Using bounce flash

Instead of pointing the flash direct from the camera you will get far more natural, less problematic results by bouncing the light off some nearby white surface (Figures 26.4 and

Figure 26.3 Watch the background of the scenes you photograph with flash. Glass or gloss surfaces directly behind your subject will reflect the flashlight back into the camera lens, causing a brilliant 'hot spot' to appear in the photograph.
Figure 26.4 Bouncing your flash off a white card reflector to the side of your subject creates a similar effect to soft window light.
Figure 26.5 With some models you can soften the light using a flash attachment designed to spread the light coming from your flash. Some models are supplied with diffusion attachments designed for just this purpose, or you can purchase a diffuser from a third-party supplier.

26.5). This might be a ceiling or wall indoors, or even white card or plastic in a camera-attachable support, which is usable outside too. Most accessory flashguns can be tilted or swivelled so that you can point them upwards or sideways.

The bounced surface then effectively becomes the light source for the image, providing a soft and even light similar to that available on an overcast day. Using this type of flash set-up you avoid the worst aspects of direct flash and red eye. The less flat-on lighting gives you much better subject modelling and sense of form. And instead of light intensity falling away from front to back, most of the room is lit in an even and natural-looking way - from above.

Be careful, though, not to bounce the flash off a tinted ceiling or when surrounded by strongly colored walls. The overall color cast this gives is much less acceptable in a photograph than in real life. Also, ceiling-bounced flash should be directed at an area above the camera rather than above the subject. Otherwise, the subject receives too much top lighting, resulting in overshadowed eyes and a deep shadow below the chin.

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