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I'm doing my first wedding for a friend next month, and to get rid of the harsh shadows I get in portrait mode with my 580 EXII, I decided to get a flash bracket. I thought I'd save some money with the quick flip 350, but from what I gather that won't work with a grip. Then, I realized there are much nicer brackets out there anyway! Anybody with a recommendation for my setup? In case it matters, my primary lens is Canon's 24-70. Thanks!
First of all, a flash bracket will by no means get rid of harsh shadows. At best (very close distances) it will only change the *direction* of the harsh shadows (make them point down a little more). It does help to reduce red eye.
If you want to get rid of harsh shadows, you have to use soft light; no way around it. At a wedding it's not possible to have portable soft light unless you can bounce (almost never) or you have your assistant follow you around with an umbrella (hah!).
That said, I use a simple Stroboframe Quickflip and battery grip, but I hear others like the more expensive stroboframes as well as the Newton flash flip and Custom Bracket Jr.
I use a Gary Fong LightSphere (cloud) and most of my flash burns are eleminated
I use a newton bracket with a Sto-Fen Omni-Bounce light modifier when I am shooting weddings and get good results.
http://www.newtoncamerabrackets.com/
XTi w/ grip, 24-105 f4 @ 4.5, 1/160, ISO 800, 580EXII, post process in PSE6. I now use this setup with my 5D.
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As Daniel said, a bracket isn't going to do much about harshness. One purpose is to raise the flash. Another purpose is to keep the same basic relationship between the flash and the lens in portrait mode as in landscape mode. There are various movable brackets that can do this. They work a bit differently--some flip the flash, some allow you to rotate the camera inside the bracket, while yet others rotate the flash. Which is "best" depends a lot on personal preference, I expect. I have four movable flash brackets (in addition to several of the old L-type brackets that were designed for cameras without hot shoes, "macro" brackets and fixed brackets for use on a gimbal head), in rough order of purchase:
- Imitation/copy of the Stroboframe Stroboflip. This uses a 4-bar linkage (for any engineers) to rotate the flash from one side of the bracket to the other. This way, the flash is in the same orientation ("vertical") in both landscape and portrait modes. That probably puts less stress on the flash foot, though rotating the flash, in itself, might put stress on the foot. One advantage to this one is that it's fairly light weight. A disadvantage is that it screws into the tripod socket on the camera, rather than using a quick-release clamp. If you're going to leave it on for a job, though, that wouldn't be a real problem. (To be sold)
- An older version of the Newton flash rotator bracket. (I can see why Robert Newton changed the design a bit!) This works pretty much the same way as the Stroboflip, but has a more elegant implementation, machined rather than stamped. It's also a bit more adjustable. Also to be sold.
- Kirk FB-11 Telephoto flash bracket for collared lenses (or you can use Kirk's FB-10A Camera Adaptor). This requires a lens plate on the lens with the appropriate holes. Both Kirk's plates and Wimberley's plates have the holes. The Camera Adaptor requires an Arca-Swiss type camera plate or L-bracket. (These are made by various companies, including Kirk, Wimberley, Really Right Stuff, Acratech, Markins, Feisol, and others.) It canbe flipped to the right, but, with a collared lens, that really isn't often necessary. Also to be sold--replaced by the Really Right Stuff B-87B below.
- Really Right Stuff Wedding Pro Flash Bracket. This is a "flip" type bracket--in the portrait mode, the flash is horizontal, so the long dimension of the flash head is vertical. That way, it always matches the camera's frame orientation. The Stroboframe and Newton brackets have the flash orientation opposite to the camera's in the portrait mode. How important that is, I don't know. One big advantage (for me) of the RRS WPF-1 is that it folds up to a very small package--the smallest of any movable bracket I've seen. A disadvantage (for some) is that it requires an L-plate on the camera. That's not a disadvantage for me, as I keep an L-plate on my 30D and my G9. The WPF-1 also provides a place to attach a remote flash trigger, like the PocketWizard (and others with a 1/4-20 socket). It also has an accessory socket on top that I can use with the Canon external battery pack (mine is actually the earlier CP-E3) for my 580EX. (That's not as good as a Quantum battery, but a lot lighter--anyone who's hefted a Quantum Turbo will know what I mean. It's not for nothing that they have dees for shoulder straps.) Also, the WPF-1 is one of very few flash brackets that can be mounted on an Arca-Swiss-compatible quick release clamp (e.g., on a ballhead) in both landscape and portrait modes. This is the bracket that I use the most.
- Really Right Stuff B-87B This is also intended for collared lenses with a lens plate that has dovetails on top as well as the bottom, but, like Kirk, RRS makes an adaptor so that you can use it with non-collared lenses, though that will also require a camera plate or L-bracket. The unique thing about the B-series brackets is that the flash rotates by sliding around a circular arm. It's also more compact than the Kirk FB-11, though heavier. One can also add another flash holder I just got it and haven't had a chance to try it out.
There are lots of other brackets by Stroboframe, Kirk, Really Right Stuff, and others. The Stroboframe "quick-flip" type brackets are apparently quite popular, as well. One thing to be aware of is how and where the bracket mounts. That can affect the ergonomics of your use of the camera and bracket. Some brackets are designed so that, in the "flipped" position, the flash is on the left side of the camera. That forces you to hold the camera with the shutter release on the bottom. Some people prefer that--I hate it, as it twists my right wrist way out of a comfortable neutral position. Others, like all of mine, can be mounted so that the flash "flips" or rotates to the right side, allowing me not only to have the shutter release on top, but to use the portrait-mode controls on my Canon BG-E2 grip. If I'm doing one or two portrait shots, I keep my right hand on the regular grip and rotate the camera, as it's quicker. For a lot of shots, I move onto the BG-E2's side. The grip, itself, isn't as comfortable in my hand as the regular mode, but it's more stable
One interesting--but rather expensive!--bracket is the Justrite bracket. It's an example of a camera-rotating bracket. I wouldn't use it because the manufacturer insists upon using Bogen quick-release mounts, rather than Arca-Swiss. I won't go into the pros and cons of various QR systems, but I have Arca-Swiss-type plates on my 30D, G9 and S3. The only proprietary plate I use is for my camcorder with the cheap (but highly functional) Sunpak tripod that came with the camcorder.
However, you may not need a bracket, depending upon what sort of flash modifier you use--more on that, later.
Quote:
Originally Posted by iND
I borrowed one of these for the weekend from a friend. I have only been able to use it once for its intended purpose so far, but the portrait I took with it turned out very well for an amateur, I think. This is one of my son's friends, and we were at their middle school Spring band concert.
40D, EF 70-200mm f/4 L @70mm andf/4, 580EX with Gary Fong Lightsphere Universal and white inverted dome cap. Shot was portrait with the flash rotated and facing straight up towards the ceiling.
http://i285.photobucket.com/albums/l...dsportrait.jpg
The bracket is nice to get the flash way from the camera to virtually eliminate any red eye, as well as to keep the shadows from looking so close to the subject. I love my Lumiquest Promax Softbox, attached with the Cinchstrap, to soften the light. It is a very cost effective option, and works quite well.
Thank you all for the incredibly detailed response with pictures and links to my question! I should've chosen my words more carefully when I said harsh shadows; I meant to say that they are so much more prominent with the flash shooting sideways. Nevertheless, I'm very interested in some of the suggestions on how to soften light as well, either with the Gary Fong or a softbox, so this worked out nicely!
I like the Really Right Stuff Wedding Pro Flash Bracket from the description for its size and convenience (nice video on their website!), but adding the L plate to the cost that's out of my budget range. Since I'm not planning on doing weddings professionally I don't want to spend too much, but for the few times that I'll need it, I do want it to be both functional and sturdy enough. The arc brackets look nice as well. It seems to take less effort changing orientation, but all the photo's of the bracket seem to indicate that the camera rotates clockwise (looking at the screen), making my grip obsolete (besides extra battery power).
I'll have to see how far I can strech my budget, and see which one of the recommendations fits best. Thanks again!
I was going to write more about flash modifiers. They work in basically two ways: diffuse the light and/or bounce light off surfaces. Some, like the Fong Lightsphere and Sto-Fen, do both. There are several goals:
- You want to soften the light, which means making the light source larger; small, point-like sources, like flash heads, are harsh--the light is rather stark and the shadows are obvious and deep.
- You want to make the lighting more even, instead of looking like you're illuminating a person with a flashlight. That also requires a larger light source, plus it helps if the light seems to be coming from different directions, more like an overcast day versus bright sun.
- You may want more depth in your lighting. Exposure with flash depends upon the output of the flash and the distance to the subject from the flsh. (The distance from the subject to the camera usually isn't important because the subject usually isn't very small, unlike the lights. That's why a studio photographer can set up her off-camera lights or strobes, then wander around, shooting from different positions, angles, and distances, and still get the same exposure all the time.) If you use direct flash, something at double the distance will have one 1/4 the illumination, so it will be two stops darker. (That's why you get a well-lit subject and a very dark background, which looks unnatural.) You may want more general illumination, so that people at different distances are still well-lit.
- You may want to emphasize some part of the scene with highlights, direct lights, etc.
- You may want to accent something in the scene--a "glow" to the hair, for example. (Studio setups, especially for women, will often include a "hair light.") The most usual accent you'd want are people's eyes--you want a "catchlight," a reflection from their eyes, which makes them look more alive and more interesting.
- You will probably want the people to be comfortable, which usually means not flashing a powerful strobe right into their eyes over and over.
- You want your system to be versatile, as you'll be changing venues/environments, distances, framing (close-ups to group shots, etc), mood, etc. You probably don't want to have to carry around a lot of gear and be constantly changing stuff.
You can't easily do all of those with on-camera flash--that's why studio photographers use a series of lights and modifiers. However, you can certainly improve a lot on the basic direct, bright-light-in-your-face flash.
The Lightsphere, Sto-Fen, and similar devices, like the Lumiquest Ultrabounce, simulate a "bare bulb" flash--on some big flash units, you can take the reflector and lens off, exposing the flash tube, which sits on top of the flash (usually a "handle" flash that goes next to the camera). The bare bulb sends light all around. The light bounces off ceilings, walls, etc., illuminating essentially everything, like a ceiling light. That can give quite even lighting, but it "wastes" a lot of light, as it lights up vastly more than the desired "target." If you have a powerful flash, like the 580EX or 580EX II, and the ceiling isn't too high and/or there are walls to bounce the light off of, it can work very well. Check Gary Fong's site and especially flashdiffuser.com for a lot more information and demo videos, including one on how to set your Canon camera and flash. (Fong apparently is primarily a wedding photographer.)
A bare bulb can still cast harsh shadows, though, if the subject is fairly close, as it's still a point source. The Lightsphere, etc., also "diffuse" the light--put it through something like a plastic cup (literally, in the case of the Lightsphere--it looks like a plastic bowl, and people have been known to make a DIY "Lightsphere" from plastic bowls). That makes the source larger, which further softens the light. Fong also has the WhaleTail, which you have to see to believe. It does look quite versatile, though I haven't tried it.
There are other ways to bounce light, of course. You can point the flash straight up (or slightly forward) and get bounced light. That sounds good, but can look really bad. If a person is fairly close, it often gives them "raccoon eyes"--deep shadows on the eyes, beneath the nose and chin. It's not very flattering. Also, it leaves people's eyes looking dull, as there's no direct light reflecting from their eyes. The traditional way to deal with this has been with a "bounce card"--literally a 3x5 card held onto the back of the flash head with a rubber band. The card catches some light and directs it forward. (You can do the same thing, to an extent, with the "catchlight" panel on the 580EX or 580EX II. Pull the diffuser panel out. An white plastic panel will come out with it. Push the diffuser back into the flash head and there's your catchlight panel.) A bounce card directs more light forward, though.
Peter Gregg came up with A Better Bounce Card (yes, that's what he calls it), then several modifications and/or improvements to it. He has directions for making your own out of white paper or, for more durability and "adjustability," white foam paper from a craft store. His videos (watch 1, 2, 3, 4, & 8) show you how to make one for yourself, but he also sells them. (Note: his attachment band is nice--I have one, but I was able to get very wide rubber bands at Staples that work very well, plus they're really cheap. They also serve as "friction" backing for a velcro strap--more later.) Gregg now has his "Ultimate Bounce Card," which has some advantages.
In Gregg's videos, you'll learn a bit about directional bouncing. (I think it's called, "foofing.") Instead of pointing the flash head straight up or slightly forward, point it over your shoulder, off to the side, etc., wherever there's a "bounceable" surface. (You can even bounce light off a person, though, as Gregg says in one of the later videos, people may not appreciate having a flash go off in their faces.) You can't do that with the Lightsphere or Sto-Fen. (The Lightsphere does have a "chrome dome," which is a bit directional, but it's not the same.) I won't go into this more because Gregg's videos are a lot better, even though he doesn't really demonstrate what he's talking about
The bounce card could also be angled forward, to throw more light forward. That's the intent of devices like Lumiquest's Pocket Bouncer and Pro-Max system, and others. (See a list below.) They act like a scoop (indeed, one device is calle the "Lite-Scoop") and, again, make the light source larger. You can use a modification of the ABBC design to make a "scoop" yourself or something much like the Pocket Bouncer. (I made one with stick-on velcro, so I didn't need staples.) Some of these have inserts, like the Pro-Max system--gold for warming, silver for "sparkling" light, white for more even light. Some can also bounce light off the ceiling.
OK, that's all about bouncing (well, almost). What about diffusing light? This is the provence of the "softbox," which is, literally, a box with a reflective interior and some sort of translucent material over the front (opposite the light). The softbox and its ilk give directional lighting, not bounced, but the source is much larger than the flash tube, so the light is softer (not as harsh) and the shadows will be softer (less distinct, less obvious). "Real" softboxes tend to be large, but you can get small versions that fit on a normal flash. Lumiquest makes several models of softboxes, plus some of their bouncers have diffusion material over the front. There are even diffusers for the built-in flash, but you don't want to use that for weddings. See below for more options.
Here are some more links. You can find some of these on B&H or Adorama. If the prices are the same as direct from the manufacturer, B&H or Adorama would be a better choice, I think. First, the shipping will probably be less, especially if you get a bunch of stuff at the same time. Second, if you use one of the links to B&H or Adorama from The Digital Picture, and buy something (even if it's not the same think you linked to), Bryan will rceive a small commission.
Harbor Digital Design
Demb Flash Products
Milagrid diffuser
Alzo mini-softbox (really not all that "mini")
Westcott Micro Apollo Softbox
One other thing: Some of these seem to work only (or, at least, best) with the flash head pointing directly up. What do you do, then, if you want to use portrait/vertical mode? You can use a bracket that rotates the flash, like the Newton, Stroboframe Stroboflip, or RRS B-series or, with some, including the Lightsphere and ABBC, you can mount the flash on the hot shoe, point the head up, then TURN the head so that the button faces you. When you turn the camera to the portrait mode, push the button and turn the flash the other way, so that the head still points up. (Fong shows this in one of his videos.) The Lumiquest Pocket Bouncer, etc, will not work that way, as they go on wide side of the flash, but Lumiquest now makes the "Quik Bounce," which will work. The softboxes are fine, except that the flash will be off to the side instead of up, which casts different and usually more noticeable shadows. That's another situation where a bracket comes in handy. I've used a Lumiquest Softbox on my 580EX on the Really Right Stuff Wedding Pro Flash bracket.
One other other thing: the L-bracket (Kirk or Really Right Stuff) is useful in its own right, not just for attaching the WPF-1. See the Really Right Stuff site for more on this, including a demo video.
Yet another idea --- don't laugh--it works, plus you'll be the center of attention. [:P]
I can imagine Sean wearing something like that, but with 3 vivitar 285 hv's and triple umbrellas...