As a photographer I’ve never heard a better explanation to this matter like the one you just did Dave. Explaining the whys to beginners can be challenging and you’ve nailed it
Just did it a couple of days ago. It helps A LOT to fill bigger rooms, and on less powerful flashes like the Godox TT350 allows you to keep ISO much lower than without.
hmm... helpful for face shots yes sure. but I've got the latest fancy expensive on camera sony flash and when doing full body, that diffuser that comes with it is REALLY helpful for spreading the light so that it's not just lighting up half the body. so in a way this video is a bit misleading in that sense. as in, direct front on, yes definitely I will be using the little diffuser.
I would have liked to see the difference between the diffuser aimed at the ceiling vs. standard bounce flash (and possibly another with the flash's white reflector card pulled out). But, great video!
Exactly, I was like "that's not a fair comparison". I have got the answer for direct flash with and without the diffuser but not sure bounced flash with and without diffuser.
I'm using these 'diffusers' for a different purpose: if you bounce your flash straight up, you lose the specular highlight in your models eyes. Snapping on one of these caps while directing your flash to the ceiling, will create a small strip of light, which reflects in the eyes and brings back some life.
Any proper flash will have a little white pull up tab that does exactly that. Otherwise it's easy to make with a little bit of card stock or cheap to buy if you can't be bothered.
2 ปีที่แล้ว +1
"The Sun is biggest light source in our galaxy". I guess you wanted to say "in our solar system". Other than that, great explanation.
Great video and very informative! I had the small plastic one and I pretty much found that it was useless, so now I have a magmod style bigger on camera flash diffuser that works much better. But I didn't realise the difference in how they can work indoors vs outdoors. Always learn something new, thank you David 😊
Use the stoffen diffuser to “convert” your speedlite to a “bare-bulb” flash/strobe. Just like you wouldn’t use a bare-bulb strobe on its own, neither should you use your speedlite with stoffen diffuser on its own. Use it with a larger light modifier, like a shoot-through/bounce umbrella, octabox, etc. And voila, you have a bare-bulb “strobe” with the budget of a speedlite. Of course, actual strobes would have much higher power available, but hey, when you’re on a tight budget, this works brilliantly.
I am regularly watch your videos and learn lots of thing. But I would like to say that as you told at 2:49 that the sun is the biggest light source in our galaxy is not correct. It might be the Sun is the biggest light source of our solar system. And the largest known star in the universe is UY Scuti, a hyper-giant with a radius around 1,700 times larger than the sun.
A simpler way to think about what the diffuser is doing might be like this -The speedlight can probably zoom, let's say 28mm-105mm, so we can say the field of view covered by the cone of light emitted is 75°-23°, the diffuser widens the field of view covered to 180°.
The Stofen cup is taller than the one used in this video, so it kicks a little more light forward to fill in the eyes and under the neck, but like David said they are pretty much useless outdoors. They also kill that ugly blue-ish tint that direct flash can give, slightly warms the light.
Yes. But there’s more light being pushed forward towards your subject. If you only bounce off the ceiling, you might get more dark shadows under the eyes and likely wouldn’t have a catch light. The diffuser fills in those shadows and gives at least a little catch light.
thanks for the video, David! So you don't use the diffusors when shooting on concerts? What technique would you recomend for shooting at the party in the evening outdors?
I don’t use flash for concerts. As for outdoors at night, it’s tricky and depends on the look you want. If there’s something you can bounce off of to soften the light, then great. Otherwise, you’re going to have hard light.
I still give you like on this one !! but since you are expert over the light let"s make one thing clear, our sun its not a biggest light source in our galaxy !! that would be Quasar :)
But to be technical, which we photographers love to be, there currently isn't a quasar in the Milky Way Galaxy. The answer is likely the star Eta Carina.
I don't know how many times I've seen event photographers shooting with a flash and defuser pointed up at a ceiling that is 20 feet high. Do these "photographers" even know how bounce lighting works? I'm not going to mention how press guy shoot outside with the flash pointed to the sky. The good old Omni Bounce worked best with an 8 foot ceiling.
I love your work man but you gonna hate me... I agree to disagree sir. Used correctly, you can achieve some very nice photos. I LOVE those flash diffusers. I call those "hard diffusers" unlike the sot box for well.. soft diffusion. What I find in my own perspective for those flash ones are that they dial back the blow of straight flash, but slighter harder than a soft diffuse. No sir, I'm not challenging you I'll never do that to a fellow photographer, I'm just saying in my perspective they are awesome if you adjust the thought process of how they work and how to use light when you don't have the correct diffusion. But my thing is with your model head, Now hence the "old school" flash diffusers is what I would compare too not the $9 Family dollar model you were using. #2, why did you power up? Yes I know about the whole taking away a stop of light I know that, but you see that light is the same, why not back it up/ power way down and hike the ISO up a bit to compensate? That's just me man, no shade ;-) ;-)
Good description! I think that softness should be discussed distinct from contrast. I define soft vs hard by the shadow transition. As you note around 8:20 putting on the diffuser doesn't change the size of the light, so the transition remains the same hardness. What diffusion does is spread the light. This allows the light to bounce off of objects in the environment (environmental fill) which fills in the shadows, which lowers the contrast. We still have hard light, but with more open shadows (assuming a light color environment--in a large dark room or outdoors there is nothing to bounce off, so neither the transition or the contrast change, you just waste power). Diffusion does not soften light unless the diffuser is much larger than the light origin. As you noted, put the light in an umbrella or a softbox, or put a scrim between the light and the subject and you soften the transition. The contrast is still dependent on the environment. Now about those people who put on a diffuser and point the flash upwards while working outdoors...
Hi David, I would've liked to see a like, for like comparison. Sadly you increased the flash by 1 1/3 stops which doesn't actually show a true comparison, because you've compensated for the deffuser. Maybe you could make a part 2.
Two years ago, I grudgingly put up what I thought was a little too much money for a plastic pop-up flash diffuser. But it paid for itself that very weekend: a grand total of zero complaints from the eight rock bands I photographed about my flash getting into their eyes, and an additional zero complaints to this day!
David, you ré the only one on earth answering and explaining correctly. (except that the sun is not the biggest light on the galaxy, but on of the smallest. The biggest in our solar system, just in case you have astronomers following your channel ) thanks for your precious advice
One thing a diffuser can help with outdoors is getting full flash coverage for an extreme wide angle lens. If you use a straight flash designed for 18mm or greater lenses with a 10 mm lens, the flash will tend to spotlight the center of the photo and fall away at the edges. A diffuser can help scatter the direction of the light and produce a better shot.
Many flashes have a little drop down diffuser for that purpose. I think it works better because it only spreads the light just enough to cover the wide angle. The diffuser in the video let’s too much light escape out to the sides.
Very very very true…mostly. It's still a layer of diffusion. It wont make the light technically softer, but it will make it more diffused. It's like using a softbox without diffusion panels versus using it with them. The strobe will still fill the softbox and make it a large light source without inner and outer baffles, but it'll be more specular and directional than if you have them. In a speedlite's case, the entire fresnel head does not emit an even surface of light. The light is coming from a smaller area in the center and is blasted straight out. A diffuser cap will diffuse that and even soften it a tiny bit. I can totally see a more even spread of light in this video with versus without, though since it's such a small light source it's still less impactful than if it was larger.
True that there might be a tiny difference if we were measuring it somehow. But practically speaking, it’s not something I would use to make soft light without bouncing it off a larger surface.
It's a useful explanation--well stated and produced. However, probably the most important factor to consider when faced with a need to soften shadows with any kind of light is the SIZE OF THE LIGHT SOURCE RELATIVE TO THE SUBJECT! Any explanation that doesn't specify this falls short of presenting a true understanding of lighting.
"Take the sun for example, it's the biggest light source in our galaxy" Our sun, Sol, is in fact on the higher end of a small sun. It by far isn't the biggest light source in our GALAXY. It IS however the biggest light source in our SOLAR SYSTEM. ..the more you know 😉
2:46 Sun isn't the biggest light source in our galaxy, its biggest in our planet system called solar system. The biggest star in our Galaxy (Milky way Galaxy) is UY Scuti of a radius 1700 times bigger than the Sun - the volume of almost 5 million suns could fit inside a sphere the size of UY Scuti. :)
Why do testers insist on pointing the flash directly at the subject when testing diffusers like Stofen Omni-Bounce? All images from the manufacturer shows flash-heads angled at 45 degrees. That way, the directional light from the flash reflector doesn't illuminate the subject, but the diffuse light from the diffuser does. It won't be as good as a large umbrella, but it will most certainly be much better than using a diffuser incorrectly.
6:16 so you can take 2 exact the same pics (100% same angle, same hight) out of hand???? What is the fysics and science for this? You just blown up the believe of your channel for me.
I've always had this suspicion, that a larger diffused light source was needed to render a "soft diffused" light on the subject..... Not some small little light.
So what do I do when shooting in a place where I can't bounce light? During an event we need to move so need to have to flash on camera and nothing to bounce?
Bounce is always best but those little dome covers are good breaking up direct light from a speed light and hitting folks a little ‘softer’ If your in dive bar shooting a band with black walls and ceiling skin tones look better those also.
Yay, but it won't be doing as much as it does in combination with an umbrella. The softbox will already naturally scatter the light, and the inner baffle should help even out the source before it hits the front baffle as well. If the source can be pointed inwards, towards the rear of the softbox, that is even better usually.
Maybe if you're using a speedlight in a BIG modifier (like a 4ft octa). But you'll lose more light, so it's a trade-off between more even light vs. output.
Uh,,,,, the sun is not the biggest light source in the galaxy, There are stars way bigger. It IS the largest light source in the solar system though. ( just givin ya crap :-) )
Ugh it took me a bit of Googling to find this answer because it has been bothering me for a while! I just did the same test in the darkness as you with an octobox to prove the diffuser does not equal softer light, but I kept searching for a clearer explanation because I found it very odd nobody has talked about this. I think a lot photography teachers mislead people by saying modifiers make things softer, it’s fine colloquially but in all my tutorial watching paid and free I’ve never seen anyone make this distinction and I’m sure some of them don’t really understand it or haven’t thought of it much themselves. Which is bad, because it’s only by truly understanding the fundamentals that we can properly push things further. Good video, and always there’s a feeling a relief when you find a video on just what you were asking for and you don’t feel like you’re the only one with this question.
Yes that can help spread the light into the entire diffuser and avoid a hotspot in the middle. Of course it depends on the size of the modifier but it certainly can’t hurt much since you don’t lose any light out of the back.
Many thanks David, from Spain, sorry for my poor English. I absolutely agree with your words. I was very surprised when I saw profoto's promotion videos of their the round speedlite using the sphere dome in the street. They said several times it was for diffusing the light. They were in a very open space in the middle of the street. To me, using the dome in that situation is simply wasting energy. They are supposed to be experts on lighting, so I am still wondering why they present the dome as a diffuser in open spaces. Your thoughts please? Many thanks!!!
For _some_ reason lighting companies, Profoto is a frequent offender, often produce absolutely awful product videos when the item is shown in use. It boggles the mind.
@Jose Vazquez Just remember that diffusion and softness are not the same. Your light can be diffuse but not necessarily soft. Diffusion more speaks to the level of specularity and managing highlights/hotspots).
I need to send this to my photographer friends who I see pointing their flashes straight up with a diffuser *outdoors!* What the heck are they thinking? 🤣
very good explanation of these diffusers! what these diffusers can do is make the speedlight behave more like a barebuld flash, where the light emits in all directions. It is good to use if you are taking photos at close distance to people, or close to groups of people and need to spread the light really wide. Sure the speedlights have zoom functions and even a wide angle diffusion panel, but the plastic diffuser will make the most omni-directional light. The other most important point made about bounce flash, is bounced light will take on the color of the surface you are bouncing off. So, if you are bouncing light off a ceiling that is made out of unpainted wood, the light that then falls upon your subject is going to be quite warm in color. If you are mixing this bounced light with the direct light that is coming from your flash, you will have mixed colors, as your flash color temperature is alot cooler. Even a ceiling or wall that appears near white, say a cream color, can actually change the effective color temperature of the light coming from it. The key, be carefull when bouncing light, and know what it is doing to the color of your light.
Great question! Excellent explanation and example demonstrations! I kinda sorta knew all the separate issues but could not put them together to answer this question. David, you are the best! Thank you.
I too have used the Stofen Omni-Bounce in a bounce flash position with great results. However, it says right on the Omni Bounce "Don't use in bounce position" or words to that effect. I surmise that the little baffles and such will direct the light out of the bottom of the flask, yielding harder light. Agree or disagree?
Great as usual, David! I'm a newbie and wanted to experiment using flash in portraits, but no people here available. Could you please direct me on where did you buy that mannequin head and it's stand? Thanks so much
This is the most useful, clear, and concise video on flash diffusers and light that I have ever seen. The principles of light that David discusses are important and relevant for any photographer. And, after watching this video, I realized that a good light like the Profoto A1 would not meet my studio photography needs. Size is important. Thank you, thank you.
All true, David. Some speedlights/speedlites have this pull white out tab reflector. If you go to the end of the video, the bounce flash is introduced. This can make the light very soft as the size of the light source is defined by the flash angle and its consequent lit spot on the ceiling, and a wider flash angle gives a very large source. But the reflected light comes from above and gives dark shadows under the chin, or over the eyes and under the nose. Pulling out the speedlight's white tab will reflect part of the flash light horizontally directly forward and fill these shadows. (Based on assumptions about angles being middle of the road.) Sometimes it is more interesting to direct the speedlight at a white side wall instead of at the ceiling and mimic a window shot - and here the white tab can fill too. As you explained, David, the dome steels light from you, recycling time and pops reserve in your battery. In these bounce scenarios it also throws some light to where it contributes nothing. I have a couple tiny speedlights that have no pull out tab and with these I occasionally use dome in bounce flash. A rubber band with a white (or aluminum?) plastic card would be better, for me.
What if, you ditch the diffuser and just pull up the white card and diffuse using a flat white ceiling? Is that better than just using the ceiling without a diffuser or white bounce card?
The card is mostly just to give something to reflect in the eyes to form a catchlight, from my understanding. Bouncing the light off the ceiling is what will make the most difference in creating nice soft lighting in your example, not the card.
Light still travels in a straight line, regardless of the distance to the subject. You can probably get away with a smaller light source but it just depends how big it is in relation to the subject.
Hi David great to catch your video on this topic! I like to use these mini diffusers on a speedlite with an umbrella or softbox to help spread the light about for potentially more even light within the box or brolly more than the square recessed speedlite does on own - also tried the small diffisers that flip down out of the flash which also work a little for this approach - what do you think of that have you noticed that little doodad helping at times? many thanks!
I had a very interesting and educational experience back in 1972 of assisting Monte Zucker, the wedding photographer/ author / teacher who introduced the idea of using dual speedlights for shooting altar and reception photos. He had started in the era of shooting weddings in B&W with 4x5 Speed Graphic camera and a single flash (bulb) gun on camera. That worked for B&W because the dynamic range of the B&W film and print could record the full range of detail from the folds of the groom’s black suit to the separation of specular highlights and solid whites on the satin and beadwork on the bride’s dress. But when finally switching to color in the late 1960s and early 1970s photographers discovered like digital camera sensors today the color negatives and prints could not record the entire range with a single flash on camera. Biasing exposure for the white dress would cause a lack of detail in the shadows of the dark clothing. The solution was quite simple, used two light sources in a key over fill configuration as done with studio lighting. The challenge was finding a way to do it while moving around covering a wedding and controlling lighting ratio and exposure. Flat near-axis flash mounted on a camera hot shoe does not appear “natural” because we are accustomed to light sources - natural and artificial - coming from overhead which places the specular highlights from the source on the upper part of 3D objects and the shadows they cast below. Hot shoe flash shots look “fake” because the highlight and shadow clues the brain uses to discern 3D shape in 2D renderings are in the “wrong” places. Monte understood that and corrected the problem by mounting the flash on camera on a custom make bracket which put the center of the flash head about 18” above the taking lens of the 2-1/4” format Rolleiflex twin-lens reflex cameras (equipped with eye level pentaprisms) we used. Raising the flash directly over the lens put the specular and shadow clues in the “right” (i.e. “natural looking”) places on the face with the shadows falling down and mostly out of sight of the camera in single flash shots. The problem of recording the full range of detail in black and white objects was solved by adding a second identical flash on a rolling (modified medical IV stand) which was placed 45° to the side of the nose and above the eye line so the shadows it cast fell naturally downward. Part of the perception of light being “hard” or “soft” comes from the tone of the shadows. With the two flashes in an overlapping key-over-fill arrangement the lighting could be made softer looking by placing the off camera key light at the same distance as the flash over the camera. Placing the off camera key light so it was 2x or one f/stop brighter resulted in a 2x key+1x fill over 1x fill (3:1 reflected) ratio which was exactly the ratio needed to render everything in the foreground with detail from black to white (and everything in between) with “seen by eye” tonality and natural “mid-afternoon” 45° downward key light modeling, all without any modifiers on the flashes, instead using the key:fill lighting ratio to control the perception of “softness” via the tone of the shadows and carefully controlling the placement of the specular highlight and shadow clues on the faces via the direction of the light sources relative to the faces and camera. Exposure and ratios were controlled via the inverse-square law. Two identical flashes placed at 11ft on camera and 45° off to the side will produce a soft looking 1key + 1 fill : 1 fill (2:1) “soft” reflected lighting ratio. Moving the off camera “key” flash to 8ft when shooting from 11ft makes the key light 2x brighter than fill creating the 2key+1 fill: 1 fill (3:1) “normal” looking full range lighting ratio which is what we used most of the time. If moving into 8ft for a tighter crop the off camera flash was moved in to 5.6ft to keep it 2x or one f/stop brighter than the fill and the aperture was closed by 1-f/stop to adjust exposure. By systematically shooting from 16, 11, 8 or 5.6 feet with the off camera flash placed at 11, 8, 5.6 or 4 feet, respectively, it was possible to cover the entire wedding with lighting which gave evert photo in the wedding album the appearance of being shot in a studio or Hollywood sound stage - without any use of diffusers, just expert control of the lighting. I didn’t start experimenting with diffusers on my dual flash set-ups until 2001 when I switched to shooting digital. The only significant contribution they make is in the appearance of the specular highlights on damp or oily skin. What I found worked best were “scoop” style reflectors I constructed from 8-1/2” x 11” “fun foam” sheets with an internal stiffener with a top flap which could be opened on the fill flash on bracket over the camera to also bounce light off a low white ceiling for added “spill fill”. I shared my experiments and instructions how to make them on photo fora back in 2004-2012 time frame.
@ 2:52 correction - Sun=brightest thing in our Solar System, obvi the sun barely holds a candle d a chance in the 788 BILLIONx larger, Milky Way. just, ... ya know...so we're all real clear. :)
Thank you so much for explaining flash diffuser only working limited indoor by bouncing light around but not working in big hall and completely not working for straight from flash diffuser to subject that is the same hard light without diffuser.
As a follower of you for a long time, learning now I have some question:- 1st. Question How to adjust sony a7r3 image size to 72ppi instead of 300 default Since I Can't find anything in menu 2nd. Question Does whatsup affect the sony images when sending it to the degree that gives pixelling in it but not to that same degree of artifacts like pictures of Canon 1dx m3 Third question When I open the Same Jpeg file it is in 3 different looks in photoshop , ACDSee ultimate , windows 10 photo program Is it color science or calibration or what between those 3 programs? 4th. question I didn't have to change any color profile in photoshop with canon camera before But Now with sony images, I have to make it AdobeRGB in both camera, photoshop or color shift happens!! Last question!! Did it happen with you to notice photoshop 2021 differs from photoshop 2019 in color calibration Since I have the same image with 2 looks in them? Thanks in advance
A typical actions speak louder than words tutorial, the best explanation I've watched on diffusers, I'm doing a " Park LIght's " switch on this evening outdoors, thankfully I came across this video and I've just taken the diffuser out of my bag. Thank you 😀👍
Great, detailed explanations regarding a topic that may seem so simple in the surface but yet is likely still misunderstood in such detail by so many. Thank you for taking the time and expertise to create this content!
This is the best explanation I’ve seen/heard about flash modifiers, light softening and how these concepts really work. Thank you!
As a photographer I’ve never heard a better explanation to this matter like the one you just did Dave. Explaining the whys to beginners can be challenging and you’ve nailed it
Agree 200% VERY well done explaination and the video overall including props and voice over is perfect.
Exactly very good explanation
Yep. I've seen 30m long videos explaining far less
This really needed a comparison between a ceiling bounce with a diffuser, and a ceiling bounce without a diffuser.
David did this towards end in the inside studio
@@ScottRadfordChisholm No, the last one is direct light compared to ceiling + diffuser.
Just did it a couple of days ago. It helps A LOT to fill bigger rooms, and on less powerful flashes like the Godox TT350 allows you to keep ISO much lower than without.
hmm... helpful for face shots yes sure. but I've got the latest fancy expensive on camera sony flash and when doing full body, that diffuser that comes with it is REALLY helpful for spreading the light so that it's not just lighting up half the body. so in a way this video is a bit misleading in that sense. as in, direct front on, yes definitely I will be using the little diffuser.
I would have liked to see the difference between the diffuser aimed at the ceiling vs. standard bounce flash (and possibly another with the flash's white reflector card pulled out). But, great video!
Yeah it's a pretty meaningless experiment
Exactly, I was like "that's not a fair comparison".
I have got the answer for direct flash with and without the diffuser but not sure bounced flash with and without diffuser.
I'm using these 'diffusers' for a different purpose: if you bounce your flash straight up, you lose the specular highlight in your models eyes. Snapping on one of these caps while directing your flash to the ceiling, will create a small strip of light, which reflects in the eyes and brings back some life.
Any proper flash will have a little white pull up tab that does exactly that. Otherwise it's easy to make with a little bit of card stock or cheap to buy if you can't be bothered.
"The Sun is biggest light source in our galaxy". I guess you wanted to say "in our solar system". Other than that, great explanation.
Great video and very informative! I had the small plastic one and I pretty much found that it was useless, so now I have a magmod style bigger on camera flash diffuser that works much better. But I didn't realise the difference in how they can work indoors vs outdoors. Always learn something new, thank you David 😊
Yes I also like the magmod!
Use the stoffen diffuser to “convert” your speedlite to a “bare-bulb” flash/strobe. Just like you wouldn’t use a bare-bulb strobe on its own, neither should you use your speedlite with stoffen diffuser on its own. Use it with a larger light modifier, like a shoot-through/bounce umbrella, octabox, etc. And voila, you have a bare-bulb “strobe” with the budget of a speedlite. Of course, actual strobes would have much higher power available, but hey, when you’re on a tight budget, this works brilliantly.
I am regularly watch your videos and learn lots of thing. But I would like to say that as you told at 2:49 that the sun is the biggest light source in our galaxy is not correct. It might be the Sun is the biggest light source of our solar system. And the largest known star in the universe is UY Scuti, a hyper-giant with a radius around 1,700 times larger than the sun.
Ah yea I should have said solar system!
Actually, the sun is not even close to the largest star in our galaxy, but other than that this was a very helpful video. Thank you.
The sun isn’t the largest light source in our _galaxy_)) great explanation though
What is it.
Solar system. D’oh!
Its the earth's largest lighthouse. And its also our only lighthouse. (Of usable light.)
Wouldn't the flash light bouncing from ceiling will get diffused the same way with or without small plastic diffuser?
A simpler way to think about what the diffuser is doing might be like this -The speedlight can probably zoom, let's say 28mm-105mm, so we can say the field of view covered by the cone of light emitted is 75°-23°, the diffuser widens the field of view covered to 180°.
The Stofen cup is taller than the one used in this video, so it kicks a little more light forward to fill in the eyes and under the neck, but like David said they are pretty much useless outdoors. They also kill that ugly blue-ish tint that direct flash can give, slightly warms the light.
Yes. But there’s more light being pushed forward towards your subject. If you only bounce off the ceiling, you might get more dark shadows under the eyes and likely wouldn’t have a catch light. The diffuser fills in those shadows and gives at least a little catch light.
thanks for the video, David! So you don't use the diffusors when shooting on concerts? What technique would you recomend for shooting at the party in the evening outdors?
I don’t use flash for concerts. As for outdoors at night, it’s tricky and depends on the look you want. If there’s something you can bounce off of to soften the light, then great. Otherwise, you’re going to have hard light.
I still give you like on this one !! but since you are expert over the light let"s make one thing clear, our sun its not a biggest light source in our galaxy !! that would be Quasar :)
Thanks, and yea - a few people have pointed out my error. Of course, I meant solar system. :)
But to be technical, which we photographers love to be, there currently isn't a quasar in the Milky Way Galaxy.
The answer is likely the star Eta Carina.
I don't know how many times I've seen event photographers shooting with a flash and defuser pointed up at a ceiling that is 20 feet high. Do these "photographers" even know how bounce lighting works? I'm not going to mention how press guy shoot outside with the flash pointed to the sky. The good old Omni Bounce worked best with an 8 foot ceiling.
I love your work man but you gonna hate me... I agree to disagree sir. Used correctly, you can achieve some very nice photos. I LOVE those flash diffusers. I call those "hard diffusers" unlike the sot box for well.. soft diffusion. What I find in my own perspective for those flash ones are that they dial back the blow of straight flash, but slighter harder than a soft diffuse. No sir, I'm not challenging you I'll never do that to a fellow photographer, I'm just saying in my perspective they are awesome if you adjust the thought process of how they work and how to use light when you don't have the correct diffusion. But my thing is with your model head, Now hence the "old school" flash diffusers is what I would compare too not the $9 Family dollar model you were using. #2, why did you power up? Yes I know about the whole taking away a stop of light I know that, but you see that light is the same, why not back it up/ power way down and hike the ISO up a bit to compensate? That's just me man, no shade ;-) ;-)
Good description! I think that softness should be discussed distinct from contrast. I define soft vs hard by the shadow transition. As you note around 8:20 putting on the diffuser doesn't change the size of the light, so the transition remains the same hardness. What diffusion does is spread the light. This allows the light to bounce off of objects in the environment (environmental fill) which fills in the shadows, which lowers the contrast. We still have hard light, but with more open shadows (assuming a light color environment--in a large dark room or outdoors there is nothing to bounce off, so neither the transition or the contrast change, you just waste power). Diffusion does not soften light unless the diffuser is much larger than the light origin. As you noted, put the light in an umbrella or a softbox, or put a scrim between the light and the subject and you soften the transition. The contrast is still dependent on the environment. Now about those people who put on a diffuser and point the flash upwards while working outdoors...
The biggest lightsource in our solar system!!!
I always thought it was for reducing the specularity of the source
Fantastic video! I'd love to see you explain how you balance flash and ambient light outdoors in another video 👌👌
Thanks! Send it into www.AskDavidBergman.com please.
Hi David, I would've liked to see a like, for like comparison. Sadly you increased the flash by 1 1/3 stops which doesn't actually show a true comparison, because you've compensated for the deffuser.
Maybe you could make a part 2.
Two years ago, I grudgingly put up what I thought was a little too much money for a plastic pop-up flash diffuser. But it paid for itself that very weekend: a grand total of zero complaints from the eight rock bands I photographed about my flash getting into their eyes, and an additional zero complaints to this day!
David, you ré the only one on earth answering and explaining correctly. (except that the sun is not the biggest light on the galaxy, but on of the smallest. The biggest in our solar system, just in case you have astronomers following your channel ) thanks for your precious advice
Thomas Ruhland and light can bend. ;) just saying.
Thanks! And yea, a few people pointed out my error. Definitely meant solar system. :)
@@DavidBergmanPhoto not a big deal. Some people don't even know that the sun is a star anyway. Thanks again for your videos
I was always taught that to use the Stofen, the flash head should be at something like a 45° angle, and not pointed directly at the subject...
One thing a diffuser can help with outdoors is getting full flash coverage for an extreme wide angle lens. If you use a straight flash designed for 18mm or greater lenses with a 10 mm lens, the flash will tend to spotlight the center of the photo and fall away at the edges. A diffuser can help scatter the direction of the light and produce a better shot.
Many flashes have a little drop down diffuser for that purpose. I think it works better because it only spreads the light just enough to cover the wide angle. The diffuser in the video let’s too much light escape out to the sides.
Very very very true…mostly. It's still a layer of diffusion. It wont make the light technically softer, but it will make it more diffused. It's like using a softbox without diffusion panels versus using it with them. The strobe will still fill the softbox and make it a large light source without inner and outer baffles, but it'll be more specular and directional than if you have them. In a speedlite's case, the entire fresnel head does not emit an even surface of light. The light is coming from a smaller area in the center and is blasted straight out. A diffuser cap will diffuse that and even soften it a tiny bit. I can totally see a more even spread of light in this video with versus without, though since it's such a small light source it's still less impactful than if it was larger.
True that there might be a tiny difference if we were measuring it somehow. But practically speaking, it’s not something I would use to make soft light without bouncing it off a larger surface.
Solar system not galaxy....🤓🤓😂🤣😜😜👍👍🤗🇨🇭
Guilty. :)
There are bigger stars in our galaxy. Just sayin' :D
Yup. Meant solar system of course. I’m obviously not an astronomer.
It's a useful explanation--well stated and produced. However, probably the most important factor to consider when faced with a need to soften shadows with any kind of light is the SIZE OF THE LIGHT SOURCE RELATIVE TO THE SUBJECT! Any explanation that doesn't specify this falls short of presenting a true understanding of lighting.
Good point about being an event photog. I can't use a large diff user.
According to Canon, it's a bounce adapter and not a diffuser. Can be used outdoors to scatter and cover bigger area though.
"Take the sun for example, it's the biggest light source in our galaxy"
Our sun, Sol, is in fact on the higher end of a small sun. It by far isn't the biggest light source in our GALAXY. It IS however the biggest light source in our SOLAR SYSTEM.
..the more you know 😉
Yea I know. Embarrassed at my mistake that plenty of others have pointed our below. This is why I’m a photographer and not an astronomer. :)
2:46 Sun isn't the biggest light source in our galaxy, its biggest in our planet system called solar system. The biggest star in our Galaxy (Milky way Galaxy) is UY Scuti of a radius 1700 times bigger than the Sun - the volume of almost 5 million suns could fit inside a sphere the size of UY Scuti. :)
Why do testers insist on pointing the flash directly at the subject when testing diffusers like Stofen Omni-Bounce? All images from the manufacturer shows flash-heads angled at 45 degrees. That way, the directional light from the flash reflector doesn't illuminate the subject, but the diffuse light from the diffuser does. It won't be as good as a large umbrella, but it will most certainly be much better than using a diffuser incorrectly.
Maybe a follow-up demo of bouncing flash light off the ceiling with and without the diffuser? Does it make any difference then?
6:16 so you can take 2 exact the same pics (100% same angle, same hight) out of hand???? What is the fysics and science for this? You just blown up the believe of your channel for me.
I've always had this suspicion, that a larger diffused light source was needed to render a "soft diffused" light on the subject..... Not some small little light.
So what do I do when shooting in a place where I can't bounce light? During an event we need to move so need to have to flash on camera and nothing to bounce?
Bounce is always best but those little dome covers are good breaking up direct light from a speed light and hitting folks a little ‘softer’
If your in dive bar shooting a band with black walls and ceiling skin tones look better those also.
I love how you tried so hard not to laugh when talking about the sun, knowing you were going to make a joke about being burnt to a crisp haha.
And I still screwed it up! It’s actually not the largest in the galaxy - meant to say solar system. Oh well. :)
@@DavidBergmanPhoto I think the point was made well enough. 😉
@@DavidBergmanPhoto and we won't be burned to a crisp... we'd vaporize.
Sun is biggest light source in Solar System ;) I know...very specific... but still... its not a large star ;)
I’ve seen plastic diffusers caps used in a softbox to scatter the light before it hits the diffuser panel. Yay or nay?
Yay, but it won't be doing as much as it does in combination with an umbrella. The softbox will already naturally scatter the light, and the inner baffle should help even out the source before it hits the front baffle as well. If the source can be pointed inwards, towards the rear of the softbox, that is even better usually.
Nay. Usually softboxes will have silver inner panels to scatter the light before hitting the diffuser panel.
Maybe if you're using a speedlight in a BIG modifier (like a 4ft octa). But you'll lose more light, so it's a trade-off between more even light vs. output.
Yea that can help a little bit to avoid a hotspot in the middle.
Uh,,,,, the sun is not the biggest light source in the galaxy, There are stars way bigger. It IS the largest light source in the solar system though. ( just givin ya crap :-) )
Ugh it took me a bit of Googling to find this answer because it has been bothering me for a while! I just did the same test in the darkness as you with an octobox to prove the diffuser does not equal softer light, but I kept searching for a clearer explanation because I found it very odd nobody has talked about this. I think a lot photography teachers mislead people by saying modifiers make things softer, it’s fine colloquially but in all my tutorial watching paid and free I’ve never seen anyone make this distinction and I’m sure some of them don’t really understand it or haven’t thought of it much themselves. Which is bad, because it’s only by truly understanding the fundamentals that we can properly push things further. Good video, and always there’s a feeling a relief when you find a video on just what you were asking for and you don’t feel like you’re the only one with this question.
So would it stand to reason that one should use the diffuser when using a small flash inside a modifier?
9/10 times, yes.
Yes that can help spread the light into the entire diffuser and avoid a hotspot in the middle. Of course it depends on the size of the modifier but it certainly can’t hurt much since you don’t lose any light out of the back.
Small correction... the sun is not the biggest source of light in our galaxy... I think you meant solar system. 😅
Many thanks David, from Spain, sorry for my poor English. I absolutely agree with your words. I was very surprised when I saw profoto's promotion videos of their the round speedlite using the sphere dome in the street. They said several times it was for diffusing the light. They were in a very open space in the middle of the street. To me, using the dome in that situation is simply wasting energy. They are supposed to be experts on lighting, so I am still wondering why they present the dome as a diffuser in open spaces. Your thoughts please? Many thanks!!!
Marketing? Profoto makes some fantastic gear and it is true that it diffuses the light. That doesn't mean the diffused light helps you in any way. :)
For _some_ reason lighting companies, Profoto is a frequent offender, often produce absolutely awful product videos when the item is shown in use.
It boggles the mind.
@Jose Vazquez Just remember that diffusion and softness are not the same. Your light can be diffuse but not necessarily soft. Diffusion more speaks to the level of specularity and managing highlights/hotspots).
Nice photography information; not so much the astronomy information. ("The sun is the biggest light source in our galaxy.") ;)
The sun the biggest light source in the "galaxy"? Sirius A, Betelgeuse, etc: Hold my beer.
I need to send this to my photographer friends who I see pointing their flashes straight up with a diffuser *outdoors!* What the heck are they thinking? 🤣
Should you use a diffuser in conjunction with an umbrella to spread the light out before it gets reflected back?
Yea that’s a good use scenario.
very good explanation of these diffusers! what these diffusers can do is make the speedlight behave more like a barebuld flash, where the light emits in all directions. It is good to use if you are taking photos at close distance to people, or close to groups of people and need to spread the light really wide. Sure the speedlights have zoom functions and even a wide angle diffusion panel, but the plastic diffuser will make the most omni-directional light. The other most important point made about bounce flash, is bounced light will take on the color of the surface you are bouncing off. So, if you are bouncing light off a ceiling that is made out of unpainted wood, the light that then falls upon your subject is going to be quite warm in color. If you are mixing this bounced light with the direct light that is coming from your flash, you will have mixed colors, as your flash color temperature is alot cooler. Even a ceiling or wall that appears near white, say a cream color, can actually change the effective color temperature of the light coming from it. The key, be carefull when bouncing light, and know what it is doing to the color of your light.
What about reflectors? Bounce cards? Magmod spheres etc?
Hello David. Even you speaking quite fast for a Brazilian understand, you are great on the simplicity of your explanations. Thanks for your videos.
Thanks! TH-cam allows you to slow down the video if you need to. :)
@@DavidBergmanPhoto I love doing this, everybody becomes drunk. :D
Great question! Excellent explanation and example demonstrations! I kinda sorta knew all the separate issues but could not put them together to answer this question. David, you are the best! Thank you.
Thank you David.
technically sound video....much appreciated.
I too have used the Stofen Omni-Bounce in a bounce flash position with great results. However, it says right on the Omni Bounce "Don't use in bounce position" or words to that effect. I surmise that the little baffles and such will direct the light out of the bottom of the flask, yielding harder light. Agree or disagree?
Not sure why they wouldn’t want you to bounce the Omni-Bounce. It’s literally in the name. 😳
Great as usual, David! I'm a newbie and wanted to experiment using flash in portraits, but no people here available. Could you please direct me on where did you buy that mannequin head and it's stand? Thanks so much
Amazon. It’s made for people to practice hair styling. :)
2:50 The sun is far from being the biggest source of light in our galaxy.
Thank you for this video - Have a GREAT DAY David
This is the most useful, clear, and concise video on flash diffusers and light that I have ever seen. The principles of light that David discusses are important and relevant for any photographer. And, after watching this video, I realized that a good light like the Profoto A1 would not meet my studio photography needs. Size is important. Thank you, thank you.
You nailed it. Looking fwd to a simple explanation for what you mentioned at 7:30
All true, David. Some speedlights/speedlites have this pull white out tab reflector.
If you go to the end of the video, the bounce flash is introduced. This can make the light very soft as the size of the light source is defined by the flash angle and its consequent lit spot on the ceiling, and a wider flash angle gives a very large source. But the reflected light comes from above and gives dark shadows under the chin, or over the eyes and under the nose. Pulling out the speedlight's white tab will reflect part of the flash light horizontally directly forward and fill these shadows. (Based on assumptions about angles being middle of the road.) Sometimes it is more interesting to direct the speedlight at a white side wall instead of at the ceiling and mimic a window shot - and here the white tab can fill too.
As you explained, David, the dome steels light from you, recycling time and pops reserve in your battery.
In these bounce scenarios it also throws some light to where it contributes nothing. I have a couple tiny speedlights that have no pull out tab and with these I occasionally use dome in bounce flash.
A rubber band with a white (or aluminum?) plastic card would be better, for me.
Yup. I sometimes use my hand to push light forward too.
Thanks David! Reminds me of the olden day gaffers tape and an index card.
The best thing is that little slide out flash card on your canon or Nikon flash.
What if, you ditch the diffuser and just pull up the white card and diffuse using a flat white ceiling? Is that better than just using the ceiling without a diffuser or white bounce card?
The card is mostly just to give something to reflect in the eyes to form a catchlight, from my understanding. Bouncing the light off the ceiling is what will make the most difference in creating nice soft lighting in your example, not the card.
“Better” is subjective. If your goal is to push more light forward towards your subject then yes, the white card will help achieve that.
Could you make a video like this again, but for macro instead of portrait? Does the "cap" work there?
Light still travels in a straight line, regardless of the distance to the subject. You can probably get away with a smaller light source but it just depends how big it is in relation to the subject.
2:50 the sun is the biggest light source in our solar system, not our galaxy.
U r awesome
Not galaxy, I think you meant to say 'solar system'
very thorough... very clear... thank you
There's a lot more explanation to solve this issue.
nice test!
Awesome information! Thanks!
Thanks David you are the Man!
Excellent,thanks David
Hi David great to catch your video on this topic! I like to use these mini diffusers on a speedlite with an umbrella or softbox to help spread the light about for potentially more even light within the box or brolly more than the square recessed speedlite does on own - also tried the small diffisers that flip down out of the flash which also work a little for this approach - what do you think of that have you noticed that little doodad helping at times?
many thanks!
Yes I’ve definitely done that. Also have used my hand, which is a bit bigger and adds some warmth to the light.
The simplest diffuser is toilet paper and an elastic.
I’ve use a white bin bag full of air, that worked quite well
No.
Solid advice
I learned something new today. Thank you
Big help. Thanks David.
Thank you so much for this video!
I had a very interesting and educational experience back in 1972 of assisting Monte Zucker, the wedding photographer/ author / teacher who introduced the idea of using dual speedlights for shooting altar and reception photos.
He had started in the era of shooting weddings in B&W with 4x5 Speed Graphic camera and a single flash (bulb) gun on camera. That worked for B&W because the dynamic range of the B&W film and print could record the full range of detail from the folds of the groom’s black suit to the separation of specular highlights and solid whites on the satin and beadwork on the bride’s dress. But when finally switching to color in the late 1960s and early 1970s photographers discovered like digital camera sensors today the color negatives and prints could not record the entire range with a single flash on camera. Biasing exposure for the white dress would cause a lack of detail in the shadows of the dark clothing. The solution was quite simple, used two light sources in a key over fill configuration as done with studio lighting. The challenge was finding a way to do it while moving around covering a wedding and controlling lighting ratio and exposure.
Flat near-axis flash mounted on a camera hot shoe does not appear “natural” because we are accustomed to light sources - natural and artificial - coming from overhead which places the specular highlights from the source on the upper part of 3D objects and the shadows they cast below. Hot shoe flash shots look “fake” because the highlight and shadow clues the brain uses to discern 3D shape in 2D renderings are in the “wrong” places. Monte understood that and corrected the problem by mounting the flash on camera on a custom make bracket which put the center of the flash head about 18” above the taking lens of the 2-1/4” format Rolleiflex twin-lens reflex cameras (equipped with eye level pentaprisms) we used. Raising the flash directly over the lens put the specular and shadow clues in the “right” (i.e. “natural looking”) places on the face with the shadows falling down and mostly out of sight of the camera in single flash shots.
The problem of recording the full range of detail in black and white objects was solved by adding a second identical flash on a rolling (modified medical IV stand) which was placed 45° to the side of the nose and above the eye line so the shadows it cast fell naturally downward. Part of the perception of light being “hard” or “soft” comes from the tone of the shadows. With the two flashes in an overlapping key-over-fill arrangement the lighting could be made softer looking by placing the off camera key light at the same distance as the flash over the camera. Placing the off camera key light so it was 2x or one f/stop brighter resulted in a 2x key+1x fill over 1x fill (3:1 reflected) ratio which was exactly the ratio needed to render everything in the foreground with detail from black to white (and everything in between) with “seen by eye” tonality and natural “mid-afternoon” 45° downward key light modeling, all without any modifiers on the flashes, instead using the key:fill lighting ratio to control the perception of “softness” via the tone of the shadows and carefully controlling the placement of the specular highlight and shadow clues on the faces via the direction of the light sources relative to the faces and camera.
Exposure and ratios were controlled via the inverse-square law. Two identical flashes placed at 11ft on camera and 45° off to the side will produce a soft looking 1key + 1 fill : 1 fill (2:1) “soft” reflected lighting ratio. Moving the off camera “key” flash to 8ft when shooting from 11ft makes the key light 2x brighter than fill creating the 2key+1 fill: 1 fill (3:1) “normal” looking full range lighting ratio which is what we used most of the time. If moving into 8ft for a tighter crop the off camera flash was moved in to 5.6ft to keep it 2x or one f/stop brighter than the fill and the aperture was closed by 1-f/stop to adjust exposure. By systematically shooting from 16, 11, 8 or 5.6 feet with the off camera flash placed at 11, 8, 5.6 or 4 feet, respectively, it was possible to cover the entire wedding with lighting which gave evert photo in the wedding album the appearance of being shot in a studio or Hollywood sound stage - without any use of diffusers, just expert control of the lighting.
I didn’t start experimenting with diffusers on my dual flash set-ups until 2001 when I switched to shooting digital. The only significant contribution they make is in the appearance of the specular highlights on damp or oily skin. What I found worked best were “scoop” style reflectors I constructed from 8-1/2” x 11” “fun foam” sheets with an internal stiffener with a top flap which could be opened on the fill flash on bracket over the camera to also bounce light off a low white ceiling for added “spill fill”. I shared my experiments and instructions how to make them on photo fora back in 2004-2012 time frame.
@ 2:52 correction - Sun=brightest thing in our Solar System, obvi the sun barely holds a candle d a chance in the 788 BILLIONx larger, Milky Way. just, ... ya know...so we're all real clear. :)
Excellent explanation - with evidence!
Dave is the best ! Ty sir
Learned something again... thanks
Great stuff Bergman
ah yes, theres nothing like taking the time to break down the question/problem to understand it properly before answering - great job - thank you
Thank you so much for explaining flash diffuser only working limited indoor by bouncing light around but not working in big hall and completely not working for straight from flash diffuser to subject that is the same hard light without diffuser.
As a follower of you for a long time, learning now I have some question:-
1st. Question
How to adjust sony a7r3 image size to 72ppi instead of 300 default
Since I Can't find anything in menu
2nd. Question
Does whatsup affect the sony images when sending it to the degree that gives pixelling in it but not to that same degree of artifacts like pictures of Canon 1dx m3
Third question
When I open the Same Jpeg file it is in 3 different looks in photoshop , ACDSee ultimate , windows 10 photo program
Is it color science or calibration or what between those 3 programs?
4th. question
I didn't have to change any color profile in photoshop with canon camera before
But Now with sony images, I have to make it AdobeRGB in both camera, photoshop or color shift happens!!
Last question!!
Did it happen with you to notice photoshop 2021 differs from photoshop 2019 in color calibration
Since I have the same image with 2 looks in them?
Thanks in advance
Reminds me of the training video I saw years ago, from a well-known 'name', where they pointed their flash straight up ... when they were outside!!!
A typical actions speak louder than words tutorial, the best explanation I've watched on diffusers, I'm doing a " Park LIght's " switch on this evening outdoors, thankfully I came across this video and I've just taken the diffuser out of my bag. Thank you 😀👍
Great, detailed explanations regarding a topic that may seem so simple in the surface but yet is likely still misunderstood in such detail by so many. Thank you for taking the time and expertise to create this content!
Do you have a video on the part at 7:18?
Good to know, Thanks David
Terimakasih infonya
You are using ugly diffusers