Modifiers Always Get in the Way

The Short Version Why Mod In a Big Way

Three Types Of Big Modifiers

Umbrellas

Umbrella Fabrics Umbrella Sizes Convertible Umbrellas Collapsible (Double-Fold) Umbrellas Configurable Umbrellas Umbrella Pistol Grips How To Mount An Umbrella On A Light Stand Positioning Umbrellas On The Set Mounting Multiple Speedlites Double Umbrella Setups Use A Large Parabolic Umbrella To Create A Wide Field Of Soft Light

Softboxes Made for Speedlites

Anatomy Of A Softbox Softboxes That Mount Speedlites On The Inside Softboxes That Mount A Speedlite (Or Two) On The Outside

Using Speedlites with Studio Softboxes

Softbox Adapters For Speedliting

Beauty Dishes

Rigid Beauty Dishes For Speedliting Collapsible Beauty Dishes For Speedliting

Scrims and Diffusion Panels

Scrim And Diffuser Fabrics Styles How Diffuser Position Affects Light Quality

Reflectors

Foam Core Reflectors Fabric Reflectors

Flags and Solids

Flags Solids

Chapter 16. Get A Grip

The Short Version Mounting a Speedlite Anywhere

Speedliting Begins With A Shoe Swivel Adapters Clamps Making A Special Connection Flexible Arms And Their Cousins

Sometimes You Have to Take a Stand

Lightweight Stands C-Stands—When Stability Matters

Reaching Out: Poles, Booms, and Boom Stands

Poles—Because Light Comes From Above Booms and Boom Stands

Rails and Other Multi-Lite Mounts

Mounts For Multiple Speedlites DIY Light Rails Turn Your C-Stand Into A Light Rail

Staying Flexible: Bungies, Straps, and Gaff

Bungies Velcro Straps Gaffer’s Tape

Chapter 17. Keeping The Energy Up

The Short Version Batteries Basically Single-Use Batteries

Alkaline Lithium (Avoid)

Rechargeable Batteries

Nickel-Metal Hydride (NiMH) Low-Discharge Nickel-Metal Hydride (LD-NiMH)

Best AA Batteries

Best AA: When Life Gets In The Way Best AA: When Maximum Power Matters Best AA: When Finding Them Matters

Battery Strategies

Buying Batteries Avoid Mixing Batteries How I Manage Batteries

External Battery Packs

Speedlites With External Power Ports Overheating Is A Risk Your Speedlite Still Needs Internal Batteries External Power Options Via Custom Functions AA-Battery External Battery Packs High-Capacity External Battery Packs

Charging Batteries

The Risk Of Inexpensive Chargers What Makes A Charger Smart Maha C801D—My Favorite Charger Maha C204W—A Great Four-Cell Charger

Carrying Batteries

StoraCell Battery Caddy

Part 5: Speedliting In Action

Chapter 18. Getting The Most Out of On-Camera Flash

The Short Version Pop-Up Flash vs. Speedlite

The Convenience Of Pop-Up Flash Cannot Be Denied The Pop-Up Flash Is Best At Close Distances The Pop-Up Flash Always Looks Straight Ahead A Pop-Up Flash Cannot Be Zoomed The Pop-Up Flash As A Transmitter A Pop-Up Flash Will Not Do High-Speed Sync The Best Uses For A Pop-Up Flash

Fill Shadows with On-Camera Flash

On-Camera Key vs. On-Camera Fill Light E-TTL Is The Best Mode For Fill Flash High-Speed Sync Is A Huge Help With Fill Flash

Create Soft Light By Bouncing On-Camera Flash Are Diffusers for On-Camera Flash Helpful? Other Tips for On-Camera Flash

Place Your Shadows By Rotating Your Camera Align The Flash With Your Subject’s Nose Use A Flash Bracket That Centers The Speedlite Above The Lens That Little White Card Is Effective Only At Very Close Distances Dish Diffusers Waste Lots Of Light Unless There Is A Bounce Surface Nearby

Chapter 19. Portraits With One Speedlite

The Short Version Back to Basics, Quickly

One Speedlite, So Many Jobs Location, Location, Location

Shoot: Position Your Modifier with intention

To Start, Raise The Modifier Slightly Above Your Subject’s Head Push Your Mod In For Softer Light, Pull It Out For Crisper Shadows Lighting Details Camera Details

Shoot: One Speedlite with Fill Reflector

Fly A Bit Of Light Past Your Subject For Fill Get Your Fill Reflector In Close Lighting Details Camera Details

Shoot: Creating Soft Fill Light with a Big Umbrella

Windowlight May Be Soft, But It Is Still Directional Blending Fill Flash Into Windowlight With A Large, White Umbrella Lighting Details Camera Details

Shoot: Broad and Short Lighting

Think About The Direction Of The Nose Rotate The Subject Or Move The Light Lighting Details Camera Details

Shoot: Think of The Shutter as a Light Modifier

Directing Your Viewer’s Focus Lighting Details Camera Details

Shoot: Just a Slash of Light

Use A Narrow Softbox To Light The Subject, But Not The Background Lighting Details Camera Details

Shoot: RING The Lens with Light

The Distinctive Look Of A Ring Flash The RoundFlash Is My Favorite Ring Light Adapter For Speedlites Lighting Details Camera Details

Shoot: Nose to The Gridded Light

Grids Are A Favorite Modifier A Window Creates Rim Light Lighting Details Camera Details

Shoot: One-Light White Seamless

Most Of The Flash Lights The Background Maximize The Separation Between The Wall And The Subject Lighting Details Camera Details

Shoot: Speedliting a Silhouette

Use Zoom To Create The Background Pattern Hide The Flash Sometimes Less Is More Lighting Details Camera Details

Shoot: Does Softbox Size Matter?

All Three Ezyboxes Create Soft Light The Difference Is The Reach Of The Light Lighting Details Camera Details

Chapter 20. Portraits With Multiple Speedlites

The Short Version Opening Horizons with Multiple Speedlites

Advantages Of Multiple Speedlites Ways To Trigger Multiple Speedlites Deciding Among The Candidates For A Second (Or Third, Or...) Speedlite

Shoot: Clamshell Lighting, Top to Bottom

Meet The Clamshell—A Two-Speedlite Glamour Setup Control The Top-Bottom Ratio To Adjust The Shadows Clamshell With The Gear You Have A Clamshell With Optical Wireless Lighting Details Camera Details

Shoot: Classic Three-Light Portrait

Three Lights United By One Cause A Great Time To Use Wireless Manual Flash Build The Lighting One Flash At A Time Lighting Details Camera Details

Shoot: Multiple Softboxes for Fill Flash

Foliage Looks Better When Backlit Sorting Out The Ambient Exposure High-Speed Sync For Fill Flash Sometimes Photoshop Is The Best Option Lighting Details Camera Details

Shoot: Three-Light Sports Portrait

As Always, Start With The Ambient Light On-Camera Master Enabled For Fill Flash Creating Synergy Between Hatchet Lighting And Fill Flash Flag The Hatchets With FlashBenders Lighting Details Camera Details

Shoot: Crossfire Lighting

Crossfire Provides A Wide Range Of Lighting Angles Work Around The Subject In An Arc One-Light Crossfire Lighting Lighting Details Camera Details

Shoot: Hard and Soft Light Outdoors

To Start, Drop Your Subject In Shade Push A Large Softbox In On Top Of Your Subject Hard Light Adds Snap To Soft Light Hide Speedlites In The Shot To Light Environmental Elements Lighting Details Camera Details

Shoot: Paired Speedlites in a Beauty Dish

The Look Of The Beauty Dish Radio Speedliting On Older Cameras Underexposed Ambient Lighting Details Camera Details

Shoot: Creating A Big Patch of Soft Light

Creating A Big Field Of Soft Light Filling A Big Umbrella With Speedlites An Easy Situation For Optical Wireless Lighting Details Camera Details

Shoot: Multiple Speedlites in a Softbox

Why I Prefer A Softbox To An Umbrella Westcott’s Apollo Softboxes—A Great Softbox For Speedlites Multiple Speedlites Inside Shorten The Recycle Time Master And Slaves Together Inside The Softbox Lighting Details Camera Details

Shoot: Multi-LIGHT, Second-Curtain Sync

The Camera Must Sense That A Canon Speedlite Is Connected If You Do Not Use Canon Wireless, Then Second-Curtain Sync Remains Active Lighting Details Camera Details

Chapter 21. Gelling For Effect

The Short Version Gels Quickly

The Main Uses Of Gels

If Color Correction Is Needed, Did Something Go Wrong?

Why Hollywood Invented Color Correction Gels Color...It’s A Balancing Act

The Daylight Cycle Affects The Color of Sunlight

Understanding Blue Hour And Golden Hour

Think About White Balance as a Creative Tool

Creativity Is Often A Matter Of Balance Disconnect The Color Of Your Flash From The Color Of The Ambient Light Using A RAW Workflow With Gels

Gel Systems

Canon’s 600EX-RT Gel Holder Rogue Lighting Filter Kits Rosco Strobist Gel Collection

How I Mount Gels

Velcro Speed Strap—My Favorite Gaffer’s Tape—Inexpensive and Versatile Gels Under Modifiers

Getting Dramatic with Color My Favorite Gels

Must Have: CTO Gels Must Have: Color Effect Gels Optional: Other Color Correction Gels

Shoot: Gelled Fill Flash at Sunset

It’s Not Whether To Fill, It’s How To Fill Use A Bit Of CTO Gel To Warm The Fill Lighting Details Camera Details

Shoot: Golden Hour at any Time

Creating The Look Of A Rising/Setting Sun Suck Out The Ambient Light First Ask Your Subject To Confirm That The Flash Is In View Lighting Details Camera Details

Shoot: Bluer Than Blue Skies

The Tricky Tungsten Trick Put Your Subject In Shade First Lighting Details Camera Details

Shoot: Coloring the Night

Hide The Ambient Light Daylight WB, Two Gels, A Flag, And A Grid Be Open To “Accidents” Lighting Details Camera Details

Chapter 22. Slicing Time With High-Speed Sync

The Short Version High-Speed Sync is a Game Changer for Flash Photographers

Three Types Of Shots You Can Make With High-Speed Sync

Activating High-Speed Sync

Activating HSS On The 600EX-RT Activating HSS On The 500- And 400-Series EX Speedlites Activating HSS On 2012 And Newer Camera Models Activating HSS On Pre-2011 Camera Models

Syncing Flash Normally

X-Sync Speed Why Flash Won’t Sync At Faster Shutter Speeds Your Camera Will Override Your Settings

High-Speed Sync Changes the Way Your Speedlite Fires

Changing The Way The Speedlite Fires The Power Hit In High-Speed Sync

Workflow for Creating Dramatic Light with HSS

Use HSS To Emphasize The Subject And De-Emphasize The Background

Alternatives to High-Speed Sync

Faux-Speed Sync Neutral Density Filters

Shoot: Flashing Wide Open in Full Sun

On-Camera Flash In Full Sun Camera Details

Shoot: Dimming the Sun

Previsualizing The Shoot Revisualizing And Seizing The Moment Dimming The Sun Makes The Shot Hatchet Lighting At Its Best Lighting Details Camera Details

Shoot: Fill Flash with High-Speed Action

Create A Zone Of Fill Light Squeeze Every Photon Out By Switching To Manual Move The Master To A Spot That The Slaves Can See Lighting Details Camera Details

Shoot: When High-Speed Sync is Not the Best Choice

Using Flash Duration As A Shutter The Soggy Evidence Lighting Details Camera Details

Chapter 23. Gang Lighting

The Short Version Gang Lighting—A New Way to Light

Smashing Pumpkins: Lessons Learned Gang Light As A Light Modifier Gang Light Overcomes HSS Power Loss How To Be A Gang Lighter The Math Of Gang Lighting The Perfect Excuse For A Meetup Building Rails For Gang Light Other Options For Mounting Gang Lights Comparing A Bunch Of Speedlites To Other Options Options For Firing Gang Lights

Shoot: Smashing Pumpkins

Freezing Supersonic Seeds Why Line-Of-Sight Wireless Would Have Failed Changing The Weather With High-Speed Sync Lighting Details Camera Details

Shoot: Hiding a Cluttered Background

The Falloff Is The Key Speedlites Mimicking A Long Softbox Lighting Details Camera Details

Shoot: Pushing Back Against The Desert Sun

Gang Lighting Fill Flash At High Noon A Bit Of Photoshop Lighting Details Camera Details

Part 6: Appendixes

Appendix 1: Menus—600EX-RT / ST-E3-RT Radio Wireless

E-TTL Menu 1—Radio Master E-TTL Menu 2—Radio Master E-TTL Menu 3—Radio Master E-TTL Menu 4—Radio Master Manual Menu 1—Radio Master Manual Menu 2—Radio Master Manual Menu 3—Radio Master Manual Menu 4—Radio Master Multi Menu 1—Radio Master Multi Menu 2—Radio Master Multi Menu 3—Radio Master Multi Menu 4—Radio Master Group Menu 1—Radio Master Group Menu 2—Radio Master Group Menu 3—Radio Master Group Menu 4—Radio Master Slave Menu 1—Radio Wireless Slave Menu 2—Radio Wireless Slave Menu 3—Radio Wireless

Appendix 2: Menus—600EX-RT Optical Wireless

E-TTL Menu 1—Optical Master E-TTL Menu 2—Optical Master E-TTL Menu 3—Optical Master Manual Menu 1—Optical Master Manual Menu 2—Optical Master Manual Menu 3—Optical Master Multi Menu 1—Optical Master Multi Menu 2—Optical Master Multi Menu 3—Optical Master Slave Menu 1—Optical Wireless Slave Menu 2—Optical Wireless

Appendix 3: Menus—600EX-RT Non-Wireless

E-TTL—Non-Wireless Manual—Non-Wireless Multi—Non-Wireless External Auto—Non-Wireless External Manual—Non-Wireless

Appendix 4: Custom And Personal Functions

Setting Custom Functions The Must-Change Custom Function 600EX-RT Custom Functions 600EX-RT Personal Functions ST-E3-RT Custom Functions ST-E3-RT Personal Functions 580EX II 580EX 550EX 430EX II 430EX 320EX 270EX II 270EX

Index

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