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Flash Brackets, yay or nay?
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I’ve noticed that in magazines like Professional Photographer, a lot of the social reportage and wedding stuff that is featured is shot with available light, and a typical photographers kit would seem to be a body capable of nice, high iso’s, 24-70, 70-200, a fast prime and a speedlite or two if needed.
I have experience in night club photography but wish to move into weddings shortly. I got a very good deal on a Metz 76 and I’m considering going the more traditional approach to lighting a wedding, back to the flash bracket and softbox approach. To this end I’m looking at a custom bracket setup for my 5d and Metz, but the thing would look like one of the cameras taken on the Apollo missions by the time the whole rig is setup.
So I’m just wondering who is using flash brackets in this day and age, what are the arguments for and against them, are they really as cumbersome as some make them out to be etc. My intention is to shoot available light or fill flash when needed, and later at the reception or for formals on a cloudy day, use the softbox on camera. I’m trying to decide between fool-proof, safe, perfectly lit shots that will always be lit with frontal soft lighting, but will always be boring, or taking the risks and shooting with available light mostly. I’d be particularly interested in hearing from some wedding photographers who would consider themselves “old school” and might have shot medium format with flash back in the day, or indeed in the present. Also that leads to my next question, would anybody still use medium format film cameras at a wedding given the choice? A medium format setup may be within my price range and I was thinking about this for the formals and digital for the faster paced stuff. Is it really neccessary or do people think the supposed better resolution is not worth the hassle of developing and scanning?
Hi Generic handle.
I think the main reason that flash brackets were used in the past was to avoid “red eye” by the flash reflecting off the retina of the subjects eyes (especially when using film). It also gave a less flat look to the lighting. Nowadays, the inbuilt red eye reduction of digital cameras and software can easily deal with this problem. I have used a flash bracket doing macro (when I didn’t have my ringflash) & it works well in helping to avoid unwanted highlights on insects etc. I don’t see too many using flash brackets these days, which could be due to their bulk, but they can help with the balance/grip of the camera too.HI Generic Handle,
Miki’s right the main point of a flash bracket is to get the flash off the same plane as the shutter and avoid red eye. You’re Metz should have a tilt head and reflector card which should make it possible to bounce the light where you need it. I wouldn’t recomend a softbox if your shooting weddings. Most of the time, you will need to be as unobtrusive as possible so that the whole event doesnt seem like a massive photo shoot. Fast lens and high ISO when you need it should do the trick without having to change your style of shooting (which presumably is the reason you got the job in the first place) or too much ‘faffing around’, particularly if you’re style is more documentary -style, shots. Also if you’re relying on using the flash indoors, you will quickly run into a situation where you’re not permitted to use flash inside a church.
Dont get me wrong I’m not an available light snob n the least. As far as I’m concerned if its fully charged and in my bag, then its available, but the less you have to juggle with ISO, white balance and exposure settings on the day, the easier the job will be. (Although I wold hesitate from assuming that any wedding is easy to shoot!) When it comes to winter weddings, you’re going to need a flash at some point no matter how fast your lens is or how mobile your bride and groom are. If the best way of working with it for you is on a flash bracket go for it. If you’re worried about it being too harsh, stick a diffuser on it.
On the medium format issue, you should consider the cost factor of film and processing and scanning your images into your workflow too and the differences in style and look between digital and analog / chemical prints. At the end of the day you’re more than likely going to be producing or providing an album and you might need to consider if you want the look and feel of the images to vary from daylight lit documentary style to flash enhanced and formal shots as well as Flim based shots somewhere in the middle of the mix and what effect that might have on the album overall. More than likely if you’re including medium format film as a medium in your workflow, your costs to shoot and produce and album are going to be higher than most prfessional wedding pros, which is fine as long as you dont have to worry about making any money from the wedding. Remember the bride and groom’s friends will have their snaps up on face book by the time you’ve unloaded the film and that is ultimately what you’re competing against these days.
– Tom
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