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I use an sb800 on slave and have a flash on camera tilted away to trigger it. I usually set it for f8...which means about 1/16 on manual...and hold it slightly to the side at arms length. You can now bracket with the shutter, as the shutter doesn't really affect the flash...but the ambient light. Expose for the best ambient/outside light...or simply expose for the window [if it is big enough]. This is a simple fill flash...which emulates a key light to the side. You can get the best of both worlds...and is no hassle to do. You can also put a lostolite hotbox on the flash [you can buy them in the shops] and this gives a beautifully diffused light over them.

I guess I should add that I'm generally using matrix metering. Maybe I should be doing more spot metering, but I came to the conclusion that matrix should get me close most of time, I check the highlights or histogram and adjust if I need to.

I think you're right, though, spot meter for the windows at +2 and lock in the exposure, then either bounce, direct, or off to the side with the flash. That way you get as much ambient as possible without blowing out the windows, and the rest is up to the flash.

Rob, this is a shooting situation we often face. Direct flash is too harsh, and bounce flash in that room doesn't have much to bounce off of. You could solve the problem with some sort of softbox and studio lighting, but who wants to cart all of that around and try setting it up in that situation?

The next advantage of the Fong device is the domes. With the white dome, one can shoot in a dark-wall/ceiling church, or even outdoors with black sky, and still bounce light off the upper dome and horizontally off surrounding surfaces in a 360 pattern.

I used to ceiling-bounce. It's better than direct flash, but casts a downward lightsource that results in eye-socket shadows, and doesn't work well at all with a dark ceiling. The Lightsphere overcomes those problems.

If you get a photo with flash then this is your fallback shot, the picture you know will work, and have their faces sharp and well lit. However it isn't a perfect time to be messing about with flash to get something creative. So get the pic with the flash, bounce or handheld to give a more subtle lighting, and then take off the flash and use more natural lighting...thus being a bit more creative, low viewpoints looking up from the pen. Silhouettes etc. Take some spot readings for their faces and as Douglas mentioned blow the window light. This does create some nice atmospheric lighting or some nice haloes. You could use a reflector to bounce the light back at their faces...you can get handheld ones now, you can even bounce your flash of it back into their faces. The possibilities are endless.

Or what you could do is find out before hand where they will be signing, and explain that when it is your time to do those photos that you would like to get them around the table to face the light. 9 times out of ten they will say fine, no problem.

But I do 2 pics...One with flash to get the 'shot', then relax and have some fun doing some more imaginative pics...silhouettes...from above...low down...really blow out the window...use the window as a natural frame...etc. But all done in a matter of minutes.

I know how to use my flash creatively and wireless, so I know I can get a studio looking picture in a matter of a minute...and how to compensate zonely for this lighting setup. However you have to compromise on some dynamics if you use the ambient light because it is so extreme, and their faces will be underexposed. Unless you can get a light/flash or skrim to bounce that light back, you will lose out in the black or the white of the dynamic range...even with RAW you only have a little scale to work within.

I'm curious but skeptical about the Fong diffusor. If I can't bounce off the ceiling I don't see how diffusing in all other directions will add much, especially when losing power through a diffusor. And, anyway, even when you ceiling bounce there is still light reflecting all around the room. I use a bounce card to help with the shadows. Maybe I'll try making one myself before shelling out the $40.

The signings, here in Germany, happen in the same room as the ceremony, and are actually part of the ceremony. It would be possible to set up off camera lights before everything starts, but umbrellas or softboxes I don't think would ever be allowed. At most bare flash or diffused on a stand off to the side, out of the way. No chance to move anybody around.

If you cannot reposition, I would have used a white card type diffuser, which gives more flash reach. A Flip It angled slightly forward gives a slightly less harsh look than direct flash. I would have let the window go white but not so much that you get flare. The scene outside the window is not important, and I would have walked up to the action as close as I could get without interfering, both for increasing flash power and for cropping in on the action to exclude the window as much as possible (maybe with teles). I also would make sure the flash back is hidden in the subjects' bodies. Taking the flash off is also a possibility, as was suggested, if you had the time. An off camera flash would also be good, but may not be possible, plus you'd get more window reflections. If the scene outside the window was extremely bright you may not have any other recourse except direct flash.

I agree that under the circumstances, a Lightsphere would not have worked too well. I've used one in rooms with dark and/or wood paneled walls and ceiling before, and the effect is about the same as the slightly less harsh light off a white card, with more color cast (reddish with wood) and less power.

Rob what brand of camera do you use? And what flashes do you use? It does depend on what your flash is, but I could offer some suggestions that may help. you have the right idea about being prepared before you shoot. 2 weeks ago i practiced with my cats the night before...using the flash and the lastolite ezybox.

Also what you have to remember is that the shutter value does little in terms of the flash...it is the Fnumber which dictates flash. The shutter sorts out the 'ambient' light, and Fnumber sorts out the flash exposure. So if you use the flash correctly you should be able to use something like F8 at 1/30th and get some really nice balance between ambient and flash [as long as the flash is about a 3rd less in order to be the fill or abit stronger for the key...but never 1 to 1 etc].

Gerald, this is my point also...but digital isn't like film, it's dynamic range is small, smaller than slide film! So to try to emulate film with digital is pretty much suicide...the latitude is not as forgiving, so a blown out window in digital is probably more than 3 - 4stops even more than that of film.

He simply needs to work out the maths, a way of bringing that scale smaller, in otherwords being able to light their faces in relation to the window, and in a matter fitting the occasion that is flattering to the creative process.

Use an A4 white cardboard attached to the flash; tilt the on camera flash head to 45 degrees; bounce the tilted flash head and reflector head on, directly into their faces and use the window light for a back fill hair light and make the most of the veil to diffuse the window light.

Of course, all this depends on how much light is coming in the window at that particular time. If it's really strong sunlit lighting, then of course you'll have to hit them with more direct flash (maybe pop on a Sto-Fen dome to soften) to balance the shadowed foreground with the amount of light from behind. I don't really get an idea from his description how much light he's dealing with. But, with a more subdued daylight behind, I think the LS would work fine. Again, it does depend.

I've read about one photographer who's taken a rechargable deer light (the kind of spotlight the hunters aren't supposed to use to shoot deer at night) and added a softbox, which gives about 40 minutes of gorgeous soft DC-powered on-location lighting. Sounds kinda cool to me, actually. Something like that could give some interesting results and might help here. One more thing to drag around through the church, though.

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