With respect to light fallof on the T-32, Wayne said:
I guess the thing that comes to my mind now is, does this same thing
apply to other flashes, such as the T20, or the Vivitar 550FD, (or
others). In other words, would they also have significant differences
between the center of the image and the edge at their rated coverage,
given they are rated for 35mm and 50mm respectively. Maybe this is just
unique to the T32, or does it apply to other flashes.
Anyways, flashes are something I have to think about a bit, as I've been
asked to do some wedding pics in a few weeks. Obviously I won't be using
a 24mm lens much for that, but I should at least try to get away from
straight on flash for some of the shots. These will be all indoor shots
requiring flash, because of the winter season and because of the evening
wedding- no daylight left at that time of day. I've never done much of
anything but straight on flash, so I could definitely use some
improvement and challenge in that area of my photography.
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I would be very surprised if the other flashes didn't have similar light
falloff. I don't have a T-20 but if I get a chance later today I'll
measure the coverage of a 550FD over the field of a 50mm lens.
If you're going to do a wedding be sure to read John Lind's wonderful
tutorial pages on weddings. Required reading for more than equipment.
<http://johnlind.tripod.com/wedding/>
In the equipment section for a single flash, John discusses using a
high, bracket mounted flash to avoid any chance of red eye and bring
shadows down behind the subjects. Lots of other tips as well.
I've never done a wedding by myself but I've covered many weddings, bar
mitzvahs, etc. as the assitant to my photo mentor. On a recent
Indian/Jewish dual ceremony wedding we had 5 photographers. Big day.
Normally there is only one photographer, sometimes two but always with
an assistant.
Typical lighting setup is 2 to 4 studio flashes setup around the room to
bring the general illumination level of the background to about f/5.6.
We spend a fair amount of time setting these up to try and get the room
light as even as possible, at least in that part where most of the
photos will be shot. The idea is to prevent the background of the flash
shots from going black and also eliminate harsh shadows. Subject is
then illuminated with a portable flash with umbrella as the main light
from about a 45 degree angle. Camera carries the fill light mounted on
a high bracket. Final exposure is pre-set for f/8 taking into account
the f/5.6 background and an assumed distance of 10 feet between subject
and lights. This leaves the main subject properly exposed and a bit
brighter than the background. It helps them stand out from their
friends and relatives who are still fairly well and evenly exposed and
easily recognized. Remote lights are fired with radio signal or
combination of radio and optical slave.
For a lower budget operation you could do something like this. I
recently watched a lone photog covering my wife's office Christmas
party. He was using a single portable flash mounted on a light stand
over the dance floor for general illumination. This flash was fired by
optical slave. On camera he was using a Vivitar 285 with Lumiquest
diffuser.
Chuck Norcutt
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