The Pitfalls of the On-Camera Flash

To get started we set up our sawhorses and set a desktop surface on them; this served as our shooting table. We arranged it so that we could shoot down from the narrow end. This way, when we add lights we wouldn’t have to rearrange the set.

We set the subject, an old table clock, at a slight angle so that we can see some of its dimention. Once we had the camera attached to our tripod we installed the on-camera flash and set everything to the auto settings on both the camera and the flash (figures 1 and 2).

We made adjustments to the tripod and the tripod head to frame our shot, then made an exposure (figure 3).

Our results were not very flattering. The contrast is out of control with ugly reflections and shadows.

Using 6-inch Reflectors

For the next step, we took the flash off the camera and set up the first of our studio flash units to the right of the camera at about 45 degrees relative to the clock and about three feet away (figure 4).

We set the power of flash unit to 1/16 power and took a light meter reading to calculate our exposure. From the meter readings we set the camera to manual, then set the shutter speed to 1/60 and the aperture to f/16.5. Lastly we connected the camera and the flash with the sync cord and shot a photo (figure 5).

Again our results don’t do our subject justice, we still have too much contrast and the highlights apear blown out. On the positive side we are starting to see some dimension to the subject because we have moved the light off the camera.

Next, we moved the light around to the side of the subject to try and get rid of the reflection on the face of the clock. We positioned the light at about 90 degrees to the right and at the same distance (figure 6).

The result still has a lot of contrast but now we have a better handle on the highlights (figure 7). One of the drawbacks of using light at hard or raking angles is that it will show every nick and spec of dust. At this point, one thing we could do is use a LiteDisc reflector to fill in the clock and help control the contrast. Instead, we decided to try adding a second light to accomplish the same thing.

For our next step we added a second studio flash unit to the left side of the set. We know from our first steps that we will get ugly highlights on the glass of the clock if we light it from the front. We set the light far to the side at about 90 degrees to match the first light in height and distance from the subject. Since we are treating this light as a fill we will set the power to about 1/2 stop less than the first light. Doing this allows the second light to fill in the shadows, reducing the contrast while still giving the image depth (figure 8).

With the second light in place, we checked the camera and made an exposure (figure 9).

Using these tools, this is what you can expect for your results; not too bad, but definitely far from perfect. Even though we spent time cleaning the clock and putting some wood polish on it, we still see a lot of nicks and dust that we did not see through the lens. And the overall shot is still very contrasty or moody but we can clearly see the clock. So we could call it mission accomplished - or not.


Using the Medium LiteIgloo and 6-inch Reflector Lights

Next, we set up the Medium LiteIgloo and installed the included white sweep to the Velcro tabs sewn into both products. We set the LiteIgloo on a piece of white foam board so that the color of the table would not contaminate the shot (figures 10 and 11).

Tip: When choosing the size of LiteIgloo you will need for the subjects you want to photograph, follow these basic rules. The products you choose should be roughly half the size of the LiteIgloo. So for the Small (12 inch cubed) your subject should about 6-8 inches or less, for the Medium (19.75 inches cubed) your items should be 10-12 inches and for the Large (31.5 inches cubed) your products should be 16-22 inches. In other words the Small is ideal for jewelry, watches and the like. The Medium works well for items the size of a shoebox and the Large for items like a tower computer or a stereo receiver.

Using the same lights in much the same positions we can really improve on the results. To start, we set the clock into the LiteIgloo at the same angle but this time we will take advantage of one of the features of the LiteIgloo. The access door on the front of the LiteIgloo is like a double door; it is two separate pieces. This means you have no restrictions on the camera placement. To take full advantage we will lower the camera almost to the level of the table top so that we can look up at the clock giving it a much more dramatic appearance, then seal the doors around the lens (figures 12 and 13).

We placed the flash head to camera right at 90 degrees from the subject in the same position we had placed it before we set up the LiteIgloo (figure 14).

We took a light meter reading and found the we had lost about 1/2 stop of light, so we made adjustments to the power level of the studio flash unit. Once we had the light output dialed in, we shot our next picture (figure 15).

Our results show a much more interesting angle and much better contrast control. The key light needs to be repositioned to reduce the hot highlight on the clock face. This is because the walls of the LiteIgloo have softened and spread the light causing too much light to fall on the face of the clock.

To solve this, we raised up the first light about 2 feet to about 6 feet and moved it back so that is was at about 45 degrees from the back of the subject (figure 16).

Since we moved the light we had to take another light meter reading and make our adjustment to the light's power output. Once we had the exposure set we shot the next image (figure 17).

We can see how the highlights on the clock face and glass have been improved by softening the light with the LiteIgloo. We can see all the detail and have a pleasing overall contrast level.

Our last step was to add the second studio flash unit to the shot. Again, we started by placing in the same spot as we did in the first set up. The light set at about 90 degrees from the subject from the left side (figure 18).

With the second light in place we checked out camera and shot the final image (figure 19). Now we can say mission accomplished with no doubt. With simple lighting and with a dramatic camera position, we have given this clock a make over.

Comparing the Results

Below is the line up of the results we achieved to get to the final image. We can clearly see how the LiteIgloo can easily improve the look of your work and increase your production.

While we still had the studio set up we pulled some more items from our prop room and arranged them in the LiteIgloo. In the next example we photographed a pair of boots, made of soft suede, to illustrate the quality of light on a non-reflective surface. The following figures show the final lighting setup and the results we got with it (figures 21 and 22).

Using the Large LiteIgloo

In our next examples we put away the Medium LiteIgloo, set up the Large LiteIgloo, and installed the white sweep. We set a vase with some gerbera daisies on the sweep in the LiteIgloo. Then, we set the key light to the right side of the camera at about 45 degrees and our fill light to left side at 45 degrees from the back (figures 23 and 24).

For an example of a reflective subject we chose this very cool electric violin. We set our key light to the left of the set at about 90 degrees and added and small HalfDome soft box on to our studio flash unit. The soft box should broaden and soften the highlights on our subject. For our fill light, we set the 6-inch reflector light to the right at 90 degrees (figure 25 and 26).

By using the Velcro tabs on the side of the LiteIgloo to keep the door open, we effectively turned the LiteIgloo into a mini cyclorama. By doing this we can move the camera back and use a long lens to reduce any distortion we would get by using a wide lens on this tall subject (figures 27 and 28).

With our long lens attached and our subject framed, we shot an image of the violin (figure 29).

Using the Small LiteIgloo

For our last set of examples we put away the large LiteIgloo and set up the small LiteIgloo.

To add some interest to the shots we placed a polished slice of rock on the floor of the LiteIgloo and then set a ring on top of the rock. We placed the key light to the right at 90 degrees and about even with the side of the LiteIgloo. Our fill was set to the left at 90 degrees and raised up to light the top as well as the side (figures 30 and 31).

Once we had our ring framed and lit we shot a few images, figure 32 is the keeper.

Next, we chose an old watch and a two pieces of polished rock. This time we stacked the rocks in the background and placed the watch on the front surface. Our key light was set to the right side at 90 degrees and raised up high to light the top of the LiteIgloo. The fill was set to the left at 90 degrees and lowered to about the height of the LiteIgloo (figures 33 and 34).

With the light set and the watch framed up, we shot our last shot of the afternoon (figure 35).

Shooting on a Light Table

Another option you can employ is to set the LiteIgloo on a light table, and have a light source come from under the subject.

To create a simple light table we removed the desktop from the sawhorses and turned them 90 degrees. We then set a 32”X32” piece of clear Plexiglas on top of the sawhorses. You can use frosted Plexiglas if you wish, but it will absorb about 1/2 of a stop of light (figure 36).

We grabbed one of our super clamps (available at most pro photo stores) and clamped to the leg of one of the sawhorses. Then we attached one of our studio flash units to the mounting stud on the super clamp centering the light under the glass (figure 37).

Since we will be using a reflector light, we placed a white sheet over the glass to soften the light a little, then we placed the Medium LiteIgloo on the set (figure 38).

The subject for this image is a pitcher of iced tea. Because we were using real ice, we did not have much time to shoot. We set the prop with out any ice in the LiteIgloo in order to workout our lightig and camera settings first. With the light under the LiteIgloo on we took a light meter reading to get our exposure, and took the first shot (figures 39 and 40).

Our result shows an interesting image but there is definitely a separation on the top of the pitcher, and the image is very contrasty overall. Next, we set the second studio flash unit around the back of the set, raised it up to about 5 feet and aimed it down to focus the light on the top of the LiteIgloo. Then we took a light meter reading and adjusted the power on the second strobe to match the output of the first. We checked our focus and shot an image (figures 41 and 42).

The addition of the top light added diffusion to the top of the pitcher and reduced our contrast to a good level. We were now ready to pour the iced tea in the pitcher and shoot the final shot (figure 43).

The shot looks great, but we wanted to see what would happen if we replaced the reflector on the bottom light with a soft box. So we put the tea in the freezer and reset the shot with a Medium LiteDome under the subject. Because the soft box will soften the light very evenly, we do not need the sheet under the LiteIgloo (figure 44).

With the soft box in place, we reset the LiteIgloo back on the light table, reset the top light, and placed the iced tea on the set. We took a quick meter reading and found we needed to adjust the light power on the bottom light about /2 stop higher. We set the camera and shot our next image (figure 45).

Using the soft box under the LiteIgloo adds the final touch; we have a much cleaner and more even background. Because the soft box has softened and spread out the light, the highlights and the detail in the pitcher are much better. In figures 46 and 47, we show a side-by-side comparison of the shots taken with and without the soft box.

Shooting for Background Knockouts

A chromakey blue sweep is included with each size of the new LiteIgloo. This can be used to shoot individual items and then, using a masking program on the computer, the background of the image can be removed. The object is then isolated for compositing into an image with other objects or on another background. The chromakey sweep can be intalled in the same way as the white sweep. However, we chose to show another way to use the LiteIgloo for this example.

If we turn the LiteIgloo over so that the door is facing up, then we can use it to shoot objects from above. We removed the sawhorses and set up a large box we found in the studio in their place in order to get the set lower to the floor. Then we spread the white cloth over the box to cover up and the graphics on the box (figure 48).

We placed the LiteIgloo on the box with the door facing up. Then we folded the chromakey sweep in thirds (figures 49 and 50).

We then placed the folded sweep in the bottom of the LiteIgloo (figures 51 and 52).

In this example we choose to shoot a wine bottle, which presents a challenge for most photographers. With the LiteIgloo it’s a snap. We placed our prop on the bottom of the LiteIgloo (figure 53).

To set up our camera we took advantage of a cool feature available on our tripod. By removing the bottom cap on the center column, we were able to pull out the column and slide it in horizontally. This allows the camera to be placed directly over the subject. Because we have moved the camera off center, as a precaution we attached a sand bag to the opposite leg to counter balance the tripod (figures 54 and 55).

We set our first light at 90 degrees to the right and at about the same height as the LiteIgloo with the light centered on the right panel (figure 56). Then we sealed up the doors, set the camera, and shot an image.

Figure 57 shows that our seal was not blocking out the ambient light in the studio. To fix this we placed the white sweep around the lens to cover the gaps (figure 58).

Now with the LiteIgloo sealed we shot a second result image (figure 59).

This result shows a very nice clean highlight running down the length of the bottle and good detail on the label giving the bottle a good sense of dimension.

The second light was placed on the rear, right side of the set at the same height as the first light. We positioned it so that the center of light was focused on the back and the right side panels. We moved the first light toward the camera so that its light centered on the bottom edge of the right panel (figure 60).

We checked our camera and focus and shot the next image (figure 61).

In figures 62 and 63 we can compare how the addition of the second light has helped to carry the highlight down the length of the bottle. And we still have a very nice shape and a lot of detail in the subject.

Using a masking program on the computer, we can extract the bottle and place it by itself or in a group shot. And because we shot all the subjects in the same light setup, the look is very consistent and professional (figures 64 and 65).

All in a Day's Work

Figures 66 and 67 are our final images taken with the Large LiteIgloo.

Figures 68 - 73 are the final image taken with the Medium LiteIgloo.

Figures 74 and 75 are the final result shots taken with the Small LiteIgloo.