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How to get even lighting when using flash for group photos near wall?



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I'm having trouble getting nice even lighting when using my speedlight on my camera. I photographed a formal recently in a hall with high yellowish ceilings. I pointed the speedlight directly upwards at the ceiling to diffuse the light. However in many of my photos, especially those near walls, the light would be very bright near the top and dim near the bottom. What could I do to avoid this?



Group photo










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    3















    I'm having trouble getting nice even lighting when using my speedlight on my camera. I photographed a formal recently in a hall with high yellowish ceilings. I pointed the speedlight directly upwards at the ceiling to diffuse the light. However in many of my photos, especially those near walls, the light would be very bright near the top and dim near the bottom. What could I do to avoid this?



    Group photo










    share|improve this question









    New contributor




    Geoff Shaw Photography is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
    Check out our Code of Conduct.























      3












      3








      3








      I'm having trouble getting nice even lighting when using my speedlight on my camera. I photographed a formal recently in a hall with high yellowish ceilings. I pointed the speedlight directly upwards at the ceiling to diffuse the light. However in many of my photos, especially those near walls, the light would be very bright near the top and dim near the bottom. What could I do to avoid this?



      Group photo










      share|improve this question









      New contributor




      Geoff Shaw Photography is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.












      I'm having trouble getting nice even lighting when using my speedlight on my camera. I photographed a formal recently in a hall with high yellowish ceilings. I pointed the speedlight directly upwards at the ceiling to diffuse the light. However in many of my photos, especially those near walls, the light would be very bright near the top and dim near the bottom. What could I do to avoid this?



      Group photo







      flash lighting bounce-flash






      share|improve this question









      New contributor




      Geoff Shaw Photography is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.











      share|improve this question









      New contributor




      Geoff Shaw Photography is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.









      share|improve this question




      share|improve this question








      edited 42 mins ago









      xiota

      12.3k41864




      12.3k41864






      New contributor




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      asked 4 hours ago









      Geoff Shaw PhotographyGeoff Shaw Photography

      161




      161




      New contributor




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      Check out our Code of Conduct.





      New contributor





      Geoff Shaw Photography is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.






      Geoff Shaw Photography is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
      Check out our Code of Conduct.






















          3 Answers
          3






          active

          oldest

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          4














          You need to think about the direction of the light when you bounce.



          Bouncing isn't just about pointing the flash up, or up and forward. It's about picking the direction of your light. If you're bouncing, you have to stop thinking of the flash as your light source, and think of the reflecting surface your flash is pointed at as your light source. In other words, point the head of the flash at where you'd put a softbox in a studio. In this specific case, you put the light in the ceiling, straight over your head, more or less pointing downwards.



          If you want the light to come from the front more, you need to bounce behind you. But there may not be a reflective surface (wall) there. So, choosing where in the room you do this, and how the room is shaped / how far away the walls/ceiling are all key. The higher the ceiling, the less liable you'll be able to bounce, because light, like all forms of electromagnetic energy, falls of according to inverse square. Double the distance, you quarter the light. Triple it, and you've only got one-ninth. There are reasons to still use a high ISO setting, even if you use a flash.



          You may need to set up a reflector or reflective surface, or rearrange where the group is standing, so you can use a bounce surface. Or. Consider taking that flash off camera, and remotely triggering it somehow (most commonly, with a radio transmitter/receiver).






          share|improve this answer































            2














            In addition to what xiota suggests, you need to consider how the inverse square law applies here (What is the inverse-square law, and how does it apply to lighting for photography?).



            If you were forced to only bounce the light off the ceiling, then to even out the exposure from top to bottom, you'd need to increase the total distance the light has to travel so that the difference between light path to top and light path to bottom are ratios that are closer together. This is often hard to control, as you can't adjust the ceiling height and often have little working room for which to move back - and the solution of decoupling the flash from the camera to move it further behind you, for example, actually opens the door to better lighting methods.



            If you can get the flash off the camera - this would be the most ideal as you have more control over where the strobe sits relative to the subject and any sort of modifiers you want to use to soften the light.



            If you cannot decouple the flash from the camera, then your next best option is to direct some of the light forward so that it can fill in where the main light path has started to fall-off. This is done by extending the bounce card up (if your flash has one), adding a home-made bounce card, or using a light modifier that throws the light in all directions (something like a Magmod of Fonger)






            share|improve this answer
























            • Thought I'd typed about the bounce card, but guess forgot.

              – xiota
              1 hour ago



















            1














            In addition to the light falloff across the frame, there are some light-dark bands, possibly caused by flickering artificial lights?



            Options to consider:




            • Reduce shutter speed or use sync settings on camera to eliminate banding.


            • Use diffuser in addition to bouce.


            • Use the bounce card on your flash.

            • Change the angle of bounce. (See inkista's answer.)

            • Try bouncing off nearby walls.

            • Bounce off a reflector, held by assistant or stand.

            • Umbrellas and soft boxes?

            • Off camera flash (See Hueco's answer.)


            The problem should be fairly easy to fix with post processing.




            • Create layer with black to white gradient matching the change in light levels. You can even grab, expand, blur, invert, and desaturate a section of the wall. Using a portion of the wall will help reduce the appearance of the bands. You will need to clone out the logos.

            • Find an appropriate layer blending mode. (I used overlay.)

            • Change opacity to taste. (I used 35%.)

            • Touch up with dodge and burn. (I skipped this, so banding is still visible.)


            There are more complicated methods, but the basic idea of using layer blending modes is the same.



            gradientimage






            share|improve this answer


























              Your Answer








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              3 Answers
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              3 Answers
              3






              active

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              active

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              active

              oldest

              votes









              4














              You need to think about the direction of the light when you bounce.



              Bouncing isn't just about pointing the flash up, or up and forward. It's about picking the direction of your light. If you're bouncing, you have to stop thinking of the flash as your light source, and think of the reflecting surface your flash is pointed at as your light source. In other words, point the head of the flash at where you'd put a softbox in a studio. In this specific case, you put the light in the ceiling, straight over your head, more or less pointing downwards.



              If you want the light to come from the front more, you need to bounce behind you. But there may not be a reflective surface (wall) there. So, choosing where in the room you do this, and how the room is shaped / how far away the walls/ceiling are all key. The higher the ceiling, the less liable you'll be able to bounce, because light, like all forms of electromagnetic energy, falls of according to inverse square. Double the distance, you quarter the light. Triple it, and you've only got one-ninth. There are reasons to still use a high ISO setting, even if you use a flash.



              You may need to set up a reflector or reflective surface, or rearrange where the group is standing, so you can use a bounce surface. Or. Consider taking that flash off camera, and remotely triggering it somehow (most commonly, with a radio transmitter/receiver).






              share|improve this answer




























                4














                You need to think about the direction of the light when you bounce.



                Bouncing isn't just about pointing the flash up, or up and forward. It's about picking the direction of your light. If you're bouncing, you have to stop thinking of the flash as your light source, and think of the reflecting surface your flash is pointed at as your light source. In other words, point the head of the flash at where you'd put a softbox in a studio. In this specific case, you put the light in the ceiling, straight over your head, more or less pointing downwards.



                If you want the light to come from the front more, you need to bounce behind you. But there may not be a reflective surface (wall) there. So, choosing where in the room you do this, and how the room is shaped / how far away the walls/ceiling are all key. The higher the ceiling, the less liable you'll be able to bounce, because light, like all forms of electromagnetic energy, falls of according to inverse square. Double the distance, you quarter the light. Triple it, and you've only got one-ninth. There are reasons to still use a high ISO setting, even if you use a flash.



                You may need to set up a reflector or reflective surface, or rearrange where the group is standing, so you can use a bounce surface. Or. Consider taking that flash off camera, and remotely triggering it somehow (most commonly, with a radio transmitter/receiver).






                share|improve this answer


























                  4












                  4








                  4







                  You need to think about the direction of the light when you bounce.



                  Bouncing isn't just about pointing the flash up, or up and forward. It's about picking the direction of your light. If you're bouncing, you have to stop thinking of the flash as your light source, and think of the reflecting surface your flash is pointed at as your light source. In other words, point the head of the flash at where you'd put a softbox in a studio. In this specific case, you put the light in the ceiling, straight over your head, more or less pointing downwards.



                  If you want the light to come from the front more, you need to bounce behind you. But there may not be a reflective surface (wall) there. So, choosing where in the room you do this, and how the room is shaped / how far away the walls/ceiling are all key. The higher the ceiling, the less liable you'll be able to bounce, because light, like all forms of electromagnetic energy, falls of according to inverse square. Double the distance, you quarter the light. Triple it, and you've only got one-ninth. There are reasons to still use a high ISO setting, even if you use a flash.



                  You may need to set up a reflector or reflective surface, or rearrange where the group is standing, so you can use a bounce surface. Or. Consider taking that flash off camera, and remotely triggering it somehow (most commonly, with a radio transmitter/receiver).






                  share|improve this answer













                  You need to think about the direction of the light when you bounce.



                  Bouncing isn't just about pointing the flash up, or up and forward. It's about picking the direction of your light. If you're bouncing, you have to stop thinking of the flash as your light source, and think of the reflecting surface your flash is pointed at as your light source. In other words, point the head of the flash at where you'd put a softbox in a studio. In this specific case, you put the light in the ceiling, straight over your head, more or less pointing downwards.



                  If you want the light to come from the front more, you need to bounce behind you. But there may not be a reflective surface (wall) there. So, choosing where in the room you do this, and how the room is shaped / how far away the walls/ceiling are all key. The higher the ceiling, the less liable you'll be able to bounce, because light, like all forms of electromagnetic energy, falls of according to inverse square. Double the distance, you quarter the light. Triple it, and you've only got one-ninth. There are reasons to still use a high ISO setting, even if you use a flash.



                  You may need to set up a reflector or reflective surface, or rearrange where the group is standing, so you can use a bounce surface. Or. Consider taking that flash off camera, and remotely triggering it somehow (most commonly, with a radio transmitter/receiver).







                  share|improve this answer












                  share|improve this answer



                  share|improve this answer










                  answered 2 hours ago









                  inkistainkista

                  41.3k562107




                  41.3k562107

























                      2














                      In addition to what xiota suggests, you need to consider how the inverse square law applies here (What is the inverse-square law, and how does it apply to lighting for photography?).



                      If you were forced to only bounce the light off the ceiling, then to even out the exposure from top to bottom, you'd need to increase the total distance the light has to travel so that the difference between light path to top and light path to bottom are ratios that are closer together. This is often hard to control, as you can't adjust the ceiling height and often have little working room for which to move back - and the solution of decoupling the flash from the camera to move it further behind you, for example, actually opens the door to better lighting methods.



                      If you can get the flash off the camera - this would be the most ideal as you have more control over where the strobe sits relative to the subject and any sort of modifiers you want to use to soften the light.



                      If you cannot decouple the flash from the camera, then your next best option is to direct some of the light forward so that it can fill in where the main light path has started to fall-off. This is done by extending the bounce card up (if your flash has one), adding a home-made bounce card, or using a light modifier that throws the light in all directions (something like a Magmod of Fonger)






                      share|improve this answer
























                      • Thought I'd typed about the bounce card, but guess forgot.

                        – xiota
                        1 hour ago
















                      2














                      In addition to what xiota suggests, you need to consider how the inverse square law applies here (What is the inverse-square law, and how does it apply to lighting for photography?).



                      If you were forced to only bounce the light off the ceiling, then to even out the exposure from top to bottom, you'd need to increase the total distance the light has to travel so that the difference between light path to top and light path to bottom are ratios that are closer together. This is often hard to control, as you can't adjust the ceiling height and often have little working room for which to move back - and the solution of decoupling the flash from the camera to move it further behind you, for example, actually opens the door to better lighting methods.



                      If you can get the flash off the camera - this would be the most ideal as you have more control over where the strobe sits relative to the subject and any sort of modifiers you want to use to soften the light.



                      If you cannot decouple the flash from the camera, then your next best option is to direct some of the light forward so that it can fill in where the main light path has started to fall-off. This is done by extending the bounce card up (if your flash has one), adding a home-made bounce card, or using a light modifier that throws the light in all directions (something like a Magmod of Fonger)






                      share|improve this answer
























                      • Thought I'd typed about the bounce card, but guess forgot.

                        – xiota
                        1 hour ago














                      2












                      2








                      2







                      In addition to what xiota suggests, you need to consider how the inverse square law applies here (What is the inverse-square law, and how does it apply to lighting for photography?).



                      If you were forced to only bounce the light off the ceiling, then to even out the exposure from top to bottom, you'd need to increase the total distance the light has to travel so that the difference between light path to top and light path to bottom are ratios that are closer together. This is often hard to control, as you can't adjust the ceiling height and often have little working room for which to move back - and the solution of decoupling the flash from the camera to move it further behind you, for example, actually opens the door to better lighting methods.



                      If you can get the flash off the camera - this would be the most ideal as you have more control over where the strobe sits relative to the subject and any sort of modifiers you want to use to soften the light.



                      If you cannot decouple the flash from the camera, then your next best option is to direct some of the light forward so that it can fill in where the main light path has started to fall-off. This is done by extending the bounce card up (if your flash has one), adding a home-made bounce card, or using a light modifier that throws the light in all directions (something like a Magmod of Fonger)






                      share|improve this answer













                      In addition to what xiota suggests, you need to consider how the inverse square law applies here (What is the inverse-square law, and how does it apply to lighting for photography?).



                      If you were forced to only bounce the light off the ceiling, then to even out the exposure from top to bottom, you'd need to increase the total distance the light has to travel so that the difference between light path to top and light path to bottom are ratios that are closer together. This is often hard to control, as you can't adjust the ceiling height and often have little working room for which to move back - and the solution of decoupling the flash from the camera to move it further behind you, for example, actually opens the door to better lighting methods.



                      If you can get the flash off the camera - this would be the most ideal as you have more control over where the strobe sits relative to the subject and any sort of modifiers you want to use to soften the light.



                      If you cannot decouple the flash from the camera, then your next best option is to direct some of the light forward so that it can fill in where the main light path has started to fall-off. This is done by extending the bounce card up (if your flash has one), adding a home-made bounce card, or using a light modifier that throws the light in all directions (something like a Magmod of Fonger)







                      share|improve this answer












                      share|improve this answer



                      share|improve this answer










                      answered 3 hours ago









                      HuecoHueco

                      12.6k32858




                      12.6k32858













                      • Thought I'd typed about the bounce card, but guess forgot.

                        – xiota
                        1 hour ago



















                      • Thought I'd typed about the bounce card, but guess forgot.

                        – xiota
                        1 hour ago

















                      Thought I'd typed about the bounce card, but guess forgot.

                      – xiota
                      1 hour ago





                      Thought I'd typed about the bounce card, but guess forgot.

                      – xiota
                      1 hour ago











                      1














                      In addition to the light falloff across the frame, there are some light-dark bands, possibly caused by flickering artificial lights?



                      Options to consider:




                      • Reduce shutter speed or use sync settings on camera to eliminate banding.


                      • Use diffuser in addition to bouce.


                      • Use the bounce card on your flash.

                      • Change the angle of bounce. (See inkista's answer.)

                      • Try bouncing off nearby walls.

                      • Bounce off a reflector, held by assistant or stand.

                      • Umbrellas and soft boxes?

                      • Off camera flash (See Hueco's answer.)


                      The problem should be fairly easy to fix with post processing.




                      • Create layer with black to white gradient matching the change in light levels. You can even grab, expand, blur, invert, and desaturate a section of the wall. Using a portion of the wall will help reduce the appearance of the bands. You will need to clone out the logos.

                      • Find an appropriate layer blending mode. (I used overlay.)

                      • Change opacity to taste. (I used 35%.)

                      • Touch up with dodge and burn. (I skipped this, so banding is still visible.)


                      There are more complicated methods, but the basic idea of using layer blending modes is the same.



                      gradientimage






                      share|improve this answer






























                        1














                        In addition to the light falloff across the frame, there are some light-dark bands, possibly caused by flickering artificial lights?



                        Options to consider:




                        • Reduce shutter speed or use sync settings on camera to eliminate banding.


                        • Use diffuser in addition to bouce.


                        • Use the bounce card on your flash.

                        • Change the angle of bounce. (See inkista's answer.)

                        • Try bouncing off nearby walls.

                        • Bounce off a reflector, held by assistant or stand.

                        • Umbrellas and soft boxes?

                        • Off camera flash (See Hueco's answer.)


                        The problem should be fairly easy to fix with post processing.




                        • Create layer with black to white gradient matching the change in light levels. You can even grab, expand, blur, invert, and desaturate a section of the wall. Using a portion of the wall will help reduce the appearance of the bands. You will need to clone out the logos.

                        • Find an appropriate layer blending mode. (I used overlay.)

                        • Change opacity to taste. (I used 35%.)

                        • Touch up with dodge and burn. (I skipped this, so banding is still visible.)


                        There are more complicated methods, but the basic idea of using layer blending modes is the same.



                        gradientimage






                        share|improve this answer




























                          1












                          1








                          1







                          In addition to the light falloff across the frame, there are some light-dark bands, possibly caused by flickering artificial lights?



                          Options to consider:




                          • Reduce shutter speed or use sync settings on camera to eliminate banding.


                          • Use diffuser in addition to bouce.


                          • Use the bounce card on your flash.

                          • Change the angle of bounce. (See inkista's answer.)

                          • Try bouncing off nearby walls.

                          • Bounce off a reflector, held by assistant or stand.

                          • Umbrellas and soft boxes?

                          • Off camera flash (See Hueco's answer.)


                          The problem should be fairly easy to fix with post processing.




                          • Create layer with black to white gradient matching the change in light levels. You can even grab, expand, blur, invert, and desaturate a section of the wall. Using a portion of the wall will help reduce the appearance of the bands. You will need to clone out the logos.

                          • Find an appropriate layer blending mode. (I used overlay.)

                          • Change opacity to taste. (I used 35%.)

                          • Touch up with dodge and burn. (I skipped this, so banding is still visible.)


                          There are more complicated methods, but the basic idea of using layer blending modes is the same.



                          gradientimage






                          share|improve this answer















                          In addition to the light falloff across the frame, there are some light-dark bands, possibly caused by flickering artificial lights?



                          Options to consider:




                          • Reduce shutter speed or use sync settings on camera to eliminate banding.


                          • Use diffuser in addition to bouce.


                          • Use the bounce card on your flash.

                          • Change the angle of bounce. (See inkista's answer.)

                          • Try bouncing off nearby walls.

                          • Bounce off a reflector, held by assistant or stand.

                          • Umbrellas and soft boxes?

                          • Off camera flash (See Hueco's answer.)


                          The problem should be fairly easy to fix with post processing.




                          • Create layer with black to white gradient matching the change in light levels. You can even grab, expand, blur, invert, and desaturate a section of the wall. Using a portion of the wall will help reduce the appearance of the bands. You will need to clone out the logos.

                          • Find an appropriate layer blending mode. (I used overlay.)

                          • Change opacity to taste. (I used 35%.)

                          • Touch up with dodge and burn. (I skipped this, so banding is still visible.)


                          There are more complicated methods, but the basic idea of using layer blending modes is the same.



                          gradientimage







                          share|improve this answer














                          share|improve this answer



                          share|improve this answer








                          edited 1 hour ago

























                          answered 4 hours ago









                          xiotaxiota

                          12.3k41864




                          12.3k41864






















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