|1/2 second, F 6.4, ISO 2000|
|Minette Siegel, San Mateo Daily Journal|
In some ways, the photo influenced how I approached the assignment. Since the crafts aspect was used in this photo, I'd have to come up with something that was different, but as interesting, as this image.
full CTO gel is hardly noticed. Here's an SB-80DX, with a gel, oriented for SU-4 (optical slave) applications. The sensor eye (left arrow) faces the subject, while the triggering flash, mounted on the camera hotshoe, provides enough light to serve as the trigger. It was held aloft by a Lastolite Telescopic Extension Handle, normally used with the Lastolite EzyBox system.
Cissie and I had already determined the "optimal" flash-to-subject distance would be seven feet. As long as she maintained that distance, I could be assured a near-perfect highlight exposure. If the distance wasn't quite right, I could tell her to move closer, or farther, from the subject. Working with a mirrorless Fuji T-2, I could tell instantly if an adjustment was needed.
My on-camera fill was another gelled SB-80DX with the built-in Bounce Card in the up position. I could easily increase or decrease the fill effect at the camera, although I favored underexposure. As I mentioned, the fill light was enough to trigger my key light, a very simple setup.
|1/4 second, F 5.6, ISO 3200|
|1/2 second, F5.6, ISO 3200|
|1/4, F 4.0, ISO 3200|
Dragging Shutter: The flash synchronization in the Fuji was set to Rear Curtain, so the photo would be" made" 1/4 of a second after the shutter was released. Using this technique, it difficult to anticipate what sorts of expressions you'll get when the flash finally goes off. If you look closely at the Jacob Sheep's horns, you can barely see the "smearing" from movement made during the ambient exposure. Getting good expressions and super sharp images becomes a hit or miss affair unless the subjects are told to "hold still until you see the flash". Be be prepared to reject a lot of shots in post production.