Sony ADP-AMA Lighting Guide
Contents
1. Total exposure 2 5 SEC 29 26 multi flash stopping To capture the subject in motion you can set your flash to trigger multiple times during a single exposure when the subject is moving Multi Flash will only work in Manual Mode you should set your shutter speed based on the speed that your subject is moving and the desired number of times you want to freeze the action in a single exposure When setting the Flash to Multi set the number of times you want the flash to fire and the hertz time delay between each flash For the photo to the left the flash was set to fire 5 times at 3hz which gave us a shutter speed of 1 6 seconds Split second Breakdown Flash pL 3 b Amm AA Am AA A How to calculate 5 3hz 1 6 seconds Frequency Hz shutter speed On Camera Flash Basics What is it Fires flash multiple times in same exposure to capture movement How to use it Use a tripod Set your camera to Manual Press the MULTI function on your flash check the manual as flash setting change by model Then set the number of flashes you want to fire and the duration between each flash Set a longer shutter speed based on the number of flashes Hz Shoot this in a dark room or outside at night with minimal ambient light Where to use it Use it when you want to capture multiple images showing your subject in motion 2 off camera sometimes y2. 3 x 2 sheet of white foam core board Off camera Flash Basics What is it A technique used to create a studio looking shot with three indirect light sources How to use it Set the camera and flash to wireless Position the flash above and behind your subject Aim the flash at your subject this will create the rim light Place two reflectors or reflective surfaces in front of your subject on either side These will reflect the light back creating a nice fill light Where to use it When you only have one flash but want to create a studio looking shot with three light sources Commonly used for portrait shots to get a 2 1 1 ratio Off camera Setup For this photograph the flash was placed above and behind the subject pointing down at them Two white cards were placed at an angle in front of the subject to bounce the light back at her illuminating her from three sides 35 36 Background p A flash is placed 14ft away to illuminate the water behind the subject and is controlled from the secondary remote channel of the flash RMT2 03 1 2 Left right balanced Two flashes are 6ff away on each side of the subject Here is the result of all three flashes firing at equal power of 16 With the flash off behind the subject we focus on setting the two flashes slightly in front and on each side Here the right flash was set to a ratio of 8 while the left flash was set
3. Flash Modes Automatic Light Control TTL Continuous 10 flashes sec up to 40 pre flash control manual control Flash Coverage Covers the angle of view at focal length between 24mm and 105mm Automatically switched at changes in focal length Manual 24 28 35 50 70 105mm Covers the angle of view of at 15mm focal length with the wide panel Hash Metering System Direct TTL Guide Number 60 e Modes High Speed sync Wireless Bounce Modeling Multi burst e Function LED light Number of Flashes 10 sec up to 40 total Recycling Time 2 6 sec Ni MH 3 5 sec Alkaline Weights and Measurements Dimensions Approx W x H x D 3 1 4 x 6 x 4 1 8 80 x 150 x 102mm Weight Approx 450g 15 9 oz excluding AA batteries New LED video light camera bodies that make it a snap to locate and Power With the new built in LED video light it has never been change settings A large dot matrix LCD display is easy to Battery Type AA Alkaline AA Ni MH requires 4 easier to switch between stills and movie shooting even see and intuitive button layout makes it easy to configure in low light conditions LED enables checking and setting the HVL F60M for a variety of shooting needs General the light and shadow conditions before shooting still Material Poly carbonate plastic Wireless Ratio Control Wireless Ratio Control allows customers to wirelessly control up to three groups of flashes as well as specify
4. Off camera Flash Basics What is it A technique used to isolate the subject and drop out the background This is achieved by exposing only for the subject and overpowering the surrounding ambient light that hits the background How to use it Aim any and all light sources at the subject and avoid light spill onto the background Avoid any direct flash when shooting Where to use it Any image where the background is not important to the overall image Use this technique when highlighting the subject s role in the image To illuminate boring or distracting backgrounds Creative lighting removes this busy background from the final image 39 Key Light The main light is placed 15 feet away to light up the entire subject and surrounding scene Rim Light A second flash is placed to the rear of the subject to give a defining highlight and help separate him from the background and add depth Set the tone The night sky plays a key role in establishing the mood and drama in this shot The flash is used to light the subject after we have exposed the scene for the night sky This gives a beautiful background for a properly lighted bicycle rider in action F7 1 1 160 SEC 0 3 EV ISO 125 DAYLIGHT mixing light A new world of creative photography emerges when we can turn night into day Freezing action in a photograph is simple when we have a lot of available light However trying to capture
5. be Getting Creative Because we were able to change the Flash Ratio from our on camera flash we were able to quickly experiment with different ratios until we achieved the desired result wireless The light ratio represents how much stronger one light source is compared to another A direct light source could be twice as strong as that same light from a reflected surface Therefore we would have a 2 1 ratio of direct light vs reflected light Wireless Ratio Control allows us to control the volume of light that is emitted from each flash or set of flashes wirelessly Each set can include more than one flash This is easy to do and allows us to set the ratio of the control flash on the camera plus two more flashes or sets of flashes Being able to control all of our flashes from one source saves time while also allowing for more creativity Off camera Flash Basics What is it Dynamically control the volume of light that is emitted from each flash in a multiple light setup a T B How to use it Set all your flashes in wireless mode WL Set your flash on the camera to control CTL and the other flashes to one of the wireless zone settings RMTI or RMT2 Then set the Ratio Control in the control flash settings Here you can set the ratio of the control flash on the camera plus two more flashes or sets of flashes Refer to Instruction Manual for more details Where to use it Use this when
6. SONY make believe ah S ass s m P J LI L LI LJ L LJ 7 LJ dim LI LI LI LI a P A JES um ud LJ gt IE LI JE mm 5 e lalilar Ke L ile liohfin q ond li hfinq occessories Table of Contents capturing light off camera flash basics 06 Light Temperature 30 On camera vs Off camera Flash Effect O6 Direction of Light 32 One Flash Two Lights 07 Time of Day 34 One Hash Three Lights 07 Distance of Light 36 Wireless Ratio Control 38 Isolate the Subject using artificial light 10 Hard vs Soft 40 Mixing Light 10 Light Coverage products 42 HVLF60M 11 Diffused Light 11 Guide Number GN 44 HVLF43AM on camera flash basics 46 HVL F20AM l4 Using Bounce Flash 48 HVL F20S 16 Quick Shiff Bounce Advantage ae specialized 50 Macro Photography 18 Fill Flash 20 High Speed Sync 52 Ring Light HVLRLI 22 Slow Sync Flash o4 Twin Flash HVLMT24AM 24 Rear Sync Flash 56 J Video Light HVL LEI 26 Multi Flash Stopping Motion S Lighting Accessories 03 Capturing Light capturing light To capture a photograph light has to be present in some shape or form Used effectively lighting can even become the subject or that supporting player that works behind the scenes elevating the quality of our image When not used effectively lighting will leave the image too light too dark blurry or even filled with
7. direct flash from a camera Soft light smooths hard lines and edges reveals more shadow detail and produces softer highlights You will typically see soft light in your photographs when your main light source is close to your subject reflected off another surface or diffused Sun hitting clouds first before hitting the subject light from multiple sources and directions light from a very large light source close to the subject or light passed through a diffuser are all examples of soft light light subject light subject Light Coverage When using artificial light you can control the amount of hard vs soft light you want on your subject If you move the subject further away the light source becomes proportionally smaller casting a harder light If you move the subject closer the light source becomes proportionally larger casting a softer light Using a larger light source and diffusers have the same effect as moving your subject closer as the light source becomes proportionately larger Conversely using a smaller light source will have the same effect as moving your subject away from the light source Diffused Light Light that has been scattered by first hitting a translucent property before hitting our subject is called diffused light Diffused light creates a soft light which is more even with softer shadows Diffusers can be anything from a window white sheet clouds or even an actual diffuser which is comm
8. light fixture in the ceiling Light can also come from different angles front side left right or even below There are also times when multiple light sources can illuminate an object from different sides at the same time Pay close attention to where the light source is coming from as this can dramatically affect how your photograph will turn out Further on in this guide we will discuss how to bounce light to get a natural look by lighting from above and adding multiple light sources to improve your image quality and Open your creative freedom Time of Day Consider the time of day when deciding to photograph outdoors Distance direction quality quantity of light will change throughout the course of the day and play an important role in how your images turn out Typically the best time of day to shoot is sunrise or sunset Also known as The Golden Hours they provide warmer color tones and long shadows which deliver a desirable photographic effect The Blue Hour refers to dawn and dusk one hour before sunrise and one hour after sunset This is the time of day when the light is a clean cold blue in color and no shadows are cast At midday when the sun is highest you often get dark shadows and your images can appear flat lacking detail color or dimension On a cloudy day shadows will be diminished through diffusion giving your photos a softer feel Capturing Light Aperture F 11 F 5 6 F 2 8 F 1 4 Distance
9. 2ft Aft 8ft 16ft Distance of Light It seems obvious to state but light will be more powerful closer to the source and weaker farther away from it In fact an object that is twice the distance from a source of light will receive a quarter of the illumination This is known as the Inverse Square Law which states The amount of light is inversely proportional to the square of the distance between the light source and subject In other words a subject that is four feet from a light source will need four times as much light as a subject that is only two feet away With this in mind you will need to compensate for the changing amount of light by adjusting your camera s aperture shutter speed or add more artificial lighting 07 Using Artifical Light 3 a n F r g E amp Ra xa 4 um a gt I E E j E p be 7 a d FEL T E E P i T m emn SA Ea j Em LE 2 Without light we would not have photography The lower Many cameras have an on camera flash While an 2 the amount of light on our subject the longer it will take on camera flash can be handy in a pinch it limits our to capture our photograph While we sometimes can use options due to the fact that the flash is attached at a this to our creative advantage low levels of light make it single position to the camera and has limited power very difficult to capture the subject without blur especially X Adding an external fla
10. D 4 3 4 x 3 x 2 1 2 120 x 75 x 63mm Weight Approx 8 90z 2509 excluding AA batteries Power Battery Type AA Alkaline AA Ni MH requires 4 NP FV50 FV70 FV100 NP F50 Sony Lithium ion batteries General Material Poly carbonate plastic Operating Conditions Operating Temperature 32 to 104 F 0 to 40 C Specialized lighting accessories Off Camera Cable FA CCIAM Connector cable for external flash units HVL 58AM HVL F56AM connects directly HVL FA2AM HVLF20AM requires off camera shoe FA CSIAM Extension Cable for Flash FA ECIAM Approx 1 5m extension for off camera cable FA CCIAM sold separately Multi Flash Cable FA MCIAM Connector cable enables flash illumination from multiple flash units External Battery Adaptor FA EBIAM External battery pack for HVL F56AM Triple Connector for Flash FA TCTAM Off Camera Shoe FA CSIAM Enables synchronized operation of up to 3 external Allows for easily mounting the external flash onto the flash units off camera shoe and connecting to the camera body via the off camera cable Shoe Adapter ADP AMA This shoe adapter allows you fo use new multi interface accessories with your Alpha DSLR camera s auto lock accessory shoe Macro light adaptor FA MAIAM Adaptor for connecting Macro Light and lens Easy fo attach and detach Shoe Adapter ADP MAA This shoe adapter allows you to use auto lock shoe compatible ac
11. HVL F20S has no dedicated ON OFF switch Instead power is automatically switched on simply by raising the flash unit into the shooting position In addition a switch on the side of the unit offers Indoor and Outdoor settings making it easy to obtain flash illumination that suits the shooting situation A charging lamp indicates when the flash is ready to fire Products specifications Flash Flash Coverage F4 1m 5m Guide Number 20 Weights and Measurements Dimensions Approx W x H x D 2 3 8 x 2 7 8 x 2 1 8 60 x 71 x 53mm Weight Approx Main unit only 2 3oz 63g ADI Flash Metering System The ADI Advanced Distance Integration flash metering system offers the optimum flash metering and automatic white balance compensation regardless of the background conditions or the subject s reflectance ADI flash metering works in combination with cameras and lenses that incorporate a distance encoder When used with these lenses the camera calculates a guide number to control TTL through the lens flash metering This guide number is calculated according to distance from the subject ambient light and pre flash reflectivity of the subject and the background 49 50 lighting for macro Macro photography most often refers to capturing extreme close ups of small objects Normally the size of the resultant image is equal to or larger than the subject itself Even though macro lenses are often capable
12. behind our subject a soft focus and the fast shutter speed made sure the rocks were not overexposed It is important to note that lenses vary in aperture settings and while our lens was able to set an aperture of 2 8 your lens might not Refer to your lens owners manual for its specifications i split second Breakdown Shutterblade position over time Nim C Flashes Total exposure 1 4000 SEC On Camera Flash Basics What is it Allows for use of flash on bright days with fast shutter speeds that would normally not sync avoiding shutter curtain shadows How to use it High Speed Sync can be found in the Custom Settings of your Flash It is usually labeled HSS Set your camera to wireless flash mode for High Speed Sync to work or attach an off camera flash cord Activating High Speed Sync gives you access fo the entire range of shutter speeds that your camera offers Where to use it Portraits where the available light is so abundant that exposing for your subject leaves too much depth of field or an overexposed background HSS allowed for use of flash to fill in shadows from sun in bright conditions 21 22 slow sync flash Recreate what your eyes see and fell the whole story It s a lovely evening and you re out for a stroll when you come across the perfect setting for a photograph but you face a problem Your camera will either need a long exposure to capture the ambie
13. of a large aperture and very shallow depth of field which may be good for portrait photography is not always good for macro photography Depth of field is extremely shallow when focusing on close objects which means you may need to use a smaller aperture like F11 to get the entire subject in focus This will require either a slow shutter speed high ISO or brilliant lighting That s where specialized lighting for macro photography can help us take better macro photographs Adding a flash or ring light will introduce additional light and reduce the time needed to take the photo Using a flash or ring light will also allow us to remove the need for a tripod allowing you to position the camera easier for more creative results We can also move quickly and effectively to capture our image Adding a flash or ring light also allows us to highlight our subject and remove the background from our photographs Specialized What is it Photographing small items very close to bring out minute details How to use it Get Close e Stabilize the camera if not using a flash e Aperture Priority F11 but experiment with different numbers Remember the larger your aperture the less of your subject will be in focus Where to use it Flowers Objects nsects Anything where getting closer to the subject will uncover things you never knew were there 5l 52 ring light A Ring Light actually surrounds the entire lens with consta
14. poorly placed shadows Tackling light is one of the most challenging and rewarding things one will face as a photographer Learning how to include light effectively in our photographs will take them from simple snapshots to images you would be proud to share with anyone The following pages outline some considerations to think about when preparing for lighting and photography 06 understanding light u sant Fi 2 SE cepe B 2 000 K n Light I Temperature qoo Light Bulb i 9 e Light Temperature Every light source whether the sun a candle or camera flash emits a color temperature that can be measured in the Kelvin scale named after physicist William Thomson Ist Baron Kelvin In general higher temperature objects sun sun through clouds are referred to as cool and contains more blue colors while lower temperatures candles and light bulbs are referred to as warm which contain more red and orange colors Objects absorb or reflect light rays to give us color While our human eyes can recognize the changes in reflected color digital cameras often see light differently We may adapt to the yellow glow from a candle light on a white piece of paper but your camera may see the paper as yellow White Balance is a camera setting which allows you to adjust the color tone to approximate what you see Direction of Light We normally see objects in everyday life lit from above whether the sun or a
15. you want to control the amount of light emitted from your wireless flashes 37 isolate the Put the focus on the subject Using a wireless flash is also a great way to minimize a background This photo was captured at a pool with a white wall 8 feet behind the subject Firing the flash directly at the subject would also illuminate the wall behind her We were able to direct the light away from the background by placing a wireless flash on each side of the swimmer The flashes emit a more powerful light than the ambient light to effectively minimizing the background behind the swimmer The resulting shot is a creative way to capture just the subject without a distracting background Key Light The key light or primary light is the main light that defines the image It is the first light setup and is generally the brightest giving definition to the subject of the image Rim Light The rim light is added for a finishing highlight that gives definition to an edge or rim of an object or subject It gives an additional stylistic element that helps add detail It is usually placed above or behind a subject at a sharp angle creating a small but very intense highlight 69 Fill Light The fill light is added to reduce the intensity of the shadows cast by the key light It is usually added second and is less intense than the key light providing detail in areas that would normally be too dark with just a key light
16. 87mm Weight Approx 120z 340g excluding AA batteries Power e Battery Type AA Alkaline AA Ni MH requires 4 General Material Poly carbonate plastic Operating Conditions Storage Temperature 4 to 140 F C20 to 60 C 47 HVL F20S 20 Extends flash range beyond camera s included flash Though compact and lightweight the HVL F20S has a maximum range twice that of the included flash units of the NEX 3 NEX 5 and NEX C3 cameras This is represented as the guide number GN of 20 with a 50mm focal distance Bounce flash enables shadowless indirect lighting When set to indoor shooting mode the flash points up to bounce light off the ceiling for shadowless illumination of your subject When set to the outdoor shooting mode the flash directs light directly at your subject Designed exclusive for Sony E mount cameras the HVL F20S external flash is the perfect accessory for extending illumination range and includes bounce capability and TTL auto metering Built in diffuser for wide and telephoto shooting With the built in diffuser the flash illumination covers a wider angle of view or if users want to shoot at a greater distance they can rotate the dial on the side of the flash unit to the Tele Position While the Tele setting reduces the width of flash coverage it extends the range to illuminate more distant subjects Easy intuitive operation Unlike most external flash units the
17. Approx LED performance is approximately 4 times brighter than conventional models The brightness can also be dimmed with a control dial to achieve creative lighting that subtly reflects your intentions Extremely smooth lighting effects can also be achieved without clearly revealing the source of light Capture even and well lit macro photography with this ring light attachment and your compatible Sony amp camera It s the perfect tool for creating compelling close up artwork Full ring illumination for shadowless lighting e Half ring illumination for shadows and contrast Continuous illumination allows lighting to be checked at any time Filter diameter 49mm 55mm Shoe Adaptor ADP AMA is included for usage with Auto lock Accessory Shoe cameras Specialized opecifications Ring Light Flash Type Auto electronic ring light clip on type Lighting Modes Full 50 Left 50 Right Luminance 700 lux at 0 3m Advanced Features Dimmer for precise control Weights and Measurements Dimensions Approx W x H x D 4 7 8 x 5 1 2 x 15 16 124 x 141 x 24mm Weight Approx 6 9oz 195g excluding AA batteries Power Battery Type AA Alkaline AA Ni MH requires 4 General Material Poly carbonate plastic Operating Conditions Operating Temperature 32 to 104 F 0 to 40 C 53 twin flash A Twin Flash is exactly that two flashes They give you far greater control when photogr
18. NAE Total exposure 1 200 SEC On Camera Flash Basics What is it Creates a long exposure with flash to allow ambient light to be seen and balance natural light with flash light How to use it Set your camera to Slow Sync Mode Place your camera down or use a tripod to keep it stable e Set the self timer or use the optional wired or wireless remote control so you are not moving the camera while it is capturing the image If photographing a person have them remain still for the duration of the photo Where to use it Nighttime shots where the background is important to the overall image Great for capturing ambient light from decorations or city lights while keeping your subject sharp 23 On Camera Flash Basics What is it red r Sy n C Triggers flash at end of exposure b 1 Without Rear Sync Flash b 2 With Rear Sync Flash instead of beginning to allow for fl a S h ambient light to be captured How to use it Rear Sync Flash is found within the flash options of your camera menu and can be used with a built in or external flash Adding motion to your image presents an added level of creativity Being able to capture some blur followed by freezing the action allows you to tell a story about the direction your subject was moving in To do this activate the Rear Sync function in your flash settings and select a slow shutter speed In these photographs we wanted to capture a runner in motion Th
19. T2 which are two unique channels your flashes can operate on A red blinking light will be displayed at the base of the flash showing you it is in wireless mode Make sure the blinking red light is in the direction of your camera to ensure the camera can see and operate the wireless flash effectively Where to use it In this situation a wireless flash helped us capture motion in a low ambient light environment However wireless flash can be used anytime you want to add creative artificial lighting to your image HVL F60M 60 High illumination output Delivers high illumination output in a compact lightweight body with an effective range of more than 90ft 28m and guide number 60 Guide number measures the illumination capability of the flash the higher the number the higher the light output Tested at ISO100 105mm The Sony HVL F60M is the flagship flash with LED light features the Quick Shift Bounce system Quick Navi interface and Wireless Ratio Control for advanced lighting in still movie when shooting vertically In addition to pivoting side to side the flash unit can also tilt down 10 degrees or back 150 degrees ensuring customers the lighting freedom they need to capture that perfect shot Quick Navi and Large Dot Matrix LCD Quick Navi control is the intuitive User Interface from Sony Products specifications Flash Flash Type Auto electronic flash clip on type
20. a turned vertical with flash tited up 45 degrees to bounce light off the wall or reflective surface on the side Bouncing Flash off of walls and objects on either side of the camera is as easy as pivoting and pointing the flash to the object you want to bounce off of In this example we pointed our flash to a wall on the right e le Proper orientation when shooting portrait compositions Portrait Quick Shift Bounce Camera turned vertical with quick shift used and flash tilted up 45 degrees to bounce light off the ceiling to further reduce shadows and harsh light On Camera Flash Basics What is it Exclusive range of motion offered on some Sony flashes that allows for the flash head to remain in proper orientation regardless of camera position or angle How to use it Simply pivot the flash head around the body of the flash You can move the camera horizontally or vertically and re adjust the flash to keep your lighting results consistent Where to use it Use Quick Shift Bounce when you want to reposition the flash head or camera quickly and efficiently 17 On Camera Flash Basics m What is it J a S Technique used to add light to D 1 Over exposed background gt Properly exposed with fill flash on subject shadows to balance exposure between the foreground and Fill flash is a technique used to brighten deep shadow areas particularly f E background when photographing backl
21. aphing objects close up The Twin Flash attaches to the front of the lens Each flash is on its own individual arm which can be adjusted in a variety of angles You can also move the flash arms around the ring attachment itself which gives you a multitude of lighting possibilities The output level on each individual Twin Flash can also be adjusted to create an even more dramatic lighting effect Using a Twin Flash in your close up photography will give your photos additional detail texture and dimension Direct Flash Makes petals appear flat and lacking dimension Blows out color and contrast F18 1 200 SEC ISO 100 Twin Flash in use By switching to a twin flash not only were we were able to direct the location of our light more effectively we were able to do this with two light sources allowing us to capture more depth and detail Both flashes were extended the full seven inches from the lens and were set at the 10 o clock and 2 o clock position The background is eliminated as the flash only highlights the orchid in the foreground What is it Dual lens mounted flashes which can be extended moved positioned and adjusted for close up photography How fo use it e Simply attach the twin flash to your camera lens You can physically change the length and the position of each flash as well as change the mode and coverage using the included accessory shoe Keep changing the distance and location of t
22. cessories with cameras and camcorders that feature a new multi interface shoe 5 SONY make believe Please visit the online training guide at www sonydigitalimaging com Q is trademark of Sony Corporation Screen displays are simulated Simulated effects are used to illustrate some functions 2012 Sony Electronics Inc All rights reserved Reproduction in whole or in part without written permission is prohibited All other trademarks are trademarks of their respective owners Features and specifications are subject to change without notice Sony Electronics Inc 16530 Via Esprillo San Diego CA 92127 1 800 222 7669 www sony com DI12022
23. ct We now have a single wireless flash illuminating a white cloth to create diffused light on one side of the subject which then reflects off of a white card to illuminate both sides of the subject s face This gives us a nice soft light with depth and costs no more than a single flash and a bit of ingenuity 2 1 Light ratio Different levels of light on your subject can highlight detail and make your photograph more interesting These are expressed as ratios In this photograph there are two light sources one direct Key Light and one reflected Fill Light The direct light is about twice as strong as the reflected light Therefore we have a light ratio of 2 1 b On camera flash ail Flash HVL 60M for adjustable power and Quick Shiff maneuverability Attached to included stand for easy wireless positioning 02 Diffuser White linen tablecloth Translucent quality allows for diffused soft light to pass through and increase the size of our light source Bounce Card 3 x 2 sheet of white foam core board Off camera Flash Basics What is it A technique used to create a studio looking shot with two indirect light sources How to use it Set the camera and flash To wireless Position the flash on one side of your subject Aim the flash at your subject through a white diffuser or simply use a piece of white linen with translucent qualities like a tablecloth Place a reflector or refl
24. d be illuminated In High Speed Synchronization mode HSS the flash will emit multi bursts of light illuminating each sliver of sensor exposed while high speed shutters are open as slits This enables flash synchronization up to 1 4000 sec high speed shutters D Standard Sync Fill Flash E 1 E di a E F14 1 200 SEC ISO 160 split second Breakdown Shutterblade position over time E LI HL Total exposure 1 200 SEC X h 1 a bd ru L F This photo is a perfect example To minimize shadows and shade a flash was used However the goal was to have the rocks defocused We can see that did not happen Why With a flash set to a standard setting it could not sync with a shutter soeed faster than 1 160 to 1 250 sec With this in mind the camera adjusted the aperture accordingly In this case in manual mode we were limited to an aperture of F16 which allowed in enough light to give undesired detail to the rocks b High Speed Sync Fill Flash r F2 8 1 4000 SEC ISO 160 In this photo High Speed Sync allowed us to use our flash throughout the entire shutter speed aperture range of the camera This works in both Aperture Priority and Manual Mode For the above photo we turned on High Speed Sync put the camera in Manual Mode set an aperture of F2 8 and a shutter speed of 1 4000 sec The flash fired illuminating our subject Aperture F2 8 gave the rocks
25. e photo 1 shows the correct use of Rear Sync Photo 2 shows what happens when the standard flash settings are used such as Auto Fill Flash or Slow Sync As you can see it looks like the runner is running backwards Why A flash set to a standard setting will fire right after the shutter has been released freezing the action at the beginning of the motion and capturing the light trail during the long exposure This will create an interesting effect that almost looks like reversed motion You will need to use a longer shutter speed so keep the camera still by using a tripod or other stabilizing device Consider using a remote shutter release to cut back on camera movement Where to use it Use it when you want to capture the trail of an object in motion or flowing light more naturally F5 6 2 1 2 SEC ISO 250 F5 6 2 1 2 SEC ISO 250 Manual Mode Flash set to Fill Flash 2 5 seconds With Rear Sync the flash does not fire when the shutter Split second Breakdown F5 6 250 ISO Because the flash fires first the remaining has been released The flash fires as the shutter closes Split second Breakdown exposure time captures an unnatural trail of light at the end of the exposure This will create a blur of motion Shutterblade position over time during the exposure and then capture the subject at the Shutterblade position over time Flash Blurred motion exposed Blurred motion exposed Flash Woo o ee AEN Total exposure 2 5 SEC
26. ective surface on the other side of your subject Where to use it When you only have one flash but want to create a studio looking shot with two indirect light sources Commonly used for portrait or product shots to get a 2 1 ratio Off camera Setup For an even softer light we moved the position of both the flash and white cloth The flash still hits the white cloth first but then it bounces off of the reflective surface behind it 33 34 one flash Three lights Adding a rim light to our subject creates a halo glow around her helping define our subject from the background We now have the flash sitting on a shelf behind the subject The flash is backlighting her hair but not much else With the flash in the same position we added two white cards in front and to the sides of the subject at an angle towards the light The flash now backlights her hair and then reflects off the white cards fo illuminate each side of her face The result is a well composed image lit from three sides with one flash 2 1 1 Light ratio This photograph has a 2 1 1 ratio where the direct light Rim Light from the back is twice as strong as the two reflected light sources Key Light Fill Light b gt Off camera as rim light gt Off camera as rim light with bounce cards Flash HVL F60M for adjustable power and Quick Shiff maneuverability Attached to included stand for easy wireless positioning 02 Bounce Card
27. h same distance but this time the photographer moved slightly to the left of the subject and placed the wired flash 4ft right of the camera FIS SEC 0 3 EV SO 200 Off camera Flash Basics What is it A technique used to move flash off camera and change light direction Wired flashes use a physical sync cable to connect to the camera Wireless flashes give you more flexibility than a wired flash How to use it Wired Attach the wired flash cable for one flash and use the flash to flash cable for each additional flash Your flash will work with the flash settings in your camera e Wireless Set the camera and flash setting to wireless Place the flash within line of sight of the camera Where to use it When you need to light your subject from different angles than where you re taking the photograph from 3l 32 one flash two lights Being able to place the flash separate from the camera opens a world of creative possibilities We now have better control over the location amount and direction of the artificial light added to our images With the flash on the camera this photograph looks flat with harsh shadows Now let s remove the flash from the camera and position if elsewhere The cloth diffuser was able to reduce the shadows but the right side of the subject s face is not as illuminated as her left side To address this we simply placed a white reflective card on the right of the subje
28. he flashes to discover a variety of lighting effects Where to use it For macro photography when adding dimension as well as minimizing backgrounds The arms of the twin flash allow for precise lighting of small objects that a larger flash would miss or overpower HVL MT24AM Twin flashes Twin flashes 45 vertical 60 horizontal When wide panel is mounted 60 vertical 78 horizontal When diffuser 1 flash is mounted 90 vertical 90 horizontal Wide coverage Covers fields of view of 24mm lenses Auto locking Auto locking foot Capture impeccably lit macro photographs every time with the HVL MT24AM macro twin flash kit and your DSLR camera Take your extreme close up photography to the next level by easily arranging the twin adjustable flash heads in countless configurations Specialized specifications Flash Hash Modes Wide Panel lighting angle Approx 60 degrees Vertical Approx 78 degrees Horizontal Hash Coverage Guide Number 24 Power level 1 1 Convenience Features e Media Battery Indicator READY Lamp Interface Accessory Shoe Intelligent Accessory Shoe Weights and Measurements Dimensions Approx W x H x D 68 x 123 x 91mm for Macro flash controller 43 x 41 x 37mm for Twin flash unit Weight Approx 8 30z 235g for Macro flash controller 1 20z 33g for Twin flash unit Power Battery Type AA Alkaline AA Ni MH Weight Approx AA Alkali
29. it subjects Fill flash is typically used outdoors d on sunny days though the technique is useful any time the background is significantly brighter than the subject or your subject has harsh shadows caused by an overhead light like the sun How to use it Fill fash works with any flash in any camera mode For a flash built into a camera make sure you are at least 10ft or closer to the item you want to illuminate To use fill flash the aperture and shutter speed are adjusted to correctly expose the background and the flash is fired to lighten the foreground In the first sample image 1 a tree shades our subject but the rocks behind her are directly in the sunlight Changing our camera settings to properly expose for our subject makes the rocks behind her overexposed Where to use it To remove unwanted shadows The second image 2 is the same scene but this time we have adjusted our from your subject exposure for the rocks in the background Now our subject standing in the shade of the tree is grossly underexposed Balance lighting by adjusting for an overexposed background and use fill flash to illuminate an underexposed foreground Since we now have the rocks properly exposed all we have to do is add flash We used the same settings for the final image as used in shot 2 the only difference is that the flash fired Landscapes where you want to illuminate the foreground 2 iect We were able to use
30. movement when there is minimal available light usually results in the subject being blurry Using wireless flash in an environment with minimal ambient light will help us capture our subject in motion while cutting back on the amount of blur In this scenario we want to illuminate the bicycle rider We are too far away 20ft from the subject to illuminate him with on camera flash Also we want to increase the light coverage by lighting him from the front and back Knowing that we will be adding flash to this image we work on our camera settings to properly capture the clouds and sky behind him Once we are happy with the background we add two wireless flashes One is 10ft behind the subject and the other is 15ft away directly in front of the subject If we wanted we could change the power of each flash or use wireless ratio control to customize the amount of flash being added to the image Final Shot Exposing for the background creates a beautiful contrast with the bicyclist s yellow uniform and the flash freezes the motion in place F5 6 1 15 SEC ISO 400 Off camera Flash Basics What is it Multiple flashes synced wirelessly to allow for freedom of movement and lighting techniques not possible with wired flashes How fo use it Set your camera to Wireless Flash Mode With your Flash in TTL press the Mode button to display WL Set the on camera flash to control CTL e Set your Flash to RMTI or RM
31. ne 23g x 4 AA Ni MH 29g x 4 Power Requirements 4 batteries required General Material Poly carbonate plastic Operating Conditions Color Temperature Control Approx 5700K Storage Temperature 4 to 140 F C20 to 60 C 55 56 HVL LEI Don t let low lighting ruin your shoot Solve lighting issues quickly by attaching a battery powered LED video light and see an instant difference in the way things appear Choose from a variety of battery options AA Alkaline AA Ni MH NPFV or NP FM50 to power up this light With a handy battery life indicator you ll know ahead of time if power is running low so you won t miss that crucial shot Ships with diffuser color conversion filter 3200K barn door amp shoe adaptor and ISO shoe adaptor Solves lighting issues quickly with the HVL LEI and see an instant difference in the way things appear Wide choice of battery options AA Alkaline AA Ni MH NPFV or NP FM50 Sony lithium ion batteries Advanced Features Supplied 3200K color diffuser barn door e Swivel able shoe 180 degrees left or right 80 degrees forwards or backwards Includes Auto lock and cold shoe adapters for maximum versatility opecifications Battery LED Video Light Light Type Auto electronic light clip on type Lighting Modes Adjustable brightness control 10 100 Max Luminance 1800 lux 0 5m 450 lux 1m Weights and Measurements Dimensions Approx W x H x
32. nt detail of the lights which would leave your subject in the foreground in the dark or your fill flash will illuminate your subject leaving the background dark and lacking the mood you originally wanted to capture b Standard Fill Flash F5 1 60 SEC ISO 320 split second Breakdown Shutterblade position over time ao binii Flash Background Under Exposed J NIE Total exposure 1 60 SEC Most of the time capturing a moment at night will require a flash to illuminate the image However if you simply fire the flash you will not be telling the entire story The main goal of a flash is to illuminate what is directly in front of it At night this is useful for capturing the subject but not for capturing what is happening beyond the range of your flash b Slow Sync Flash d a Y BEEN E ass m LUE i T r a a x F5 1 8 SEC ISO 320 Slow Sync flash allows you to capture both the subject as well as the background How Slow Sync flash will slow down your shutter soeed as well as fire the flash later in the exposure A slower shutter soeed will allow more ambient light to be captured and the flash will ensure your subject and the background behind them are properly lit LEN E f g T TTT a r ILE Ere T 4 L EN EL 2 pe fee we e i F m b LI i i a F split second Breakdown Shutterblade position over time Bs i n Capturing Ambient Light Flash
33. nt light This allows us to illuminate the entire subject evenly from all directions Our resulting photo will have even lighting with minimal shadows Ring Lights are used frequently in Macro Photography due to the amount of detail they are able to capture The intensity of the powerful LED light can also be varied with the dimmer In addition we can chose to light only one side of our subject for dramatic affect or to highlight detail Adjust the switching from either having the entire ring light on or have only the left side right side on Direct Flash Hard directional light casts strong shadows and obscures detail F16 1 100 SEC 0 3 EV ISO 320 s n E atum o Both sides active 5 Right side solo F16 1 8 SEC 0 3 EV ISO 320 F16 1 8 SEC 0 3 EV ISO 320 F16 1 8 SEC 0 3 EV ISO 320 What is it Lens mounted ring of light that evenly lights close items with uniform light How to use it Attach the Ring Light and set light intensity with the dimmer to get the exposure you are looking for in your selected aperture You can also set the Ring Light to only illuminate the left or right side of your subject Where to use it Macro photography with minimal shadows Portrait photography where you want a ring of light in the subject s eyes HVL RLI d OO The HVLE RLI offers highly effective illumination of small subjects for macro shooting Its powerful 700 Ix 0 3m
34. only used in photography Using Artifical Light Illumination range 85mm ISO100 Aperture FA cx os built in flash ue a HVL F43AM a HVL F60M Guide Number GN Every flash system has a guide number or GN It is used to measure the system s ability to illuminate the subject to be photographed It s good to know the GN when deciding to buy a flash and how best to use it The GN represents the output of illumination that is metered at a distance of 1 meter 3 feet from the subject at ISO 100 The larger the GN the larger the amount of illumination the flash produces The optimum aperture setting can be determined as f stop GN Illumination range between subject and flash in meters The optimum illumination range can be calculated as Illumination range m GN f stop For example when the GN is 60 and the aperture is F4 the illumination range 60 F4 15m Approx 1 on camera An on camera flash is either the built in pop up flash or an external flash that can be easily added to any camera that has a hot shoe On camera flash provides the photographer with a more powerful light source and the ability to better control the direction of light being emitted On Camera Flash Basics On camera flash works with most exposure modes The most basic setting on the flash is Auto Simply choose your camera mode then set your flash to Auto The flash will use a built in sensor to survey the su
35. ou need light to come from an angle that the on camera flash just cannot create even with bounce Or you need multiple light sources to create the masterpiece you envision Off camera flash either wired or wireless allows us to fire the flash at the precise moment intensity and duration required Off camera Flash Basics In this section we ll cover various off camera flash basics show you how to get multiple light sources from one flash and dive into wireless ratio control 30 on camera vs off camera flash effect Using the on camera flash has many advantages such as providing more light where there isn t enough or filling in shadows to highlight detail Although good to have on camera flash is still limited to a single light source close to the lens Off camera flash increases your creative control and greatly improves the images we can get by enabling us to move the flash away from the camera This allows us to get the angle shot we need as well as the desired lighting angle which can be different The examples on these pages show how a good image using on camera flash with bounce can become a great image by taking the flash off the camera and lighting the subject from the side The flash is on the camera which is 11ft from the subject The photographer used bounce flash to soften the light on subject F21 1 125 SEC 0 3 EV 150 200 gt On Camera with Bounce Flash gt Wired Off Camera Flas
36. res like auto WB auto zoom wireless operation guide number 43 Built In Bounce sheet The built in bounce sheet can be used even when shooting in a vertical position without changing the angle of reflected light Auto white balance Auto white balance signals color temp to camera Auto zoom Auto zoom optimized for camera sensor size Dust and Moisture resistant design sealing materials are set at joints of outer materials body LCD panel Mounting Foot etc and around movement operating parts thereby increasing the life of your flash unit Modeling light capability Modeling light capability allows the HVL FA3M to pulse helping photographers determine where shadows will fall before taking the picture so they can alter lighting or subject positioning as necessary Products specifications Flash Flash Type Auto electronic flash clip on type Flash Modes Automatic Light Control TTL Continuous 10 flashes sec up to 40 pre flash control manual control Hash Coverage Bounce angles Upward 150 degrees Left 90 degrees Right 90 degrees Down 8 degrees Hash Metering System Direct TTL Guide Number 43 Modes Wireless Bounce Modeling Multi burst Number of Flashes 10 sec up to 40 total Recycling Time 29 sec Advanced Features Smooth Slow Rec Weights and Measurements Dimensions Approx W x Hx D 3x 5 1 8 x 3 1 2 75 x 129 x 87mm Weight Approx 120
37. rrounding light fire the flash and add additional light to properly illuminate the subject Adding flash when needed to your images adds control and creativity to your results The Following are some common practices for using an on camera flash 14 using bounce flash Bounce flash should be used when trying to achieve a more natural look We normally see the world with light from above whether the sun or an overhead light fixture in the ceiling Using the camera s built in flash normally creates unnatural highlights on our subject or casts shadows on walls and surfaces behind our subject One of the simplest ways to cut back on harsh shadows in our photograph is to use a bounce flash Point the flash at any reflective surface instead of your subject Ceilings walls and white cards are commonly used Light emitted from the flash will first hit the flat reflective object which will then reflect diffused soft light onto the subject This effectively makes our light source larger which produces soft light and soft more natural shadows Bounce Sheet Some flashes have a bounce sheet built into the camera Bounce sheets make the subject look more vibrant They also add catch lights in the subject s eyes In this case it also removed some of the shadows present under the subject s hat b Without flash 2c gt With external flash HVL F20AM bounce flash a Extras Would you ever use direc
38. sh provides us with a more Fg e y Sees um TEF ae ee ee if we are not using a tripod or other stabilizing device powerful light with a flash head that can be aimed in kx o3 3 ww XM ADU E multiple directions allowing us to position our light more m oe i F TE ye JN XR When natural light is diminished we need to introduce creatively and effectively artificial lighting to capture our image quickly Lamps streetlights headlights are all examples of commonly seen Some flashes can also be used wirelessly which allows artificial light In photography all of these can be used for even greater creative control With wireless flash LE S ER m h c l A a m i as well as adding artificial light with flash photography our camera can trigger one or more flashes to fire even eni E MIEL when it is not attached to the camera This allows us to i p l m add artificial lighting at a variety of locations and angles When we combine artificial and natural lighting a new level of dynamic photography is achieved LT E iz 10 understanding ar cia ighi Hard vs Soft Hard light produces stark shadows and bright highlights You will typically see hard light in your photographs when your main light source falls directly on your subject A cloudless midday sun produces hard light as would a light bulb or
39. t flash While used rarely direct flash is effective when there is minimal ambient light and you do not have any items to bounce light off of Photographing a subject with harsh shadows is better than not photographing the subject at all No Wall No Ceiling You can still bounce your flash when you do not have a wall or ceiling to work with Simply use a large white surface instead It can be a large card reflector or even someone s white shirt On Camera Flash Basics What is it Technique of reflecting light off of a nearby surface to change light direction and soften light source How to use it Point your flash to any reflective surface instead of the subject The lighter the surface the more light will be diffused into your photo Experiment by bouncing your flash off of walls and different colored surfaces Where to use it Use bounce flash to create more natural light and pleasing shadows 15 16 quick shifi bounce advantage A unique feature exclusive to Sony Quick Shift Bounce enables you to quickly pivot the flash head 180 degrees around the flash body The head of the flash can also tilt forward for direct flash and backwards to bounce off surfaces behind you Not only does fhis give you faster creative control it also allows you to set the same bounce flash position while holding your camera horizontally as well as vertically Bouncing flash off walls and objects on either side of
40. the camera is as easy as pivoting and pointing the flash to the object you want the light to bounce off Quick Shift Bounce is available on the HVL FA3M HVL F58AM and HVL F60M Taking it vertical The great thing about Quick Shift Bounce is That it allows you to easily change and shoot in portrait orientation and still keep the light direction consistent Previously that would have required a complicated bracket that attached to the camera That functionality is now built into this type of flash Portrait Direct Flash Camera turned vertical with flash pointed directly at the subject in the standard position The harsh shadow on the left is due to the flash now hitting the subject at an angle and not straight on Landscape Direct Flash Camera horizontal with flash pointed directly at the subject in the standard position Landscape Bounce Flash Camera horizontal with flash tilted up 45 degrees to bounce light off the ceiling and further eliminate shadow and harsh light Portrait Quick Shift Flash Camera turned vertical with quick shift used so flash is still aimed directly at the subject but is closer to the camera By moving the Quick Shift Flash 90 degrees we are able to tone down the harsh shadow behind the subject by positioning the flash closer to the camera and in a more direct path to the subject quick shift bounce 180 Left Right 156 Front Back Portrait Bounce Camer
41. the luminosity ratio for each group so they can enjoy multiple flash lighting techniques without the need for Quick Shift Bounce special equipment or tedious exposure settings Sony s patented Quick Shiff Bounce system allows the HVL F6OM to quickly orbit 90 degrees left and right allowing you to maintain horizontal light distribution even image or movie with live view function of EVF equipped camera Maximum luminance of 1200 lux 0 5m with illuminating distance of approximately 6 1 2ft 2m at ISO 3200 F5 6 43 44 HVL F43AM 43 High power illumination High power illumination guide number 43 Longer effective range Longer effective range of over 30ft 10 5m Quick Shift Bounce The innovative Quick Shift Bounce system allows the HVL F43M to orbit 90 degrees left and right allowing you to maintain horizontal light distribution even when shooting vertically In addition to pivoting side to side the flash unit can also tilt down 8 degrees or back 150 degrees ensuring customers the lighting freedom they need to capture that perfect shot Versatile bounce angles Versatile bounce angles 90 up 90 left This allows the flash head to be rotated while maintaining the set bounce angle so you can quickly switch between horizontal and vertical format without changing the light angle Sony amp System HVL F43AM Flash Unit Powerful range fast recharging versatile bounce angles intelligent featu
42. the natural light to illuminate our background as well gt Under exposed subjec as use artificial fill flash to illuminate our subject in the foreground F5 6 1 125 SEC ISO 100 Split second Breakdown Shutterblade position over time zm zm zm zm mm Flash Total exposure 1 125 SEC Set it up in advance When photographing a person do a test shot before the model is in the scene to get the exposure spot on in advance 19 20 high speed sync HSS A sunny day gives us the ability to take nice fast photos but chances are we might also have to deal with shadows and shade and need to use a fill flash We may also want to maintain a nice defocused background at the same time In normal fill flash mode we would be limited to a shutter speed of 1 160 to 1 250 sec depending on our camera in turn this would limit our aperture which would be forced to a high f stop and result in not much of a defocused background In normal flash photography an instantaneous flash illuminates the subject when the shutter is fully open At shutter speeds up to 1 160 or 1 250 sec the first curtain shutter opens to completely reveal the sensor before the second curtain starts moving When the sensor is fully exposed your flash can fire to illuminate your subject However in faster shutter speeds the second curtain starts moving while the first curtain is still in motion If your fill flash had to fire only a portion of your image woul
43. ve operation Unlike most external flash units the HVL F20AM has no dedicated ON OFF switch Instead power is automatically switched on simply by raising the flash unit into the shooting position In addition a switch on the side of the unit offers Indoor and Outdoor settings making it easy to obtain flash illumination that suits the shooting situation A charging lamp indicates when the flash is ready to fire Light 90g 3 20z slim 24mm 1 ultra compact design With a weight of only 90g Approx and a thickness of only 24mm 1 inch the HVL F20AM is so compact it can simply be folded down and left mounted on the camera when it is not in use or detached and carried in a shirt pocket When removed from the camera the flash unit s hot shoe can be folded to the side making the body even more compact Products specifications Flash Flash Type Auto electronic flash clip on type Flash Modes Automatic Light Control TTL Continuous 10 flashes sec up to 40 Re flash Control Manual Control Hash Coverage Bounce angles Upward 150 degrees Left 90 degrees Right 90 degrees Down 8 degrees Hash Metering System Direct TTL Guide Number 43 Modes Wireless Bounce Modeling Multi burst Number of Flashes 10 sec up to 40 total Recycling Time 2 9 sec Advanced Features Smooth Slow Rec Weights and Measurements Dimensions Approx W x H x D 3x 5 1 8 x 3 1 2 75 x 129 x
44. z 340g excluding AA batteries Power e Battery Type AA Alkaline AA Ni MH requires 4 General Material Poly carbonate plastic Operating Conditions Storage Temperature 4 to 140 F C20 to 60 C 45 46 HVL F20AM 20 Extends flash range beyond camera s built in flash Though compact and lightweight the HVL F20AM has a maximum range twice that of the built in flash units on 230 330 and 380 cameras This is represented as the guide number GN of 20 with a 50mm focal distance at ISO 100 Bounce flash enables shadowless indirect lighting When set to indoor shooting mode the flash points up to bounce light off the ceiling for shadowless illumination of your subject When set to the outdoor shooting mode the flash directs light directly at your subject Built in diffuser for wide and telephoto shooting With the built in diffuser the flash illumination covers an angle of view of 27mm at the default Standard Position setting If users want to shoot at a greater distance they can rotate the dial on the side of the flash unit to the Tele Position Although this reduces flash coverage to an angle of view of 50mm it extends the range to illuminate more distant subjects Expand your creativity with the revolutionary HVL F20AM compact external flash which extends illumination range beyond the camera s built in flash Intuitive operation bounce capability and TTL auto metering Easy intuiti
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