I use a Canon Rebel (the first one that came out) and a Canon speedlite flash (I think it is the 420 ex or something like that, not the high end flash but adequate). I am having a real problem with the flash not capturing the hightlights. I believe this is due to the sensor reading the whole scene and trying to compensate for that, thus rending some of the hightlights unavailable in cetain situations. I have solved this by useing the FE lock button. However, I would like some advice as to how to avoid this problem (if possible) without having to use the FE lock everytime. I am starting to photograph weddings and this can pose some problems in timing if I am trying to get a picture of the moment. The FE lock is very time consuming. I have taken some test pics using my camera and a Canon XT and the same thing happens with both cameras. I am hoping some of you have experienced the same problem and someone may have a solution.

Any suggestions from one of you pros out there would be appreciated. I do not have the ability to use flash compensation since my old Rebel does not suport that as the XT or XTI does. Thanks for any suggestions.

Gary

I have the Canon 430 ex and the 1ds II, and specialy weddings are a real pain! the white dress doesn't help the TTL.
So I end up using the flash, (and camera), on manual mode most of the time, you'll get use to, on most pictures the people are at the same distance to the camera, if you want to get closer, use the zoom lens, but keep the camera-object distance similar, I also use a slower shutter speed, (to add the ambient light), the beauty of digital is the instant preview and histogram, so you can adjust your aperture for the next shot.
good luck

www.yofui.com

Gary, the Digital Rebel /EOS 300D + 420ex is unfortunately not the best combination for consistient flash photography.

I am not quite shure what you mean about 'not catching the highlights', but guess you get under exposed images when using flash.

FE lock is an excelent solution, if you FE lock with the active focus point (center ?) on a face, you should get fairly consistent results.

If your subjects are a bit pale, like most North Europeans, you would need to add perhaps 2/3 stops of positive flash exposure compensation. Personally, my palms are about -1 stop, luckily my face a bit darker. Adding this compensation is not possible with your current gear.

I did own an EOS 300d, and there is a workable solution to this:

A firmware hack that adds Flash Exposure Compensation, take a look at:

EOS 300D Firmware Hack Information

Next, if your 300D supports it, try to change flash exposure from Evaluative to Average, some sources claim this helps.

Bounce the flash off a ceiling or a side wall. That gives you softer light with less contrast. An even exposure is easier to adjust than one with high contrast. Make sure that your ISO is high enough when you bounce, it requires a lot more light. You will know from the sound of your flash recharging if it starts to struggle

Then, go to ShootSmarter.com, register (just give them your e-mail and you are in) and read the articles in the Infocenter by Paul Gero and Will Crockett about On Camera Flash. Paul has a lot of tips for Canon users.

Unfortunately, you will also learn, that their extensive test conclude that you need an EOS 30D, 5D or newer camera to get really consistent on-camera flash results. E-TTL has improved steadily the last years and having gone through a 300D, 20D and now using a 5D, I do agree.

Finally , always shoot RAW and use Lightroom or Photoshop CS3 to convert the raw file. These two products has added several very useful tools to get the most out of a raw file. My favorite are the "Fill Light" and "Recovery" tools. The first increases exposure in the shadows without touching the mid-tones or highlight, the second decreases exposure of the highlights without making the picture darker. Very handy for recovering slightly blown highlights.

Regards
Michael

Thanks guys, I will look into your suggestions. This is getting quite complicated, but at least if nothing else it's not just me.

Complicate ? - just wait until you get say a 70-200mm F 2.8 and find that the Depth of Field at 200 mm, 2 meters distance and F 2.8 is about 2 milimeters. Try to get both eyes sharp...

For anyone saying that is not a realistic scene, do try to fill the frame with the face of a baby in fairly low light conditions.

Yes, perfection requires a lot of study and then a lot of practice to be consistent. That is what makes it fun too

Good luck

A sample of that problem;



70- 200 at 150 f4

If you're concern is overall exposure when shooting with flash, especially if shooting weddings, buy a camera that allows you sto set flash exposure compensation. Otherwise you're trying to race in Formula One with a Yugo, and neither you or your clients will be happy with the results.

As far as decent portrait lighting goes, one on-camera flash is not the way to go unles you need harsh unattractive shadows for some reason. Most portrait lighting setups have at least two lights, and often white/silver reflectors to further diffuse the light and fill shadows.

Another option is to use ambient lighting as your primary light source, and use flash as shadow fill only. This is done by using a slower shutter speed so that ambient light is capured in the exposure, and reducing flash power somewhat. When shooting in lighting that is different from your flash color, (incandescent and fluorescent especiually) you will want to look into a gel for your flash to make it the same color as ambient light, or you'll have a difficult time setting white balance.



This portrait was made with a 550EX fired into a silver umbrella on camera right, and a 420EX fired into an umbrella on camera left, with shutter speed selected to allow enough ambient exposure to keep the background from going too dark.

That is a beautiful example of use of off-camera flash Jonathan displays above.

If on a budget, try to get hold of a second hand 550ex, it will be able to control your 420ex.

Put the 420 on a light stand with an umbrella as the main light and use the on-camera 550ex as the fill. This is not quite as flexible as using two off-camera flashes (in which case you need either an extension cord or a third flash/transmitter to fire the two flashes), but can give excelent results for a limited amount of money.

Personally, I like the white umbrella as the general light modifier as it appears a bit softer, but again the example is beautiful as it is.

I do have three flash units, but find that most of the time I use just one unit in bounce mode, it takes both room and time to set-up multiple lights

This is an example with three units:
550ex on a lightstand, camera right, with a small softbox
580ex on camera used as fill and controlling the other units
420ex on camera left, behind my daughter, pointing at the background.



You can see the catch lights from the main and fill light and how soft you can get the light with a simple setup. The third flash on the background was used to give a pure white, high-key feel. It is obviously not needed for most outdoor shots or when you have a suitable background and some ambient light.

This is an export of the original raw file using Lightroom with no adjustments.



Regards
Michael