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Thank you this was so helpful ❤

LOVE the bloopers. Makes it genuine

PERFECT explanation! So simple and detailed. Now I need to go learn math....Lol

Fantastic video! Informative, easy to understand and, best of all, no unnecessary BS. Thank you.

A great informative lesson thank you.

Thank you so much for this!!!

It was an awesome explanation that helped clear things up for me, I really wanted to see the photos for reference tho 🙂 thank you for the video 😊

Finallly!!!

Excellent video, thank you

1/80 shutter and f2.8, no way do you need an iso of 4000.

Absolutely brilliant tutorial

I wish you would have said what manual flash setting numbers you started with and then were switching to while adjusting for each model. Otherwise, great how to video.

Thank you!!

I'm currently using Kodak Ultra F9 film camera. It has a fixed aperture, no built-in light meter. How do I know if I need to use flash or not by using this device/method?

nice video. could not remember how to change the channel and your no fluff video was spot on and early in the video. love it.

By the way you don’t need a low ceiling to bounce flash. In fact generally a high ceiling or distant walls are better. Light follows the inverse square law. If you double the distance from the flash to your subject, the light intensity falls to one-quarter of its original value. Conversely, if you halve the distance, the light intensity increases by a factor of four. What this means is that the closer your flash is to the subject, small differences in distance have an increasingly huge impact on flash exposure. When they are far away, ie bouncing off a distant wall, the fall off is much lower/ steady. This is crucial in wedding and events photography where you may have more than a single person as a subject. Bouncing off a close ceiling or wall can mean the subject closer to you is exposed differently to the one a little bit further away. However if you bounce off a distant wall or higher ceiling the exposure will be much more even. Not only that the light will be softer and more diffused, all much more pleasing. Flashes are easily powerful enough to cope with large rooms unless you buy a little crappy flash. Also TTL will pre flash to meter before the main flash, it will usually expose perfect for bounce flash, and can be tweaked by flash compensation if necessary.

Thank you for this…I just picked up my first ever on camera flash (420EX) for a stupid great deal and I needed some pointers! 😅

UNfortunatly that is just plain wrong.

Thank you so much for this! This was super helpful. Question: When one light gives you a perfect exposure and you meter the lights separately, wouldnt adding second light (even 1 stop down) overexpose the whole image when they are flashing together?

thx, understandable and implementable! I´m glad you missed out all of the fancy presentation stuff. That was nice an clear! Like!

Superb and clearly presentation. Tq

Hi Professor! Thank you for this video. Could you do an addendum video and walk us through the arithmetic of exposure compensation? Especially accounting for 1/3 increment stops of light compensation from reducing ISO and increasing flash, and vice versa?

Hi Professor! Thank you for this video. Before we all get cross-eyed, how do we adjust the readings to account for crop factor? i.e. 1.5x for APSC and 2x for Micro 4/3, etc.

This was very informative!!! Thanks!!!

ISO 135, 1/60s what aperture ?

Don't think about the cops. They are looking for me!

When I use my flash the lens I use is a 35mm 1/4 and I keep my ISO between 100-200. A lot of times I will set my exposure to -1.

Helpful.👍

A like for you due to the bloopers 😂

Very Nice! Well explained. Perfect to beginners who are holding the light meter for the first time like me. Thank you so much!

Dance magic Dance

I apprenticed with and assisted wedding photographer Monte Zucker in 1972-74. He introduced and taught the use of dual flash to create more natural modeling and full tonal range rendering to hundreds of other PPofA pros via a column in the PPofA magazine and classes at conventions and his studio, which was an empty high-rise condo with a north facing window. The best way to improve single flash on camera lighting is to raise the flash on a bracket directly over the lens axis about 16” which creates downward modeling like natural light-not only the shadow modeling but where the specular highlights the flash will create fall on the face. Flash on camera looks fake, especially in portrait mode when flash is to the left level with the lens because the shadow highlight clues to our brains subconsciously used to discern 3D shapes don’t match the patterns seen in outdoor light or indoor light from ceiling fixtures. Since 2000 when I purchased my first Kodak DC290 digital camera I have used the same Stroboframe ‘camera flip’ bracket which keeps the flash head in the same place relative to the lens axis in both landscape and portrait mode so you can change orientation without changing the modeling on the face. The modeling with a raised centered flash is similar to the Paramount or Butterfly strategy used in most full face fashion and advertising photos but without fill for the shadows. It works quite well with single flash because the head shadow falls out of sight behind the subject, not sideways, and the nose shadow falls directly under the nose. Monte’s innovation in the late 60s when wedding shooters changed to color prints was adding a second off camera flash to create the same modeling and control of scene range via lighting ratio by using centered fill to lift the shadows and then overlapping at key light 45° from the nose and higher than the head of the subject, but no so high the brow will shade it from deep set eyes. In this two light scenario the flash on the bracket becomes the ideal centered, nearly shadowless fill with any specular highlights it creates falling on the upper surfaces as with natural light. It will create second unnatural catchlight in the middle of the pupil but that is easily removed in post processing with a black brush tool. Back when shooting negative film we would remove it with a retouching pencil while reviewing the negatives. What made it logistically possible to use off camera flash single handedly at wedding reception or event was putting it on a rolling stand. There were not any suitable lighting stands available for that task but Monte came up with a clever solution. We used a medical IV pole with a compact but heavy metal base which could be wheeled around with the free hand. That bracket on the camera was a convenient handle to carry it without shooting. Controlling lighting ratio was done by clever use of the inverse square law and systematic shooting distances of 11, 8 and 6 feet from subject with our TLR Rolleiflex with off camera flash placed 45° to the side of subject nose which models the 3D shape of a nose perfectly placed at 8, 6, or 4 feet respectively to always keep the off camera KEY light 2x brighter than the FILL over the camera, a 2:1 incident and 3:1 reflected ratio [2x key + 1x fill : 1x fill]. When moving in or out the closing and opening the aperture one stop kept the exposure the same. It was no-brainer simple once it was explained, why Monte became such a popular teacher. I stopped working for him and shooting for hire because an opportunity to work at the National Geographic Society photo labs crossed my path and it was better suited to my introverted, intuitive / thinking temperament. The job at NGS led to a side gig teaching reproduction photography (halftones and color separations) and a career in printing management, the last 29 years in the US Foreign Service for the US Information Agency but I continued to use the dual flash technique for my personal photography and whenever photos were needed at work or for friends. In 2005 when I switched to Canon DSLR I also bought a pair of its 580exII flashes and started teaching others to use ETTL-II ratios on forums like DPR and Fred Miranda. I developed a “scoop” style diffuser out of ‘fun foam’ sheets and taught others how to make them. I also introduced the idea of using white and black hand towels draped over a light stand for evaluating exposure and lighting ratio via the highlight ‘blinkies’, the distinct spikes the towels create on the right and left sides of the histogram and the detail which can been in the camera playback in the folds of the towels. You can find my tutorials at photo.nova.org

I'm new to the speedlight game and this was very helpful. Thank you very much, Sir!

The one without the card brings out the tone better. Post editing would solve the shadowing

Actually, all of the pictures look pretty bad. Tons of shadows on her eyes. Just not the kind of picture that makes a model happy Moreover, I don't know why, but a lot of concert photographers think they can "bounce" their flash into black 30 foot ceilings.

Very good explanations, really enjoyed your videos, you are right on the money, you explain, you teach then you show. .Perfect

I would Like to save this so that I could come back and try to practice this please!!

f/5.6 9 is 0.01 stop off f/5.7 not f/8. F/5.6 is the value you should have used.

Thank you so much, I am just discovering your TH-cam and find them very very helpful...much appreciated 😃

8:25 wow!

Thank you. This is so helpful. Can you tell me how you went from ISO 4000 to 200? Auto ISO? Much appreciated

I’ve watched a half a dozen videos on how to use my flash meter and finally you were able to explain it best. Thank you.

Thanks for this video. This is one of the best I've found that really helped me understand how best to use an on-camera flash. Great jobs of explaining it very clearly and easily to understand.

Excelente explicación, esperamos mas contenido y gracias por la explicacion

Great video. Very clear. I love the solid seamless.

Its very sad you dont upload that often. You are at this moment the best teacher i have for flash and light controlling. I loved your light metering tutorial and ive followed you since then

Thanks, one of the most useful tips I could find about flash in TH-cam.

Love it…❤

Many thanks, Chauncey, for a great tutorial. I'm a novice at product lighting. GOD bless you.

Thank you Chauncey for a great light meter tutorial. GOD bless you.