Q: Can I use my Lightscoop on cameras other than those listed on your site?
A: I only recommend the Lightscoop for the cameras listed on this site. We are testing the Lightscoop with others, but until we test it, we won't promote it. We ARE developing new models for different cameras. Keep in mind:
1. Only certain camera models have pop-up flash units powerful enough to bounce light to a ceiling or wall and send back enough light to properly expose a picture. This is particularly true for point-and-shoot cameras. I know that the tested camera models produce enough light.
2. The profile of the pop-up flash is different on various camera models. The hot shoes also are different. The Lightscoop’s shape and angle have been designed to work with the listed camera models.
3. Some camera models disable their pop-up flash when anything is installed in their hot shoe. I have designed for this on the listed cameras but have not conducted research on unlisted models.
NOTE: If you find that the Lightscoop performs well on other camera models, I would love to see your results.
Q: Why can’t I leave the camera on P (program); aperture-priority
(“A” Nikon or “Av” Canon) or shutter priority (“S” Nikon
or “Tv” Canon)?
A: You can, of course. BUT if you do, the available light will be competing
with the light from your flash, and you may get undesirable
effects such as blurry or shakey-looking pictures. You should always feel free to experiment!
I recommend
putting the camera on manual exposure (M) and setting the camera at a high shutter speed
and wide aperture (small f-number) like f2.8 or f4.
The high shutter speed tends to decrease the amount of available
light and let the flash effect of stopping motion take over. As you become more comfortable bouncing with the flash, you may want to experiment with slower shutter speeds to pick up ambient light, but the out-of-the-gate settings will produce the most reliable results.
The
wide aperture is needed to pick up all the light from the small flash
that is being bounced off the ceiling or wall and then illuminating
the scene.
Q: Why do you recommend Flash Compensation?
Isn’t the flash going to automatically give the best exposure?
A: Until I began testing different camera models, I thought the same thing. It turns out that many newer technology built-in flash units are also trying to calculate and balance ambient light with the flash exposure—squelching the flash output in some cases. This often underexposes the overall image when bouncing with the Lightscoop. Successful bouncing requires maximum output from these tiny built-in flash units.
Unlike + or - Exposure Compensation, which over- or under-exploses an image, Flash Exposure Compensation of +1 or +2 actually forces more output from the flash -- you literally will get more light. I have found that adding a +1 (Nikon or Pentax) Flash compensation, or, when available, +2 (Canon), or even going to Manual flash (Nikon) gives a better bounce exposure. Most cameras will have at least +1 Flash Compensation.
Q: Why must I use Spot Meter mode?
A: The choice of metering mode for some Nikons and all Canons (for the moment) actually makes NO difference. HOWEVER, the latest Through-the-Lens flash metering technology from Nikon attempts to balance ambient and strobe light when set on metering modes other than Spot meter. Matrix and Center-weighted modes underexpose images made when bouncing with the Lightscoop on newer Nikons.
According to my tests, Spot Meter and Flash Compensation force maximum output from the built-in flash in a way that Matrix or Center-weighted metering will not allow. For simplicity in providing instructions, though, I’ve stipulated use of Spot Meter for all the camera models. You should always feel free to experiment. I would love to see your results in the Flickr Lightscoop Users Group. Don’t forget to use Flash Compensation +1 or, if available, +2, to force the most light from the flash.
Q: Why can’t I use the Lightscoop outside?
A: The Lightscoop works by redirecting the light from your pop up
flash to a larger surface such as a ceiling or wall.
The light then
bounces off the ceiling or wall and spreads out to cover the scene
in front of your camera. (See diagrams.)
Since there’s nothing for the light to bounce from when shooting
outdoors, the Lightscoop is absolutely useless when used outside -- as are even expensive external strobes. See for yourself.
Q: Why a ceiling height of 8-12 feet?
The pop up flash in your camera is not powerful enough to reach a
more distant surface and still send enough light back to sufficiently
light a scene. I’m afraid you’ll have to forget shots in churches,
gymnasiums and the like! I've gotten good results in rooms with higher ceilings, actually, but I don't want users to be disappointed if their results are not as good.
Q: Why must the ceiling or wall be light-colored or neutral?
A: A dark ceiling will absorb the light rather than spread it, so your
picture will turn out too dark.
A tinted surface will affect the overall color in your picture. If the
room you’re shooting in is green, for example, your subjects
will look a bit green thanks to light reflected off the green walls or
ceiling.
Q: What about noise at ISO 800?
A: Technology is improving with every digital camera release. Newer 35mm SLRs with interchangeable lenses produce beautiful images at ISO 800. Ken Rockwell finds no problem with noise at 800 in an interesting and thorough test he conducted on his site. Further, noise, the digital equivalent of film grain, is typically most objectionable in the shadow areas. Because the bounced light fills in the shadow areas, most people do not find grain to be a problem using flash and the Lightscoop.
As Rockwell also observes, there IS a noise problem at ISO 800 with compact and point-and-shoot cameras. Film shot at 800 typically produced objectionable grain. It's just not an issue with the new DSLR technology.
Q: Why did you invent the Lightscoop?
A: I was impressed with the technical excellence and light weight of today’s 35mm single-lens reflex cameras with powerful pop up flash units. But I HATED the ugly flash.
I demand that my students NEVER use direct flash. Of course, normally they are using an external flash, and I spend a lot of time teaching them how to bounce the light in order to achieve more even, natural-looking lighting.
I could have added an external strobe and used all the techniques I teach. I just thought it a shame to go to that trouble and expense for casual shooting, especially since the pop up flash on many cameras is powerful enough to bounce in most situations.
I began testing ways to redirect the light from the pop up flash so that it would bounce off a ceiling or wall. I finally came up with the Lightscoop. The Lightscoop immediately solved most indoor flash problems — and doesn’t add weight or bulk to my camera bag.
I’m a professional, but I love it. For non-professionals, the Lightscoop is the one piece of equipment that will instantly improve their photography. And that means fewer UGLY flash photos I have to see!
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