But it is quite possible to have nice images if you accept the accumulated requirements of a technique ignored by most: multiflash. Even better, for fast-moving subjects, the flash is the only way to stop the movement; Nevertheless, you’d want to render this more elegant, more discrete and ensure that it renders the subject to its best.

Example in hand: Hummingbirds. Impossible to stop wings when they beat between 20 and 80 times per second. Even 1/8000s is squarely insufficient if it does not catch the wing immobile either in high or low position. But, while a big fat flash shot solves the problem once and for all, you get a picture with a splash of white light, and shadows drawn from the light’s axis. Solution: several flashes (hence the name: multiflash).

As a matter of factn using several flashes is not simple, as any studio photographer will tell you. But you will quickly discover that it is all a matter of handling the balance of several items that I could (too?) quickly summarize with:

• Provide lighting source similar to natural light
• Avoid ugly shadows with additional sources
• Provide a setting that enhances the subject

These are three axis I want to follow here. It will not make you an expert. But it may give you some leads to experiment in a more ordered way, if you want to identify the best parameters quicker.

Preliminary conditions

One critical requirement when setting up this technique is often not obvious: Ambient light. It’s too easy to forget that outdoors light is in competition with your flash lighting setup. So, you must start from a relative dark ambiance. To the point that it would feel insufficient for photograph (without a flash).

So, even in the wild, you must set everything up in the shadows. A roof, an awning, a dense tree above, a forest. All is good, since we will want to work with relatively low flash power (often 1/32 power, or even lower). So, te ambient light must be too dark for photo. If not, you risk mixing both lights and getting some kind of ugly “double exposure” in one shot (sometimes confused with a lack of focus).

When shooting at hummingbirds, feeders will be set in darker places, under a tree, or even in the forest shadow.

Natural light

The first objective will always be to try and get a setup which can be considered more natural (or relatively natural). Main light sources must always come from above (the sun shines from above).

Avoid big light from under the subject. The picture would feel weirdly unbalanced.

Soften the shadows

But since a flash will often produce a very harsh light, it is recommended to compensate this with secondary softer light sources to lighten the main shadows (more or less below and opposite to the main flash source).

You may be tempted to avoid adding flashes and use reflectors or soft source like studio umbrellas. The biggest issue is that even a single (usually) black flash is already perturbating animals/birds behavior. Opening a white reflector of 1 meter diameter (or more) and studio umbrellas will probably ensure that you never see your model again in you improvised studio in the wild. Not counting the difficulty of installing up large gear in natural settings. At the strict minimum, you will need to schedule some time for the animals getting used to the presence of your equipment before starting a photo op.

Enhance the subject

This starts with the background. Several options are available to you.

1. Natural background: Ensure that you have one or several (powerful enough) flash(es) to light the background plants. This may be be tremendously hard if they are far behind. Check and check again to ensure that the appearance is nice and clean.
2. Printed/drawn background: If the natural background is too far, too messy or not nice enough, you can try attaching a printed background. In case of hummingbirds, the size is not an issue. I would not try this for an elephant (!).
   What to draw? everything is possible but don’t overdo it. Less is often better. Less details, less artificial colors, less artificial shapes.
3. Black or dark background: If the background is far behind, not lit, or in low light, you will get a very dark background for your model. The is a very good choice to enhance the colors of the hummingbird feathers.

Setting up the camera and flashes

Finally, let’s setup the camera itself.

1. Compulsory manual mode.
2. ISO 400
3. Speed: synchro-X or 1/200 (These are the basic flash settings!)
4. Aperture: The flash will freeze the model; In order to favor details you will close the aperture too. Start with f/16.
   But, really, it is possible or necessary to vary aperture (and ISO) lightly to ensure the perfect exposure (don’t fiddle with speed, it won’t influence in flash photo).

Your flashes will be set between 1/16 power and 1/128 power, in order to allow fast recharge cycles (a short 3-to-4 picture burst must not be interrupted by flashes recharging between actions).

The balance between the various flash lights is a combination of distance to the subject (it reduces light quantity) and flash power setting. 1/16 for a firm light. 1/64 for the shadows. Combined with distance.

The camera flash (see above) is the Master to control the others (set as Slaves). Generally, you need to use the Wireless mode of the flashes. But it could be even simpler if your flashes can merely shoot when they “see” the main flash light. The easiest setting indeed.

There is a very good paper from Nate Chappell (Multi-flash Hummingbird Photography) that could help understand this specific point. Nate is not only a photographer with a long-researched technique, but he is sharing it with people in his photo-tour company where he is leading bird photo workshops (mostly on the American continents). You will notice that he is using the Nikon SB-26 because they are rugged, powerful, not too expensive, and easy to configure for synchronization with all flashes on the market (including on-camera ones).

This post is certainly too short to explain it all. There is still a lot of space to experiment by yourself (and I recommend this). But I hope it will help you start the journey to multiflash photography of hummingbirds (not in Europe) or of tits (much more common in France) or any other wildlife.

this is bad news for 600 employees. This is also the probable end of an astounding range of flashes and camera accessories, from mid- to high-end. We thought that they were strictly unassailable and, once again, the economic reality caught a solid brand. Not even the older manufacturers are immune from the fierce competiton.

Let’s hope that they will find a way to save a significant part of their activity and re-build something out of the ashes.

Main features:

• Guide Number: 43 (ISO 100)
• Bounce Flash: Click positions: up (30° / 45° / 60° / 75° / 90° / 120° / 150°); down (8°); right (30° / 45° / 60° / 90°); left (30° / 45° / 60° / 90°)
• Recycling time (based on Sony measurement): Approx. 2.9 seconds (with alkaline battery)
• Battery performance (based on Sony measurement): Approx. more than 200 flash cycles (with alkaline battery)
• Power level switching: 22 levels: (1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128), 1/3 steps
• Other features: Auto WB Adjustment with Color Temperature Info; Auto zoom control optimized for image sensor size; High-Speed Synchro; Modeling Lighting; Test Lighting; Multi Lighting. Supports camera’s Red-eye reduction feature. Built-in wide panel and bounce sheet. High quality LCD screen.

The HVL-F43AM flash will be available in early June 2011 at the price of 330€.

The other accessories will arrive on the distributors’ shelves as quickly as mid-May.

• VCT-55LH: 52€
• LCS-AMB: 50€
• ALC-SH111: 20€

Press release – 13 April 2011

HVL-F43AM external flash with GN43, Quick Shift Bounce adjustment, wireless ratio control and dust/moisture resistant design
More new α system accessories: VCT-55LH bracket, LCS-AMB soft carrying case and ALC-SH111 lens hood

HVL-F43AM external flash

With a powerful output of GN43 (105mm ISO100 m), the compact yet versatile HVL-F43AM flash from Sony is optimised for superb results with all A-mount cameras.

As featured on the HVL-F58AM, the innovative Quick Shift Bounce system allows flash head position to be adjusted instantly when switching between horizontal and vertical compositions. This maintains consistent shadow positions regardless of camera orientation, allowing easy creation of natural-looking ‘bounce’ effects.

Smart flash functions open up even broader creative lightning possibilities. Wireless Ratio Control makes it easy to select light emission ratios for up to three separate flash units*. This allows quick creation of sophisticated multi-point lighting effects without the need for complex professional equipment.

Ideal for everyday shooting and more serious applications, its dust- and moisture-resistant design makes the HVL-F43AM ideal for demanding assignments, indoors or outside.

Flash power levels are switchable in 22 increments, from 1/1 through to 1/128 level in 1/3 steps. High output power is complemented by a quick 2.9 second (approx.) recycling time. Despite the flash’s extensive functions, operation is refreshingly clear and simple via the high-quality LCD screen and direction buttons.

See the HVL-F43AM external flash by Sony for the α camera system here: HVL-F43AM external flash

VCT-55LH bracket

The VCT-55LH is a versatile mounting bracket that offers space for mounting additional ISO cold shoe accessories. A useful add-on for all A-mount cameras by Sony, the bracket can also be used with E-mount cameras such as the NEX-5, NEX-3 and the Handycam® NEX-VG10E HD camcorder.

Other accessories – like a shotgun microphone – can be securely mounted while the camera’s main shoe is occupied. The VCT-55LH is ideal for use with the CLM-V55 clip-on LCD monitor that offers a clear, high-resolution view of images during video and still shooting.

Please find more information about the VCT-55LH bracket by Sony here: VCT-55LH bracket

Soft Carrying Case LCS-AMB

The LCS-AMB carry case protects your A-mount camera and attached standard zoom lens while you’re travelling. A special suspended partition cradles the camera securely while allowing quick access. Finished in durable black polyester material, the case can be slung over a shoulder using the supplied strap, carried by the grab handle or attached to a belt. It also features handy pockets with space for up to two extra batteries, spare memory card and lens cap. (NB: Not compatible with DSLR-A900/A850).

See the soft carrying case LCS-AMB by Sony for the α camera system here: Soft Carrying Case LCS-AMB

Lens Hood ALC-SH111

Compatible with DT 35mm F1.8 SAM and 85mm F2.8 SAM lenses, this round-profile hood shades from direct sunlight to prevent glare and lens flare.

The new HVL-F43AM external flash, VCT-55LH bracket, LCS-AMB soft carrying case and ALC-SH111 lens hood for α cameras by Sony are available from Spring 2011.

See all accessories by Sony for the α camera system at www.sony.co.uk/hub/dslr/accessories

• Controlling Your Photo’s Background: Part I and Part II
• How to photograph 7 wine bottles on a white background (a video from learnmyshot.com, with a very good demonstration of studio lighting):
  
• How to photograph one Champagne bottle on a white background (another video from Stephen Hermitage, with another very good demonstration of studio lighting):
  
• Food photography : comment faire saliver vos lecteurs ! un article passablement intéressant sur un blog de fille photographe. Ne vous laissez pas arrêter par le côté rose bonbon ; tout le blog est vraiment bien, y compris les porjets de photo chaque semaine.
• PetaPixel: Secrets of Food Styling and Photography
• Fotogénico, pero no comestible. “Cocina y fotografía son una combinación que a algunos les parecerá sencillamente insuperable” (en Español).
• For the specialists (or the most intense photographers), I want to also suggest some more for very high speed photography (to stop a bullet or an explosion):
  • Bullet Photography At Home
  • DIY High Speed Photography for $20
  • Portrait photography resources brings eight links to web sites specially useful to the studio photographer.
• Ten Tips for Shooting Studio Portraits
• How to Take a Perfect Head Shot with a Single Light
• Light Stalking Ten Tips for Shooting Studio Portraits
• jakegarn: The art of the pose

• High Speed Sync for flash at any shutter speed
• Almost Free DIY Paper Diffuser (Strobist)
• High Speed Photography Studio at Home
• You also have several options to build your own flash accessories from paper:
  • DIY cutout bounce card and its PDF printout
  • Almost Free DIY Paper Diffuser



• Black Straws Snoot Grid: Part 1 and Part 2
• Macro Lighting LED Ring
• Smarten Up Your Dumb Optical Slave By Hooking it Up With Arduino

And finally, why not let yourself be inspired by all this and experiment a little with droplets like Edgerton.

Of course, the final photos have been edited in Photoshop afterwards, but isn’t it the case for all studio work?

I recently found three demonstrations of what may be a beautiful studio lighting, along with dense explanations and welcome details.

• Anatomy of a photo: Balvenie Scotch
• Professional Studio Lighting – Playing with Mirrors by Peter Kirring
• One simple photo of glasses, by Scott Kelby: from the studio shot to Photoshop.

But, if this is not enough and that yo want to dig deeper into the studio lighting technique, I recommend you start a browser window on Strobist’s Lighting 102 (Introduction). An exceptional source of information.

After that, we only have to try and apply these advices and these examples. Can you reproduce these studio flash lightings?