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Effective use of Flash Photography Did you ever put your flash unit in manual mode? Did you ever manually turn on the flash when taking a day time outdoor photo? For many the answer to both questions is "no". For most amateur photographers flash is just a solution for taking photos when there is not enough natural light. Although a legitimate use of flash photography there is much more ways to efficiently use flash. In this article we will cover the various types of flash units available, the different scenarios under which they can be used, the advantages of using flash to achieve better photos and the common mistakes people do when using flash photography. As with any other technology knowing how it works behind the scenes and what your options are can help in better utilizing it for your advantage. Flash photography has been around for more than a hundred years. It started with a dangerous and manually controlled technology that used a powder that was lit by either fire or electrical current. These flash solutions were both dangerous and hard to use since the flash was not automatically synchronized to the camera's shutter. Modern flash units use an electronic flash tube that is synchronized with the camera's shutter. When turning the flash on the photographer does not need to worry about flash timing - the camera takes care of it automatically. There are two types of flash units: Internal and External. The internal flash unit is built-in to your camera. It can be controlled through the camera's menus. Some low end cameras only allow the use of their built-in units. Some low end cameras and all high end cameras also allow the attachment of an external flash unit. External flash units are either attached to the camera's body through a dedicated slide-in slot or are connected to the camera using a cable. They vary in strength - how much light can they generate for how long - and in mechanical characteristics - can they be tilted or skewed or are they fixed in relation to the camera's body. Regardless of the connection type external flash units are electronically connected to the camera and are synchronized with the shutter. When setting your flash unit to automatic mode the camera fires the flash in scenarios where not enough light is available. Many times the camera will make a wrong judgment and will either fire or not fire the flash when the opposite was needed. Also in some scenarios the camera will not be able to tell that firing the flash will actually result in a better photo. One problem when using a flash is washed out photos. When the flash is too strong or the object is too close to the camera the result is a washed out photo there are not enough details and the object appears to be too white or too bright. Another problem is a photo with too many details: in some scenarios the flash can create artificial shadows and lights which result in a photo that includes details that are exaggerated relative to their appearance in real life. For example when taking a photo of an older person skin wrinkles and imperfections can look much worse than they really are in real life.
Back in the 1960s, when New York was the centre of street photography, the main practitioners of the form would sometimes cross paths. Lee Friedlander was friends with Garry Winogrand who often met Joel Meyerowitz as they crisscrossed Manhattan and beyond on the prowl for pictures that caught the city's tempo, its myriad everyday dramas, and its citizens at work and at play.
In terms of personality, Winogrand was easily the most aggressive. Friedlander later said of him, only half-joking, "He was a bull of a man and the world was his china shop." Meyerowitz later recalled how Winogrand "set a tempo on the street so strong that it was impossible not to follow it. It was like jazz. You just had to get in the same groove."
More than 40 years later, Winogrand, Friedlander and Meyerowitz are still setting the groove for street photography, as key influences on a generation that has rediscovered and is busy reinventing the form. Though street photography is almost as old as photography itself, and many of the great pioneers of photography – Eugène Atget, Brassai, André Kertéz, Jacques Henri Lartigue, Henri Cartier-Bresson, Walker Evans and Robert Frank – could all be considered street photographers of one kind or another, the term as it is now used denotes a genre – and an attitude – that the New York photographers of the 60s and 70s did much to define. The attitude might be best summed up by one of Winogrand's many singular descriptions his methodology.
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