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Hack 31 Capture the Nighttime Mood and Leave the Red Eye at Home

Shooting with flash indoors against a dark,
boring background often produces overexposed subjects with red eye.
But it doesn't have to be that way.

Built-in camera flashes are very convenient. But they can produce
deadly results when used to take pictures of people in low-light
situations, such as evening parties. Aside from the plague of red eye
that turns your loved ones into otherworldly demons,
there's also the nuclear
lookwhere the subject appears to be standing next
to ground zero, glowing beyond recognition.

It doesn't have to be that way. The easiest way to
increase your success rate is to get an external flash;
it's just easier to control the lighting that way.
But for many people, that's not practical. So, in
this hack we'll look at the options for the portable
digicam, then talk about more advanced techniques with external
flash. Let's start with taming the pocketable point
and shoot.

3.4.1 Pocketable Party Shots

The people who design compact digicams realize that these cameras
don't always produce great flash results at night.
So, many of today's models have features designed to
help you get better shots in these challenging situations. Some of
these features work better than others. Here's a
quick overview of what to look for and what to avoid:

Red Eye Reduction mode

Avoid using this setting. In theory, using Red Eye Reduction mode
makes sense: shine a bright light in the subject's
eyes before exposure to constrict the iris, thereby reducing the
chance of reflected red eye. But it doesn't work out
that way. Flashes are annoying anyway, and torturing your subject
with additional flash before taking the shot tends to kill
spontaneity. Plus, even after you do that, you'll
often still get red eye. It's just not worth it.

Nighttime Flash mode

Use this setting for artistic shots. At times, using this mode might
feel like trying to tame a wild cat: you think
you're making progress, then it gets away from you.
The thinking here is that the camera slows down the shutter speed,
allowing you to capture background scenery beyond the flash range,
yet the flash still goes off, illuminating subjects within 10 feet.
And it usually works quite well. But things get crazy if you
don't hold the camera really
steady or if there's a lot of movement in
the scene. So, you'll get some absolutely great
shots with artistic flair, and you'll get some
failures. But it's definitely worth experimenting
with. This control is also referred to as Slow Synchro Flash mode (see
Figure 3-4).

Figure 3-4. Slow Synchro Flash mode

Flash exposure compensation

Use this setting when the flash is too
"hot." You can usually find this
setting in the menu of options, and it allows you to adjust the
intensity of the flash. So, if your subjects are consistently
overexposed (too bright), then use flash compensation to reduce the
flash's output. I recommend you start with a setting
of -1 and go from there.

Increase ISO speed

You can use this setting, but remember to return to default settings
when you're done. By increasing your ISO speed from
100 to 200, 400, or more, you're essentially
increasing the sensitivity of your image sensor. The results usually
include more background information (so you don't
end up with a pitch-black backdrop) and an extended flash range (from
8 feet to 15 feet or more). Keep in mind that you will get a little
more image noise in the higher ISO settings. This
isn't much of an issue for 4" 6" prints, but it
might be noticeable in enlargements, especially in the shadow areas.
Also, remember to reset your ISO back to 100 at the end of the party.

Shutter Priority mode

If you're lucky enough to have this setting, try it.
This is one of my favorite tricks. Essentially, it allows you to set
any shutter speed you want, and the camera then adjusts the aperture
and flash output to match. The default shutter speed in flash mode for most
cameras is 1/60 of a second. If you switch to Shutter Priority mode,
you can slow down the shutter speed to 1/30 or 1/15 of a second, and
you'll notice a big difference in your shots. Those
speeds are long enough to capture much more background
informationsuch as twinkling lights, candles, and
suchbut not so slow that you get excessive blurring and camera
shake. If you combine this technique with increasing your ISO to 200,
you'll get some great results. This is a winner for
party shooting.

To sum up these options, I'd say avoid
Red
Eye Reduction mode altogether. Try Nighttime Flash mode when you want to
get artistic shots that show activity through blurred movement. Use
flash exposure compensation in combination with any of the other
techniques to adjust the amount of light your flash is producing.
And, if your camera has Shutter Priority mode, start there with an
ISO setting of 200.

3.4.2 Advanced Techniques

For cameras with hot shoes that accept
dedicated external
flashes, there are more options available. The two most important
ones are bounce flash and flash on a
bracket:

[Hack #42]

If you're good at playing billiards,
you'll understand how to use bounce flash.
You'll need an external flash with a head that
rotates up and down. Instead of pointing the flash directly at the
subject, you point it upward and bounce light off the ceiling so it
rains downward, more like natural sunlight. The light is diffused
(softer) and renders much more pleasing skin tones, without the ugly
hot spots produced by direct flash.

Flash on a bracket [Hack #7]

This trick has been used by wedding photographers for years.
You'll need an external flash, a dedicated flash
extension cord, and a bracket that holds both camera and flash. The
thinking here is that you raise the flash above the camera by six to
eight inches. By doing so, you completely eliminate red eye and you
move the shadows produced by flash-illuminated subjects downward and
out of the frame. The setup is more bulky than carrying around a
pocket digicam, but the results are consistent and professional
looking.

As you may have guessed, there are a few tricks involved with using
either of these advanced techniques, especially bounce flash. The
first matter of concern is the surface off of which
you're bouncing light, usually a ceiling.

This technique doesn't work well if the ceilings are
too high. Ceilings that are 8 to 12 feet high are perfect. The higher
the ceiling, the more powerful flash you need, because of the
increased distance the light has to travel. Also, the color of the
surface is important. As you may have guessed, white is best, because
it's highly reflective and doesn't
add a color cast to the light. Off-whites are okay, but
they're not as reflective. Colored ceilings usually
won't work; they absorb too much light and add a
funky color cast to the scene.

Figure 3-5 is a good example of using bounce flash
with a white ceiling that isn't too high. This
technique produces natural-looking skin tones and avoids red eye.
Notice a little bit of blurring in the left
subject's hand as he motions.
That's a result of quick movement combined with a
slow shutter speed (1/15 of a second), which was used to preserve the
ambient lighting.

Figure 3-5. Bounce flash with a low ceiling

An old newspaper photographer's trick is to
rubber-band a business card to the flash head,
making a little reflector. By doing so, you not only bounce light off
the ceiling, but you also get a little kick
light aimed directly at the subject's
eyes. This adds twinkle and helps prevent the eye sockets from
getting too dark.

Since you lose light when you use the bounce technique, use your most
powerful flash and increase the ISO setting to 200 or 400. Check your
pictures on the camera's LCD monitor to make sure
they're not underexposed (too dark). I like to shoot
bounce flash in Shutter Priority mode at 1/15 or 1/30 of a second.
The backgrounds usually look much better at those settings.

For serious party shooting, such as wedding receptions, get a bracket
that raises your flash above the camera lens. You'll
need a dedicated flash cord to use this technique, and be warned:
camera manufacturers usually charge US$50 or more for these
accessories.

Once you have your flash mounted on a bracket, you can use any of the
techniques outlined in this section, plus direct flash, and never
have to worry about red eye or unsightly shadows again.