On-Camera Flash: The Cheap and Easy way to Take Better Portrait Photographs | Warren Marshall | Skillshare

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On-Camera Flash: The Cheap and Easy way to Take Better Portrait Photographs

teacher avatar Warren Marshall, Passionate Photographer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (38m)
    • 1. Introduction to On-Camera Flash

    • 2. This is how you do it

    • 3. Indoors and Outdoors

    • 4. Studio shoot 1

    • 5. Studio shoot 2

    • 6. Your Project

    • 7. Wrap up

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About This Class

As photographers we know that light is critical to the success of our images.

An accomplished photographer will understand how to use many different lighting options including natural daylight, ambient night light, on camera flash, off camera flash, led and many other light source types.

None of these types of light are any better than the others. Some are used by the photographers for various different purposes.

In this class we are learning about a very versatile light source, ie. On-camera flash.



The big advantage of on-camera flash is that you don’t need any extra equipment. You just need a camera and a flash.


In this class you will learn how to control and modify the light from your camera mounted flash to give great results. You will see a live photo shoot in our studio so you can learn the options available to control your flash on your camera.


You will also see many examples of my use of on-camera flash outdoors and learn how to create more professional outdoor portraits.

I have heard many photographers scoff at those who use on-camera flash. This is a very short sighted and ignorant attitude because on-camera flash can and is a great and simple tool that can be used to enhance many of our subjects.


In this class you will learn the two most important flash rules, how to control the power, direction and the quality of the light from your on-camera flash.

Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer


Hello, I'm Warren Marshall.

I am owner and head photographer at “Imagine Studios “ in Newcastle, Australia.

I am also owner and principal of “Newcastle Photography College”.


I have been a photographer for the past 40 years and a full-time professional photographer for the past 26 years.

I am passionate about image making. I also have a thirst for learning new techniques and love experimenting with my photography.

Our studio specialises in people photography from Weddings, Portraits, Headshots, Glamour, Lifestyle, etc.



In my time I have photographed many celebrities, politicians and entertainers but it is the average people that I enjoy working with the most.

See full profile

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1. Introduction to On-Camera Flash: Good day. My name is Warren Marshall. I'm a professional photographer from Australia. And today's class is about the most maligned form of photographic lighting. There is on camera flash, on camera flashes and amazing light source. And you'll see in this class the versatility and the way that you can use on camera flash to produce amazing results. As photographers, light is critical to what we do. As you've seen from some of our other classes, light is a very important part of photography because all the photograph is, is light reflecting off the subject. Now, as a good photographer, you need to know all sorts of light. You need to know how to use it, how to get the best out of it. There are some photographers who specialize in one particular kind of lighting, which is fine, but it does limit the possibilities that they have with their photographs and limits the way that they can tell the stories in their images. So whether you use natural ambient light, whether you use off-camera flash, on-camera flash LEDs. No, I ambient light. There's a whole range of different light sources that we can use. A good photographer, in my opinion, knows how to get the best out of all of them and knows how to use the particular light source in a particular way to get the result that he needs. Now none of these light sources are any better than the other. They just have different uses and they have different effects on our subject and on-air image. In this class, you'll learn how to use on-camera flash. On camera flash can be a really versatile tool for us photographers. If you know how to get the best from it, you can get amazing results. The first big advantage of on-camera flash is that you need a minimum of equipment. All you need is a flash and a camera. With an on-camera flash and a camera, you can produce results that you just can't get with ambient light. It allows you to control your foreground and background exposure independently. And I'll teach you how to do that in this class. It allows you to change the direction of your light, the intensity of the light, the softness or the hardness of your life. All of these things you'll learn in this class, and all these things can be achieved with having your flash on your camera. I'll teach you how to modify the light on your subject. As I said, had a control, the background exposure with your foreground exposure. In this class you'll see a multitude of shots that I've taken with on-camera flash that really do look great. It's a great light source to use. You'll see a lot of outdoor shots that are taken with on-camera flash. And you'll also see a video of a shoot that I did in the studio using on-camera flash indoors so that you can see the versatility of this tool and to be able to produce beautiful results. So join us in this class. It's a great class. I'm sure you'll get a lot out of it. A minimum of equipment and the results that you can get will amaze you. 2. This is how you do it: Now when we talk about on-camera flash, we're not necessarily talking about the pop-up flash that we often have on our SLR cameras that allows us to get that little bit of extra light when we need it. It's a tool that can be used on occasions for specific purposes. But the flesh we're mostly talking about is the speed light type of flesh. The flesh that attaches to the top of your camera VIII or hot shoe that allows you to control the light much more fully. The great advantage of a speed light flashlight, this is that we can control the power upward down to a great extent. We can tilt the flesh upwards. We can tilt it to the side. We can fit various accessories to it to soften or harden the light or control the spread. On our subject. We can also change the zoom on our flesh to allow it to punch out light in a narrow cone if we wanted the light to travel along way. Or we can spread that light out to a wider field of view so that we can fill up our image with this flesh. Now a lot of photographers scarf at on-camera flash, they say that it's very boring, very Samy. There's not a lot of creativity involved with on-camera flash. I don't think that's the case. There are various other forms of flesh that we can use, but on-camera flash allows me to get a lot of results that I just can't get with available light. Have a look at some of these examples of on-camera flash that I've taken, see how the fleshes used in the image. Sometimes you can't even until it's being used. But all of these images have used on-camera flash. The nature of our flesh means that it tends to work on subjects that are close to the camera. We very rarely use our flesh at a distance greater than maybe 10 or 15 meters from your camera position. So the advantage of doing that is that we can separate the exposure on your subject from the exposure on the background. And as you'll find later on, there are some really important basic rules of flash photography that will help you to understand this principle and help your flash photography to move forward and to be able to get the images that you want with the lighting that you want. Now there are two main ways that we can control the power of our on-camera flash, the intensity of it, how much light hits our subject. There are two main ways that we can do that. One is with manual settings where we physically turn the flash up or down to the setting that we need. The other one is an automatic city. It's called TTL. Ttl stands for through the lens. So when we're using TTL, when we're shooting our subject with flash, the camera actually determines how much light hits our subject. So it's an automatic feature that our camera controls. Ttl means through the lens, which means that your camera is looking through the lens when you take the photograph and it's turning the flesh off when it considers that there's enough light on the subject, which sounds very great. And shooting things on automatic tends to be very easy. The problem is that it very rarely gets it right. It's too unreliable for my purposes. I don't use TTL for anything. The problem with TTL is that it's totally reliant on the tones in the image. If I'm shooting at night, for instance, where my background is reasonably dark, my camera is going to allow too much flesh to happen in my image because it's trying to brighten up that dark background. If I'm shooting towards the sun is I do quite often. That bright sunlight is going to make my camera turned my flesh off prematurely and I won't get enough light on my subject. So being able to control it myself means that it's very consistent. I know what I'm going to get and I can control exactly what happens in my image. Now I mentioned before that there are two important flesh rules that will make a difference to the way that you work with your flesh. The first rule is that shutter speed is restricted as shutter speed needs to be below our flesh synchronization speed so that their camera will synchronize with their flesh. Now our flesh synchronization speed is the fastest shutter speed that we can use, generally around about 12 a 100th of a second or so. It's the fastest shutter speed that we can use when our flesh will fully synchronized with their camera. So I'm not gonna go into it at the moment. I've done so in other classes and you can research flash synchronization speed yourself. But basically we need to keep your shutter speed slower than 1 200th of a second so that our flesh will work properly with our camera. Now you'll see in these examples that I have here, the difference that our flesh synchronization speed makes. This first image was shot in a studio in relative darkness, but we used the flash to light our subject at 1 100th of a second, which is below our flesh synchronization speed, we get a fully exposed image. And it's fine because they're shutter speed is below our flesh synchronization speak. Once we increase our shutter speed up to 15 hundredths of a second, which is above our flesh synchronization speed. We find that part of our images blocked off. And that's caused by the shutter changing the way that it works above our synchronization speed. The next example is at 1, 1, 0, 0, 0, 0. And you can see almost the whole image is blocked off. This rule is very important because it makes a difference to how much of our images exposed to that flesh. If you creep up above that fleshed synchronization speed, you may get a dark band in the bottom or the top of your image depending on how your shutter works. So keep it in mind and keep below that flash synchronization speed. Now there is another system we can use called high-speed Sync, which allows our shutter to move faster, to go up to a faster shutter speed and still synchronized with their flesh. A different system altogether, the flesh puts off multiple small bursts of light, and it allows our shutter to expose that whole frame as it moves across our sensor. It's a different way of working. It's quite restricting in the way that you work, but you can investigate that if you're interested. I don't use high-speed sink or or I should say, I very rarely use high-speed sink because it just doesn't work for the sort of images that I like. The second most important flesh rule has to do with their exposure and controlling our exposure. Because our flash generally works on things that are very close to the camera. It doesn't affect our background. So our camera settings are the thing that's going to control the exposure of our background. So we set our camera settings are ISO, aperture and your shutter speed to give us the background that we want. Then we turn our flesh on and turn our flesh power up or down to get the light on your subject in the way that we want. So think of it as two separate exposures. Your camera settings will determine how bright your background is and your flesh power determines the light on your people. Now knowing this and practicing this means that you're in control of a lot of the exposure optimization in your image. You can dark in your background down a little bit if you want to, so that your subject stands out a little bit more from their background. Or you can brighten up your background to help it blend in with your subject if you want to, you're in total control of the situation, the turn of the background and the tone of your subject. And it's quite simple to do. 3. Indoors and Outdoors: When we shoot with on-camera flash indoors, the light tends to be very harsh. It tends to look very amateurish because our flashes generally almost a 100 percent of the light that's in that photograph. You can see from this image here how it looks and this is why a lot of people don't like flash photography because they see it done badly. And they don't know the possibilities that are there to modify this slide. When we shoot outdoors, the flesh is a much smaller proportion of the overall light. If we're shooting outdoors, the available natural light may be up to 90 percent of the light in that image. A flash just makes up maybe five or 10 percent or maybe 20% of that overall light. So it looks less like a flash shot. The flesh is often undetectable if it's done properly and controlled properly, you just need a small amount of flesh to fill in the shadows and that face and to make those eyes pop. Now the main reason I use flash outdoors, I use flesh for just about everything I shoot outdoors. The main reason is that I like to shoot towards the Sun are in the general direction of the sun. Because I shoot mostly people. My people shouldn't be looking towards the Sun because they are going to be squinting into that bright light, the sunlight on their faces very harsh, so I turned them away from the sun so that they're lit by the nice soft blue sky on the opposite side of the sky. Now one of the issues I have with that is that they are in darkness, the front of their bodies in shade. So they're going to look a lot darker than my background is, which is often sunlit. So I'll use my flesh to balance that light just to punch a little bit of light into their faces, into the front of their body, just so that they balanced with that light in the background. I can punch a tiny little bit of flesh in dental, 1 100th power or 1 64th power. Just so that it's very subtle. Or I can make it more powerful if I've got a really bright light in the background, often I'll shoot with the sun in the shot. So my camera settings are very dark to control that light in the background, I might be shooting at f 16 or even if 22, in that case, because of that's a very small aperture, I need a lot more flesh to be able to fill in the shade on that subject. So your flesh power settings are there for a reason. Don't just neglect them and shoot on the same pair all the time. Use it up and down a regular shoot at full power and are regularly shoot at 1 100th power. Now if the available natural light is great and it's good for the subject that you want to shoot. Then by all means use it. But available light is really adequate for the sort of shots that I want to take. Available light can be controlled with reflectors. You can control it with the time of day issued. You can control it with the direction that your shoot. You can control about choosing the locations that you shoot in open shade or in situations where the soft light is coming at a low angle into your subject. In those cases, then you may not need flushing your shot. But there are many more situations where the available light isn't working and can't be controlled properly. That's when flesh comes into its own. And if you've got a flash in your camera bag, you've got a controllable light source that you can use in any situation. And if you're comfortable with it and you know what's going to happen when you use it all the better because you can get results that other people can't get. A lot of photographers are very scared of their flesh. They're not sure how it's going to work or what the results are going to be. Particularly when they use TTL because the results of variable, they're not reliable and you can never tell exactly what you're going to get. But learning how to shoot with your flash on manual power will mean that you can control those situations. And you had the confidence to be able to control the lighting no matter what situation you're in. Now we've spoken in other classes about light, about the four characteristics of light that are most important to us. The quality of the light, the intensity, the direction, and the color. And we can alter all of these characteristics of light with our flesh, with their flesh on camera. First of all, we can control the quality of light. As you'll see in the video that you're about to see, we can control the quality of the light, make it softer by bouncing it off a surface because Flash or any sort of light will reflect off surfaces. We can make this small light source, which is quite a hard light, into a soft light by bouncing it off a surface back onto our subject. And you'll see in this video with the shoot with page that it works a treat and it works amazingly well using your flesh on camera. So there's the quality of the light. We can change the intensity. We already learned that we can turn flash up or down to change the power of their flesh and to control how much light hits your subject. The direction of the flesh. You would think that if you've got your flash on your camera, there's no way that you can control the direction of the flesh, but there are quite a lot of ways that we can, simply, by bouncing that flesh off a wall to the side. We changed the direction that that light hits your subject. That light's coming from the side of the subject. Now, we can tilt it up slightly so that that light is lighting the top of the wall so that that light comes down onto our subject in a certain way. We can tilt it up to the ceiling so that that big soft light comes down on a subject. So it's a bit more flattering the light coming directly down onto the face so that we get that very soft frontal lighting. We can actually turn it around behind us and you'll see me do all of these things in this video. We can aim that flash behind us at the corners, the wall and the ceiling, and have that beautiful soft light coming directly frontal onto our subject. So this is how we control the direction of the light. We can control the color as well. In various different means. We can put colored gels over the front of our flesh. We can alter our white balance to give us various different color changes, image as well. But generally we're working with the light from the flash because the light from the flash is very close to the color of daylight. It's not exactly the same, but daylight varies through the day anyway. But the flesh can be unnoticeable because the color of the flesh is very similar to the color of the daylight in your image. Now, as I said in this next video, you're going to see a studio session that I did with page and I used on-camera flash for all of the shots. I bounce the light off theories different surfaces to change the softness of the light, to change the direction of the light, and to suit the result that I want in that image from that on-camera flash. So it's a very versatile technique to use when we're outdoors. It's much more difficult to bounce flash. You might find some situations if you have a white wall or a ceiling or a roof over the top of the location that you're working in. You might be able to use some bounce flash. You can be answered into a reflector if you wanted to, that reflected becomes that soft light source, then it's a little bit more difficult to do an outdoor locations. But generally speaking, in outdoor locations, you don't need it as much as you do in the studio. Because the flash is going to be 90 or a 100 percent of the light in that indoor setting. So you need to be able to control it and soften it down a little bit. Now when we start bouncing flesh, we have to think about a couple of things. The first one is that this light is traveling further because the flight from my flesh, even though it's on my camera, is traveling to the wall and then it's hitting the wall and then it's bouncing back onto my subject, which means that it's traveling a greater distance than it would be if I was just aiming at straight at my subject. So we need to increase the power of our flesh to make up for that. So if we're bouncing over here, it may be twice as far from the wall to our subject. So we'll have to turn up our flesh and intensity, turn the power up so that the same amount of light hits your subject to expose them correctly. The second thing I've mentioned already that whatever the surfaces we bounce off, that light hits our subject with a different direction. We can bounce it to the side this way so that it hits your subject from camera left. We can turn it that way. So if there's wall here, we can bounce that off that wall onto our subjects so it hits them from camera right? Now, if that wall is a long way away, it's going to be very difficult to turn our flash up powerful enough to be able to reach that wall and come back to our subjects. So whatever you're bouncing the light off tends to have to be very close or fairly close to our subject within a few meters. At least, the closer it is to your subject, the less power we will need because the less distance at Flesch has to travel. Now the third thing we have to think about when we bounce flash is that if we're bouncing off a colored wall, a light is going to take on the color of that wall. So if we're bouncing light off a green wall or a green ceiling, that light is going to hit our subject with a green tone. So our flesh will take on whatever color that reflective surfaces. So we're much better to use white or neutral colors. If we can't, we can't actually bounce off a black wall because no black wall, very few black walls would be a 100 percent black. So we still get a little bit of light off there. But generally speaking, we're talking about a white wall or a close to white wall. So we aim at it, that white wall, the flesh doesn't change color. It bounces back onto our subject as a white light. So have a look at this video of a shoot we did with page. You'll see how I used the flesh. I'll explain it as I go. But all of these shots are taken with on-camera flash. 4. Studio shoot 1: Now we're in the studio, which is a different environment for using our flesh on camera. When we're outdoors, the available light takes up most of their exposure, most of our light and our flesh is only a small proportion of the light that we're using on their subject. When we're indoors, it's generally the flashes, most of the light that we have on our subjects. So we need to be a little bit more careful and use it in a different way when we're indoors. When we're using flesh on camera directly at our subject, it tends to be a little bit harsh and a bit like a flash shot you would expect. And this is the reason why most people don't like using flash is because they've seen shots that had been taken with too much flesh and the flesh hasn't been used correctly. So I'm just going to take a shot of our Moodle page and show you what it looks like with direct flash straight at her. Okay. Page just focusing. Lovely. You go. All right. I'll turn my flesh on his time. We'll edit that video. Thank you. Yeah. Yeah. Okay. Great. So that's shut. Looks like it's direct flash, it's straight on. It's quite an attractive light, but it doesn't look interesting the way that we do when we shoot normal flesh when we're shooting outdoors or when we can shoot indoors and control the light. So there's a few different ways we can control the flashlight indoors, even though we've got our flesh on camera. And it usually involves bouncing the light off a surface. So light travels in a straight line, as we all know, light also bounces off surfaces so we can change the direction of air light on their flesh and tilted upwards so that the light fills the ceiling with light and it bounces down onto page in a softer way. So we all know that the smaller the light source, the heart of the light's going to be. When I just shut page directly front on that light was very harsh. The shadows are quite harsh. When we bounce light off the ceiling or off a wall or if another surface, we soften the light down because we're making that light source larger and softer. So I'll do that now I'll need to adjust the power of my flesh a little bit up because that flashes traveling further. So I'll need to turn it up a couple of stops and parallel. So we'll do he would get page okay. Or that's great. Now you can see that that light is immediately a little bit softer because it's bouncing off the ceiling down onto page. Now one problem we have when we bounce off the ceiling is that that light is coming downwards onto page at a fairly steep angle. So depending on how high our ceilings are, we can get darker eyes in the shot because that light coming down from above. There are a couple of ways we can control that. We can use a little bounce card that we have on our flesh. This card is designed to propel a little bit of that light forward into pages eyes just so that it lights up her face a little bit more. We get most of their light and soft coming down from the ceiling. But this little bounce card will bounce a little bit more light into pages eyes. It will also give her a little catch light in those eyes to make them Sparkle a little bit. So we'll do that now and I'll show you the result. Okay. Perfect. Okay, that's great. Now, there is another way that we can push a little bit of that light forward onto page, as well as bouncing the light around the room. And that's using one of these little cones that fit over the front of our flesh. Now if we put this on the top of our flesh, what this little cone does is it spreads the light out further. It will spread that fleshed out to all corners of the room as well as allow some of it to go straight up. The, the amount of the flesh that goes forwards onto page is going to be a small percentage, but it will still help us to soften that light down. It will also reduce the power of our flesh quite a bit because we're losing a lot of flesh in other directions that we can't use. So we're using this cone to bounce the light up and around the room. And a little bit of proportion of that flash will go forwards onto pages face. Okay, that's great. Now, while we're on the subject of these little cones, I see quite a few photographers using them outdoors. And to my way of thinking, it's a waste of time using them outdoors because the only way that these things work is if they have bounced surfaces to bounce off, to reflect off outdoors, we don't very often have bounced surfaces above us to be able to reflect these cones. So all this will do will reduce the power of your flesh. So it's not going to soften it at all because we know that a small light source gives us hard light. And this doesn't increase the size of the light source at all because it doesn't bounce off the walls, it doesn't make the light source larger. So these are pretty much for indoor use only. Now when we're bouncing flash, a lot of people think that we need to balance our flesh on an angle so that the angle of incidence equals the angle of reflection. So light bounces off surfaces just like a billiard ball does. So the angle that the light hits the surface is the same as the angle that the light comes off the surface. And that's fine and it's true, but the light isn't a small beam of light. It's a wide beam of light. So that light's going to spread in a lot of different directions. So you'll notice that I've got my flesh vertical here. I'm lighting the ceiling above my head. The reason why I'm doing that is because if I tilted this flash forwards so that it hit the ceiling halfway between page and I. A proportion of this light is which is hard light is going to hit page and put those harsh shadows on her face. So to get the softest light possible, I don't want any of this light projecting forward onto page I want to have this light straight up above my head and it will still spread and give me a nice soft light onto page. So even though that light is straight above my head, it was still reflect I have on the page quite well. The other thing that not a lot of people realize is that we can bounce light off the ceiling in a different direction. So we can bounce this light up off the ceiling over here. And because that light spreads when it hits the ceiling, it's going to come down on the page on a slightly different angle. When we leave it. When we let the ceiling straight above my head, that light was pretty much strike frontal onto pages face. When we do it this way, we're going to get a proportion of that light coming from the side and lighting page slightly from the side. So it gives us the possibility of changing the direction of L lot. So do a shot like this and you'll see what it looks like. We go. Lovely. Now you can see in that shot that the pages right-hand side of her face is a little bit brighter than the other side. So it looks like we've got a light coming down from camera left. We haven't we're just using our on-camera flash to do that. Now I'm going to do the opposite side. I'll turn my flesh around and bounce it off the ceiling to my right. And that light will come down onto page from her left. Okay, there we go. So we can see the difference that that makes. Now we're going to move to some wall bands to show you the difference between ceiling bounce and roll bands. 5. Studio shoot 2: All right. We've moved to a different position in the studio. Now, what I'm going to do here is I'm going to bounce the light off this side ball onto page so that we're going to create a large light source or soft light, which is going to bounce back onto pages face. Now because they are light's coming from this right-hand side. We need to turn pages face a little bit towards the wall so that we're going to get nice frontal light, short side light on her face. So we'll see how we go with this small light source, creating a large light source, projecting soft light onto our subject. Okay, page, That's great. I'll just focus my image. Go. Okay, here we go. Lovely. Now, that's great. Now we do need to be careful when we're bouncing light off a wall that we don't have the light down too low. It's ideal if we can have that light up a little bit high because it's going to come down slightly onto pages face. Because we all know that our brains expect light to come down onto our subject. So I'm going to lift this slide up a little bit, just highlight the top of the wall rather than the side. And it's going to look a little bit more interesting for us to do it that way. Okay, here we go, Page. Great. All right. This is subtle difference in there. He can't see a lot of difference. But if we looked at the highlight in her eye, we will be able to see that that light is up a little bit higher than the previous one. What we have here, we've moved around a little bit and we've changed our situation again. We've got page just against a piece of foam core, a bit of white foam core to provide the background. What I'm going to do here is I'm going to bounce light behind me onto this wall to light page. Now, I have to turn the flash up in power again because the flesh is traveling quite a distance. It travels to the wall and it travels back towards page so that's gonna take a little bit more power out of our flesh. What I'm gonna do is I'm the flesh straight backwards so that it lots her directly frontal, which is going to be a really nice flattering light. Then I'm going to tilt it upwards a little bit so it lights the corners of this room, a little bit of the ceiling, little bit of the wall, so that that light will come down on page a little bit. And I'll show you a little bit of a trick as well as a surprise coming up. So be ready for that. I kept page here we go. Lovely. Just focusing. Here we go. Terrific. And that looks really nice. Now I'm just going to take that up a little bit higher so that we like some of the ceiling and some of the wall so that that light's coming down more on page Here we go. Okay. Yeah, that's a subtle difference. You see the little bit more of a shadow underneath her chin just to define a jaw line a little bit. Now what I'm going to do is aim it directly back towards the wall so that this large-scale into becoming straight onto page. But one issue we've got here is because I'm right in front of his flesh. I'm going to burn my face off because this fleshes go into phi Australia in my face. So I'm going to move away from the camera to allow that light to bounce off that back wall straight onto page. Now, whichever side I stand on, the camera is going to affect that light on page because if I stand here, I'm blocking some of the light from this side onto her so that that light is going to be predominantly on that right-hand side. If I stand on the other side, the opposite will happen because I'm blocking some of this light. The light will be seem as if it's coming a little bit more from the left-hand side. So we'll do a little bit of both. Okay, here we go, pages looking straight into the camera. Okay, that's great. Now move to the other side. Here we go. Wonderful. What we're going to do next is just simply bounce light off a couple of surfaces just to soften the light Dan again, not as soft as it would be if we bounce the light off a wall or ceiling. But we're just going to use this card to start with, to bounce this light up into the card and forward onto our model. So if we hold out light up here, we can turn our flesh around where if we want it to go. So we'll hold our flash up here. And that's going to reflect off here, Dan, onto page. So here we go, Really page. Okay, great. One good tip is not, Don't look at the flash when you find the shot because you'll get a big spot in front of your eyes and you can't do anything else for quite awhile. Okay, that's good. I'm going to rotate this around and use the silver side just to see the difference that it makes. The silver should reflect a little bit more light. So the exposure is going to be a little bit stronger. But we'll just see the difference that this makes. You go page. Notice I close my eyes that time. So that made it much more comfortable for me. Now what we're going to do is use this what umbrella. I'm going to position it in front of the light. I'm going to turn my flesh around so it's angled forward. And I'm going to hold this up high, just a little bit higher than my framing so that I don't get it in my shot. The flesh is going to fill this umbrella with light and it's going to transmit through that umbrella as a soft light onto page. Okay, so we'll try that and see the results that we get. This a little bit tricky because I've got to use my right hand to push my shadow. I'll use my left hand. Okay, here we go. Lovely, and one more. Okay. Terrific. So you can see that light's quite attractive, just with the white umbrella. It doesn't cost very much. You could use a reflective umbrella at the back, but it's not going to be quite as, as soft because the white umbrellas closer to the camera. Okay. So you can see the differences that we can make with their lighting by using a flesh on camera who don't need any extra equipment. All we need is a camera and a flash. These flashes cost about a $100, very cheap, and you can do some amazing things with them. We've got other videos where we're going to talk about off-camera flash. We're going to talk about flesh bending. We're going to go into all aspects of lighting with photography. 6. Your Project: Your project for this class is to produce some photographs taken with on-camera flash. Whether your photograph, a person, or an object, it doesn't really make a lot of difference. The basic principles of air. And the more you can practice this technique, and the more you can produce images with on-camera flash, the more comfortable you're going to get with it. Try different situations. Try a darker situation, try a lighter situation. Try some outdoor shots, trust them. Indoor shots. Try bouncing light off the surface. So pick your subject and take a few shots with on-camera flash using it in the way that I've taught you and present some projects below. Put something in. It doesn't matter if it's fantastic or if it's not. I can give you some feedback to help you improve your technique. But the most important thing is that you get out and do this stuff. Because we want you to get out practice and become better at this sort of technique. 7. Wrap up: Now we've only just scratched the surface of using flash in your photography. On camera flash, as you've seen, is a very versatile tool. And it's something that pretty much anybody can use. All you need is a flash and a camera to be able to do this sort of stuff. All of these tools, all of these lighting techniques will help you to be able to tell the stories in your image, to present your images, and to say the things that you want to say in your photographs. Understanding light is a huge benefit to any photographer who wants to produce great photographs. Whether you are trying to make people look good. Whether you are trying to evoke an emotion or a feeling in an image, or whether you're trying to produce something of beauty. Understanding light, flash, daylight, any sort of light is the first step. And to me it's one of the most critical ones. So getting an experiment, getting and try these things. If you have any questions, please post them in the discussions. I'll get back to you as soon as I can with any answers that you might want. Thanks for watching. I'll see you in the next class.