Free Wedding Photo Search! Enter Your Topic Below:

5. Synchro-Sunlight Photography

The ability to shoot synchro-sunlight pictures is as important in candid  weddings as the ability to shoot indoor flash. In this spread-out country of ours with its multitude of climates, outdoor photos can be taken from five to twelve months a year. But sunlight alone creates harsh facial shadows. Out of our bag of photographic tricks we pull flash and lighten these shadows. With this mating of sunlight and flash a new light is created—synchro-sunlight. In recent years, synchro-sunlight photography has become so popular in candid wedding photography that if the weather permits, the bridal couple takes it for granted that formals will be shot in an outdoor setting.

Of all the shots taken during the course of a candid, formals are the most critically scrutinized. For this reason synchro-sunlight exposures must be rea­sonably accurate, and not a hit-and-run, snapshot proposition.

With indoor flash all that is needed is a guide number for a particular film and flash combination. But, synchro-sunlight photography introduces an­other factor to consider—sunlight. Sunlight creates some minor problems, but these are more than balanced by the good it provides—another light source. With sunlight added, photographs sparkle, have modeling, and they do not have the flatness associated with straight flash!

"Glamour Lighting" with its heavy shadows should be avoided in wed­ding formals. A sunlight-flash ratio from about 2-to-l up to 4-to-l will provide a softness of lighting more in keeping with the bridal mood.

The candid wedding photographer has to work quickly. He hasn't got the time to fuss with exposure while the bridal couple or members of the bridal party wait patiently. He needs to have his exposures down pat for a wide variety of wedding situations, and synchro-sunlight is no exception. To help you achieve the same professional skill, here are some practical rules and short-cuts. But first, we must look at the basics: how to determine the exposure for sun without a meter; the flash guide number; and the fill-in ratio, or bal­ance between sun and flash illumination.

Before establishing rules for synchro-sunlight let us first lay the founda­tion upon which these rules can be based:

37. Sometimes there is a reception line for the guests at the church. After focusing, watch the action for a moment when the faces of both bride and groom are not hidden by those of the guests. (Rolleiffex; Tri-X; 80 w/s elec­tronic flash, 1/250, f/7; film developed in Microdol.) 38. It is desirable to have a shot which includes the clergyman and the couple. An opportunity for this may occur in the vestibule following the service. You can pose the clergyman as he hands the marriage certificate to the groom or shakes his hand, or all three may look directly at the camera. If there is no opportunity at the church you may get this picture later at the reception. (Konica III;Plus-X; 80 w/s electronic flash unit, 1/200, f/8; Microdol.)

39. The best results with a shot such as this will be obtained if you issue instructions immediately beforehand. To be sure that at the last moment no one steps between you and the couple, ask them to hesitate at the door of the church until you beckon and then to advance, ignoring the camera. Ask several people to throw their rice or confetti when the couple reaches a designated spot or step. Catching the rice in mid-air will make this appear to be a truly "candid" shot. The candid wedding photographer should not hope for a good shot—he should set it up ahead of time. Pre-focus for about 15 feet. A frequent fault is catching the couple when they are too close to the camera. (Busch Pressman; Tri-X; No. 5 bulb,1/200, f/14; film developed in DK-50.)

1. No light meter is needed for synchro-sunlight on a clear, sunny day when the sun is facing the subject. Just place the number "1" over the ex­ posure index rating (film speed). This fraction is the basic shutter speed for f/16 with any film developed in fine-grain developer. This is also the shutter speed for f/19  (halfway between f/16 and f/22) and any film developed in active developers such as DK-60a, D-76, or DK-50. Suppose you're using Tri-X film developed in Microdol? By placing "1" over the 200 film speed, you arrive at an exposure of 1/200 at f/16. If you are shooting with Royal Pan (devel­oped in DK-50),again you'd place "1" over the film speed of 200. But this time you'd have an exposure of 1/200 at f/19.
   
   
2. For simplicity's sake we've settled on just a few guide numbers. With No. 5 and 52 flashbulbs and 1/200 second, we use the flashbulb guide num­ber of 180 suggested by Eastman Kodak for Tri-X film developed in Microdol. However, film exposed by flashbulb and developed in active developers such as DK-60a, D-76, or DK-50 is about half a stop faster than film processed in a fine-grain developer. So for all Tri-X film and Royal Pan sheet film (with No. 5 or 25 bulb and 1/200 shutter speed), we used the guide number of 210 if the film is to be developed in one of these more active developers. Guide num­bers for other films are given in the chart in Chapter 4 (Flash and Electronic Flash).
   
3.  It is important to remember that the  above  sunlight and flashbulb guides allow for a black-and-white safety factor of 2—that is, one f/stop over-exposure (actually this is a safety factor of 2Vz, which is 1¼ f/stops. See No. 5 below).
4. Providing a guide number for each of the many electronic flash units would not be of lasting benefit. Almost weekly, new models are introduced and older models are either improved or discontinued. Manufacturer's guide numbers generally are more optimistic than factual, and the photographer will do well to establish his own guide numbers for his specific unit. (See Chapter 4.) In examples that follow, I will use the popular 80 watt-second input, Stro-bonar V for exploring the possibilities of electronic flash for synchro-sunlight photography.
   
   
5. Synchro-sunlight wedding photos are not examined with professional scrutiny as far as fill-in ratios are concerned. They should be close but there is no need for exactness. As I said before, bridal parties often get impatient. The candid wedding photographer is not always afforded the luxury of leisureliness.

Two Rules for Synchro-Sunlight

So we need a rule or two—which can be applied quickly—in fact more quickly than it takes to tell you about them. One rule for fill-in applies to all situations where flashbulbs are used—with between-the-lens, behind-the-lens, or focal-plane shutters (and FP flashbulbs). This rule also applies to elec­tronic flash when speeds of 1/25 or 1/50 are the fastest you can use due to shutter construction. Focal plane shutters fall into this category. {A second rule is needed for use of electronic flash with a camera having full—all speed— X synchronization. But more on that, and what to do, later).

Using the First Rule

First: As outlined before, determine the shutter speed for bright sun by placing 1 over the exposure index number (film speed) given in the manu­facturer's instruction sheet. Then if the film is fine-grain developed set the diaphragm at f/16; if a more active developer is used, f/19.

Now: Divide the f/stop into your flashbulb or electronic flash guide num­ber. The answer is the number of feet from subject to fill-in light.

Offhand it might appear that this rule gives a 1-to-l ratio but, remember, the guide numbers recommended in the table for electronic flash (Ultra blitz Matador I, Heiland V and Mighty Light DeLuxe), as well as the flashbulb guide numbers have a safety factor of one f/stop. This is nullified by the loss of one f/stop in effectiveness when flash is used outdoors. Does this loss also occur in large indoor areas such as church and reception halls? Yes, but the over-development needed to build up contrast preserves the safety factor. With synchro-sunlight, there is no overdevelopment. We are left with a fill-in of nor­mal intensity and a one f/stop overexposure by sun for a 2-to-l rati

Note: Once the shutter settings and fill-in distance are established, mov­ing the light 30 percent closer to the subject doubles the light intensity; moving 50 percent away cuts it in half. To illustrate this graphically, substitute feet for the f/ on the numbers of the lens openings.

from one distance to the next doubles flash intensity

 

FEET:         5.6        8        11         16        22        32

from one distance to the next cuts flash intensity in half

The photographer can set his camera quickly with this system. It's easy to memorize a basic bright sun exposure such as 1/200 and f/16 or 19. It's equally easy to figure out the basic fill-in distance, ahead of time, by dividing f/16 or 19 into your guide number. Now let's test the one rule (and later the exception) to see how we can vary the fill-in distance easily.

The First Rule, and How to Apply It

The film is Royal Pan (Daylight-200); developer, DK-50; flash, No. 5 bulb (guide number 210). Our basic exposure is 1/200 (or 1/250), and f/19. 210 -f- 19 = an 11-foot fill-in distance—ideal for shots of bride, bride and groom and small groups taken 12 to 13 feet from the subjects.

For larger groups (about 15 ft.) either leave the gun on the camera for a 4:1 ratio or for a brighter fill-in use an extension cord and place the gun at 13 instead of 11 feet to make sure the people at the outer ends of the picture are covered. I would leave the gun on the camera.

For eight foot shots, again the reflector on extension cord can be left at 11 feet, but be certain that the fill-in is higher and a little to one side of your head in order to avoid including your own shadow (by flash) in the picture area. Or, leave the gun on the camera and for a 2:1 ratio use one thickness of white handkerchief over the reflector.   Or, use a No. 8 bulb. The handker-chief is less trouble and dispenses with the need for stocking No. 8 bulbs, or for use of extension.

40. The kiss in the car should be posed. Tell the couple not to kiss hard enough to distort their features. (Rolleiftex; Tri-X; 80 w/s electronic flash, 1/250, f/22; Microdol.) 41. Shooting through the rear window, ask them to smile, check-to-cheek. The "just married" sign was made by writing on the printing paper with a soft pencil before exposure. (Data as above, except f/14.)

The No. 5 bulb is ideal for synchro-sunlight formals. Without removing the gun from your camera, it will give close to a 4:1 ratio at 15 feet; 2:1 at 11 feet; and (with one layer of white handkerchief) 2:1 at 8 feet with any black-and-white film shot at 1/100 or higher.

The Second Rule

If you have a fully synchronized X shutter and are using electronic flash you must apply another rule for synchro-sunlight photography. These shutters are of the between-the-lens and behind-the-lens types, and one is similar to the other. The behind-the-lens shutter, is as the words say, located behind the shutter to permit lens interchangeability and provides greater flash freedom than is possible with a focal plane shutter. But all information provided here for the between-the-lens shutter can be applied directly to the behind-the-lens shutter.

An electronic flash unit of 80 to 100 or more watt-seconds input and a between-the-lens fully synchronized X shutter form an especially compatible combination for synchro-sunlight photography.

Whether the camera shutter speed is 1 second or 1/800 second, the film receives the same amount of light from an electronic flash unit of 1/1000 sec­ond or shorter (faster) duration.

The rule for synchro-sunlight with electronic flash and the fully synchro­nized X shutter is a contradiction to the flashbulb rule of determining the daylight exposure first, then computing the fill-in distance. Instead: divide the number of feet from the electronic flashtube to subject into the electronic flash guide number to determine the f/stop (the same as for indoor shots). Then: use the shutter speed that is needed in sunlight for this f/stop.

Let's Try Out the Second Rule

All material is the same as for the flashbulb fill-in example but this time the Heiland V is substituted for the No. 5 bulb and the camera shutter must be fully X synchronized. (This rule cannot be applied to an X shutter limited to 1/25 or 1/50 synchronization.)

Suppose distance from subject to camera, with electronic flash attached is 12 feet? We apply the first step of our rule by dividing 12 into 160 (the guide number of our unit). The answer is f/13⅓(halfway between f/11 and f/16). Now we establish the exposure for sunlight. The exposure rating for Royal Pan outdoors is 200. We place the number "1" over 200 and find that the basic camera setting for bright sunny days is 1/200 at f/19 (halfway between f/16 and f/22). To shoot at f/13½we merely change the shutter speed from 1/200 to 1/400 for a 2:1 fill-in ratio.

With a 15 foot shot, the same electronic flash calls for almost f/11. With a 1/500 and 1/400 shutter the ratios will be 2:1 and 3:1 respectively. For an 8 foot shot, 160 ÷8 = 20, so use an exposure of 1/200 and f/20.

From bridal party group (15 feet) down to a three-quarter length shot (7-8 feet) we have not had to remove the light from the camera, have had to use no handkerchief or extension. All this was done with a light having one half the intensity of a No. 5 bulb shot at 1/200!

The results with a 60-watt second electronic flash unit (guide number 120) are almost as flexible. Such a unit is comparable in light output to a Westinghouse M-2 flashbulb used at 1/100. For the examples below the gun was on the camera.

At 15 feet: 120 ÷15 =* f/8. Use 1/800 (only the Kodak Rapid Synchro 800 Shutter has this speed setting) for a 3:1 ratio; 1/500 for 4:1; 1/400 for 5:1 (5:1 is still a pleasant ratio).

At 12 feet: 120 ÷ 12 = almost f/11. Use 1/500 for a 2:1, 1/400 for 3:1.

At 8 feet: 120 ÷ 8 = almost f/16. Use 1/200 (1/250) for 3:1.

Synchro-Sunlight and the Focal-Plane Shutter

The focal-plane shutter can be avoided in the press cameras, but it is the shutter most often found in the expensive 35mm. In practice, at the speeds normally employed in candid wedding work, the focal plane shutter is more accurate than other shutters. With Class M bulbs it is not so practical as the between-the-lens fully synchronized MX shutter. And it is just about useless with electronic flash for synchro-sunlight.

The slow shutter speeds of 1/25 to 1/50 necessary for electronic flash synchronization with focal plane shutters, result in closed-down f/stops for sunlight. It is these small f/stops that impose the crippling limitations on the popular 60- to 100-watt-second units.

The first synchro-sunlight rule (see page 53) applies, but .... if you're shooting with medium speed or high speed films you'll need a filter (medium yellow or neutral density) to bring the f/stop down to the f/16 or 22 you have from the f/32 you haven't got. And by the time you get through, all you will have for your trouble is the ineffectual fill-in distances of 3 to 5 feet for a 2:1 ratio.

Discouraging? Well, don't give up. This limitation applies only to synchro-sunlight photos. Now, let us try synchro-shade (in shade with open sky above).

Synchro-Shade

The camera in all probability, is a 35mm, so we will assume that the shutter is a focal-plane and the exposure is based on PIus-X (daylight 80), de­veloped in Microdol. Basic exposure: 1/80, f/16. Electronic flash: Strobonar V with a guide number of 96 for Plus-X. No filter.

The shutter speed must be confined to between 1/25 to 1/50 in order to synchronize with electronic flash. At 1/25, the f/stop for sun is roughly f/32, or for open shade f/11 (open 3 stops). Divide 11 into 96 and we have the now useable distance of almost 9 feet for a 2:1 ratio and about 13½feet for a 4:1.

For the fifteen foot group shots leave the electronic flash gun on the camera. The fill-in ratio is not important as shadows in the shade are already soft. The 9 foot fill-in distance is less than 2:1 for the three-quarter length shots with the reflector on the camera. One thickness of handkerchief over the reflector will give a more pronounced modeling.

With the camera synchronized for 1/50 the situation is just about per­fect. At 1/50 the f/stop for shade is roughly f/8. 96 ÷8 = 12 feet, a perfect 2:1 for 12 foot shots; a 3:1 for 15 feet and a 2:1 for 8 foot shots with a hand­kerchief over the reflector.

Of course, the slow shutter speeds (1/25 to 1/50) necessary for elec­tronic flash synchronization can cause "ghost" or double images either by camera movement or subject motion. The film can register with a daylight image and another image from the lightning-like duration of the electronic flash. But a tripod will eliminate the possibility of camera movement and also facilitate handling the electronic flash, with an extension cord, away from the camera.

After making those synchro-shade pictures, try some shots without flash. Portraits taken in the shade arc soft and flattering: the subject's features are relaxed and devoid of squinting. Flash, though useful, is not so essential as with direct sunlight.

We used the Heiland Strobonar V in our synchro-shade example, but any electronic flash that is strong enough can be substituted simply by applying the guide numbers for that unit.

Synchro-Sun with Focal-Plane Flashbulbs

By changing to a focal-plane bulb the photographer using a focal-plane shutter is less restricted in synchro-sunlight photography than he is with electronic flash. This bulb differs from the M-type bulb in that the flash duration resembles a plateau rather than a mountain peak. The long, even, duration of light permits the use of many focal-plane shutter speeds by providing a uni­form amount of light us the slit of the focal-plane shutter travels across the face of the film.

Deciding which focal-plane bulb to use is simple and depends on your negative size. Generally, the No. 6 and 26 bulbs are recommended, at a variety of speeds, for cameras making negatives from 35mm up to and in­cluding 21/4x31/4(small Speed Graphic size). The No. 31 and 2A bulbs have a more extended plateau or peak, and are designed for use at a variety of speeds with the larger focal-plane shutter cameras. However the 31 and 2A can be used at reasonable efficiency with the smaller size negatives if you set your shutter at 1/25 second.

For specific examples, let's say we're shooting with the same 35mm cam­era used for synchro-shade on page 56. Again the camera is loaded with Plus-X (daylight rating 80) which will be developed in Microdol. For the first picture we will shoot by synchro-sunlight using a fast shutter speed and an FP 6 flash­bulb. Our basic exposure for sunlight is 1/80 at f/16. We have no 1/80 so we will use 1/100, and compensate by opening the diaphragm to f/14 (a quar­ter stop under f/16). Next, the guide number for the FP 6 (or 26) bulb at 1/100 is 100. Then, we divide 100 by f/14 and arrive at a fill-in distance of 7 feet for a 2:1 ratio. Leaving the flashgun on the camera for the 10-11 foot shots will result in a 4:1 ratio.

Now let's see what happens if we take the same set-up—35mm focal-plane camera, Plus-X film and 1/100 shutter speed—but substitute an FP 31 flash­bulb for the FP 6? The FP 31 at 1/100 will add nothing to the 7-foot fill-in distance despite its 77-81,000 lumen seconds output as compared with the 15-17,000 of an FP 6. At 1/100 most 35mm focal-plane cameras only use a por­tion of the light emitted by this bulb, with its greatly extended peak, or plateau. If you try 1/25 with an FP 31 or 2A in a 6- to 7-inch polished re­flector you will have an improved fill-in because you will be using the light output more efficiently,

For the FP 31 with your 35mm focal-plane shutter camera you need a neutral density filter so that the smallest diaphragm opening on your lens (often f/16) can be used. The guide number for the FP 31 or 2A (with 4X neutral density filter, and Plus-X film developed in Microdol) is 160; 160 di­vided by f/16 = 10 feet. The ratio is 2:1. With an f/22 diaphragm, and a K2 filter, you can use a guide number of 220 for either the FP 31 or 2A. In this case 220 divided by f/22 still gives you a 10-foot fill-in distance. Which­ever guide number you use, leaving the gun on the camera for the 12 to 13 foot shots will result in a 3:1 ratio, and for the 15 feet (larger group pictures), 4:1. Shooting with an FP 6 bulb at 1/100 is perfect for the 7 to 8 foot shots where you want a 2:1 ratio. So by using two kinds of focal plane flashbulbs with your 35mm focal plane camera, you can make most of your synchro-sunlight exposures without resorting to an extension cord.

Other Cases

What do you do if you have a 2¼x2¼single-lens reflex camera with focal-plane shutter? Just follow instructions given for using the 35mm's focal-plane shutter. With press cameras, you have a synchronized front shutter, so the back focal-plane shutter is rarely used for flash of any sort. But, if your front shutter ever gives you trouble, and you have to resort to the focal-plane for flash, the same rules apply. However, the bigger bulbs (FP 31 or 2A) will give you better coverage than the FP 6 or 26, with press cameras larger than

Synchro-Sunlight and Special Effects

Backlighting: Beautiful effects can be created through backlighting (when the sun is behind your subject). The closer the camera gets to the subject the more dramatic the effect. For this reason the candid wedding photographer should concentrate his backlighting on the three-quarter length shots of bride alone, or bride and groom. With backlighting the flash now becomes the main light, as little or no sunlight reaches the front of the subject. To obtain the safety factor of 2, open up one f/stop more than for fill-in purposes. This will take care of both backlight  (sun)   and front light   (flash).

Side lighting: Treat side lighting by sun the same as a normal synchro-sunlight exposure. Side lighting is not recommended on more than one person —shadows will be thrown from one onto the other. A lens-shade must be used with either side or backlight.

Open Shade: Open shade means in the shadow of an object such as a tree, but with a blue sky above. For our purposes the open shade of a sunny day is constant and poses no problem. It calls for three f/stops more exposure than sunlight. Subjects under an object and receiving no direct skylight should be given four f/stops more than for sunlight. In either case, if no flash is used, develop film 30 percent more than for synchro-sunlight exposures.

Hazy Days: Hazy or overcast days need not prevent outdoor bridal photos. The lighting will be soft and the modeling good. Flash is not essential, but if desired, the rules already established for determining a fill-in distance still apply. If flash fill-in is used, determine the daylight exposure through the use of a meter. Unlike open shade, the light of cloudy days is not constant and can lead to a variety of exposures. Care must be taken never to have the flash stronger than the daylight as this will result in an unnatural night-like effect.

General Suggestions

Keep lighting simple with the bridal party or groups. Placing your sub­jects at an angle to the sun will minimize the tendency to frown or squint, but a sunlight angle of 45 degrees is the greatest angle that should be attempted.

The purpose of a fill-in light is to "open up" or lighten the shadow areas. The reflector, on extension cord, must be kept as close as possible to the line between subject and camera. This is so shadows on the subject's face do not conflict with those of the sun or any main light such as hazy sun, cloudy-bright or open shade.

Standardize your synchro-sunlight (or shade) shooting distances so that through repetition both shutter adjustment and placement of the fill-in light becomes automatic. These three distances will take care of all your "formals."

15 to 17 feet: groups of twelve to sixteen people. (See photo 47 of large group for placement of subjects.)

42. From across the street toe can include the face of the church, the cars and the spectators for an at­mosphere shot. Expose for day­light. (Minolta Autocord; Tri-X; 1/200, f/11.)

12 to 13 feet: bride, bride and groom, and small groups up to six people.

7 to 8 feet: ¾ length shots of bride, or bride and groom. If composition closer than three-quarter length should be requested by the couple when they are selecting proofs, blowing up the three-quarter shot will do the trick with no possibility of distortion. Such a request is rare. The bride has gone to con­siderable trouble to get just the gown she wants and is not apt to ask for a head and shoulder photo that cuts off most of it.

The flash and electronic flash data can be affected by two variables-accuracy of shutter, and design or finish of reflector. A slightly inaccurate shut­ter—whether slow or fast—will not affect the electronic flash guide number, but the increased or decreased exposure by sun (or daylight) will alter the fill-in ratios. At normal shooting speeds, flashbulb synchro-sunlight ratios remain unaffected when the shutter speed is 1/100 or faster. But the inaccurate shutter will affect both the sun and flashbulb exposures and result in either a denser or thinner negative.

Flashbulb synchro-sunlight ratios can be affected when a speed of 1/50 is used and the shutter is slow. The flashbulb output at 1/50 or slower is the same as that of open flash. It has reached its maximum output. But a slow 1/50 shutter speed which in reality may be 1/25, will increase the synchro-sunlight ratio by creating more than calculated negative density by sun.

With a normal lens, a shallow reflector will be less efficient than a deeper one, because it spreads light over a wider angle than necessary. A highly pol­ished surface will throw more light ½stop) than a satin finish. (Guide num­bers are based on a polished reflector.)

There is another factor to be considered. A between-tbe-lens shutter's efficiency is calibrated at its largest opening. Today's sensitive films have created the need for higher shutter speeds and small lens openings particu­larly with synchro-sunlight shots. This combination can increase the shutter's efficiency to the point of a full stop overexposure. To get a thinner negative, reduce the exposure, or use your K-2, X-l, or 4X neutral density filter to get your aperture down to f/8 or f/11.

Fortunately, the latitude of black-and-white films used for candid is broad enough to absorb these tolerances. A shutter can be 100 percent in­accurate (usually slow) and the reflector any of a hundred makes and still the negative will be of sufficient quality to produce good prints—if we respect the ASA ratings and their safety factor of one and a quarter f/stops.

Filters and Synchro-Sun

Filters play no important roll in black-and-white candids except for out­door shots. If trees or shrubbery are behind the subject no filter is essential. However, for the perfectionist, a light green (XI) filter will lighten the green background, darken slightly any portion of sky that can be seen and give the subjects a healthy-looking tan complexion (with pan films). The light yellow, and medium yellow filters (Kl or K2), can be used to darken the sky and bring out the clouds. With fast film used outdoors, neutral density filters (4X to 10X) permit you to open up your lens to, say, f/5.6 or f/4.5, or even f/2, in order to obtain desirable and less distracting out-of-focus backgrounds so pleasing to outdoor formals.

Are You Ready To Move Onto The Next Lesson? Click Here….