Sony HVL-LE1 User Manual
lighting guide
A lighting and lighting accessories
Table of ContentsTable of Contents
the power of light
Photography. The literal meaning is “Writing” (graphy) with “light” (photo).
When you press the shutter, you are capturing light. The more effectively you
control that light, the better your photographs will be.
The pages within this guide are designed to provide examples and solutions
to assist you in capturing light effectively in both natural and artificial light.
We will start with an overview of different types of natural light, lighting
concepts and how you can make a dramatic difference to your photographs
by adding artificial light in the form of a single flash. We will then explore using
single and multiple wireless flash to further customize how light is captured.
Portraits, action, landscape, daytime, nighttime, close-ups and much more
are here for you to discover, learn and hopefully implement.
capturing light
06 Light Temperature
06 Direction of Light
07 Time of Day
07 Distance of Light
using artificial light
10 Hard vs. Soft
10 Light Coverage
11 Diffused Light
11 Guide Number (GN)
on-camera flash basics
14 Using Bounce Flash
16 Quick Shift Bounce Advantage
18 Fill Flash
20 High Speed Sync
22 Slow Sync Flash
24 Rear Sync Flash
26 Multi Flash, Stopping Motion
off-camera flash basics
30 On-camera vs. Off-camera Flash Effect
32 One Flash, Two Lights
34 One Flash, Three Lights
36 Wireless Ratio Control
38 Isolate the Subject
40 Mixing Light
products
42 HVL-F60M
44 HVL-F43AM
46 HVL-F20AM
48 HVL-F20S
specialized
50 Macro Photography
52 Ring Light - HVL-RL1
54 Twin Flash - HVL-MT24AM
56 Video Light - HVL-LE1
57 Lighting Accessories
03
capturing light
Capturing Light
To capture a photograph, light has to be present in
some shape or form. Used effectively, lighting can even
become the subject or that supporting player that
works behind the scenes elevating the quality of our
image. When not used effectively, lighting will leave
the image too light, too dark, blurry or even filled with
poorly placed shadows.
Tackling light is one of the most challenging and
rewarding things one will face as a photographer.
Learning how to include light effectively in our
photographs will take them from simple snapshots
to images you would be proud to share with anyone.
The following pages outline some considerations to think
about when preparing for lighting and photography.
05
understanding light
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Capturing Light
Light Temperature
Every light source—whether the sun, a candle or camera flash—emits a color
temperature that can be measured in the Kelvin scale; named after physicist
William Thomson, 1st Baron Kelvin.
In general, higher temperature objects (sun, sun through clouds) are referred to as
cool, and contains more blue colors—while lower temperatures (candles and
light bulbs) are referred to as warm, which contain more red and orange colors.
Objects absorb or reflect light rays to give us color. While our human eyes can
recognize the changes in reflected color, digital cameras often “see” light
differently. We may adapt to the yellow glow from a candle light on a white piece of
paper, but your camera may see the paper as yellow. White Balance is a camera
setting, which allows you to adjust the color tone to approximate what you see.
Direction of Light
We normally see objects in everyday life lit from above, whether the sun or a
light fixture in the ceiling. Light can also come from different angles; front, side,
left, right or even below. There are also times when multiple light sources can
illuminate an object from different sides at the same time.
Pay close attention to where the light source is coming from as this can
dramatically affect how your photograph will turn out. Further on in this guide
we will discuss how to bounce light to get a natural look by lighting from
above and adding multiple light sources to improve your image quality and
open your creative freedom.
Time of Day
Consider the time of day when deciding to photograph outdoors. Distance,
direction, quality/quantity of light will change throughout the course of the
day and play an important role in how your images turn out.
Typically, the best time of day to shoot is sunrise or sunset. Also known as “The
Golden Hours”, they provide warmer color tones and long shadows which
deliver a desirable photographic effect. “The Blue Hour” refers to dawn and
dusk, one hour before sunrise and one hour after sunset. This is the time of
day when the light is a clean, cold, blue in color and no shadows are cast.
At midday when the sun is highest, you often get dark shadows and your images
can appear flat, lacking detail, color or dimension. On a cloudy day shadows
will be diminished through diffusion, giving your photos a softer feel.
Distance of Light
It seems obvious to state, but light will be more powerful closer to the source and
weaker farther away from it. In fact, an object that is twice the distance from a
source of light will receive a quarter of the illumination. This is known as the
“Inverse Square Law” which states; “The amount of light is inversely proportional
to the square of the distance between the light source and subject”.
In other words, a subject that is four feet from a light source will need four times
as much light as a subject that is only two feet away. With this in mind, you
will need to compensate for the changing amount of light by adjusting your
camera’s aperture, shutter speed or add more artificial lighting.
06 07
using
artificial light
Using Artifical Light
Without light, we would not have photography. The lower
the amount of light on our subject, the longer it will take
to capture our photograph. While we sometimes can use
this to our creative advantage, low levels of light make it
very difficult to capture the subject without blur, especially
if we are not using a tripod or other stabilizing device.
When natural light is diminished, we need to introduce
artificial lighting to capture our image quickly. Lamps,
streetlights, headlights are all examples of commonly seen
artificial light. In photography, all of these can be used
as well as adding artificial light with flash photography.
08 09
Many cameras have an on-camera flash. While an
on-camera flash can be handy in a pinch, it limits our
options due to the fact that the flash is attached at a
single position to the camera, and has limited power.
Adding an external flash provides us with a more
powerful light with a flash head that can be aimed in
multiple directions allowing us to position our light more
creatively and effectively.
Some flashes can also be used wirelessly, which allows
for even greater creative control. With wireless flash,
our camera can trigger one or more flashes to fire, even
when it is not attached to the camera. This allows us to
add artificial lighting at a variety of locations and angles.
When we combine artificial and natural lighting,
a new level of dynamic photography is achieved.
understanding artificial light
Using Artifical Light
Hard vs. Soft
Hard light produces stark shadows and bright highlights. You will typically see
hard light in your photographs when your main light source falls directly on your
subject. A cloudless, midday sun produces hard light, as would a light-bulb or
direct flash from a camera.
Soft light smooths hard lines and edges, reveals more shadow detail and
produces softer highlights. You will typically see soft light in your photographs
when your main light source is close to your subject, reflected off another
surface or diffused. Sun hitting clouds first before hitting the subject, light from
multiple sources and directions, light from a very large light source close to
the subject or light passed through a diffuser are all examples of soft light.
light
light
subject
subject
Light Coverage
When using artificial light, you can control the amount of hard vs. soft light you
want on your subject. If you move the subject further away, the light source
becomes proportionally smaller, casting a harder light. If you move the subject
closer, the light source becomes proportionally larger, casting a softer light.
Using a larger light source and diffusers have the same effect as moving your
subject closer as the light source becomes proportionately larger. Conversely,
using a smaller light source will have the same effect as moving your subject
away from the light source.
Diffused Light
Light that has been scattered by first hitting a translucent property before
hitting our subject is called “diffused light”. Diffused light creates a soft light,
which is more even, with softer shadows.
Diffusers can be anything from a window, white sheet, clouds or even an
actual diffuser, which is commonly used in photography.
Illumination range
85mm ISO100 Aper ture F4
~3m
built-in flash
~11m
HVL-F43AM
~15m
HVL-F60AM
HVL-F60M
Guide Number (GN
Every flash system has a guide number, or GN. It is used to measure the system’s
ability to illuminate the subject to be photographed. It’s good to know the GN when
deciding to buy a flash and how best to use it. The GN represents the output of
illumination that is metered at a distance of 1 meter (3 feet) from the subject at ISO
100. The larger the GN, the larger the amount of illumination the flash produces.
The optimum ap erture set ting can be determined as:
(
f-stop) = GN/(Illumination range between subject and flash in meters).
The optimum illumination range can be calculated as:
Illumination range (m) = GN/(f-stop
For example, when the GN i s 60 and t he aperture is F4, th e illuminat ion
range = 6 0/F4 = 15m (Approx.
)
)
)
10 11
On-Camera Flash Basics
on-camera flash basics
An on-camera flash is either the built-in pop-up flash
or an external flash that can be easily added to any
camera that has a hot shoe.
On-camera flash provides the photographer with a
more powerful light source and the ability to better
control the direction of light being emitted.
On-camera flash works with most exposure modes.
The most basic setting on the flash is Auto. Simply
choose your camera mode then set your flash to
Auto. The flash will use a built-in sensor to survey the
surrounding light, fire the flash, and add additional
light to properly illuminate the subject.
Adding flash when needed to your images adds
control and creativity to your results. The Following are
some common practices for using an on-camera flash.
13
On-Camera Flash Basics
using bounce flash
Bounce flash should be used when trying to achieve a more natural look.
We normally see the world with light from above, whether the sun or an overhead
light fixture in the ceiling. Using the camera’s built-in flash normally creates
unnatural highlights on our subject or casts shadows on walls and surfaces
behind our subject.
One of the simplest ways to cut back on harsh shadows in our photograph
is to use a bounce flash.
Point the flash at any reflective surface instead of your subject. Ceilings, walls
and white cards are commonly used. Light emitted from the flash will first hit the
flat reflective object, which will then reflect diffused soft light onto the subject.
This effectively makes our light source larger, which produces soft light and soft,
more natural, shadows.
Without flash
With built-in camera flash
What is it?
Technique of reflecting light off of
a nearby surface to change light
direction and soften light source.
How to use it?
• Point your flash to any reflective
surface instead of the subject
• The lighter the surface the
more light will be diffused into
your photo
• Experiment by bouncing your
flash off of walls and different
colored surfaces
Where to use it?
Use bounce flash to create
more natural light and
pleasing shadows.
With external flash HVL-F20AM (bounce flash)
Bounce Sheet
Some flashes have a bounce sheet built into the
camera. Bounce sheets make the subject look more
vibrant. They also add catch lights in the subject’s
eyes. In this case, it also removed some of the
shadows present under the subject’s hat.
14 15
Extras
Would you ever use direct flash? While used rarely, direct
flash is effective when there is minimal ambient light
and you do not have any items to bounce light off of.
Photographing a subject with harsh shadows is better
than not photographing the subject at all.
No Wall? No Ceiling? You can still bounce your flash when
you do not have a wall or ceiling to work with. Simply use
a large white surface instead. It can be a large card,
reflector or even someone’s white shirt.
quick shift
bounce
Landscape: Direct Flash
Camera horizontal with flash
pointed directly at the subject in
the standard position.
quick shift bounce
On-Camera Flash Basics
What is it?
Exclusive range of motion offered
on some Sony flashes that allows
for the flash head to remain in
proper orientation, regardless of
camera position or angle.
advantage
A unique feature—exclusive to Sony—Quick Shift Bounce* enables you to
quickly pivot the flash head 180 degrees around the flash body. The head
of the flash can also tilt forward for direct flash and backwards to bounce
off surfaces behind you.
Not only does this give you faster creative control, it also allows you to set the same
bounce flash position while holding your camera horizontally, as well as vertically.
Bouncing flash off walls and objects on either side of the camera is as easy as
pivoting and pointing the flash to the object you want the light to bounce off.
*Quick Shift Bounce is available on the HVL-F43M, HVL-F58AM and HVL-F60M
Taking it vertical
The great thing about Quick Shift Bounce is
that it allows you to easily change and shoot
in portrait orientation and still keep the light
direction consistent. Previously that would
have required a complicated bracket that
attached to the camera. That functionality is
now built into this type of flash.
Portrait: Direct Flash
Camera turned vertical
with flash pointed directly at
the subject in the standard
position. The harsh shadow
on the left is due to the flash
now hitting the subject at an
angle and not straight on.
Landscape: Bounce Flash
Camera horizontal with flash tilted up
45 degrees to bounce light off the
ceiling and further eliminate shadow
and harsh light.
Portrait: Quick Shift Flash
Camera turned vertical with
quick shift used so flash is still
aimed directly at the subject,
but is closer to the camera.
By moving the Quick Shif t
Flash 90 degrees, we are
able to tone down the harsh
shadow behind the subject
by positioning the flash closer
to the camera, and in a more
direct path to the subject.
180° Left/Right 156° Front/Back
Portrait: Bounce
Camera turned vertical with
flash tilted up 45 degrees to
bounce light of f the wall or
reflective surface on the side.
Bouncing Flash off of walls and
objects on either side of the
camera is as easy as pivoting
and pointing the flash to the
object you want to bounce off
of. In this example, we pointed
our flash to a wall on the right.
How to use it?
Simply pivot the flash head
around the body of the flash.
You can move the camera
horizontally or vertically and
re-adjust the flash to keep your
lighting results consistent.
Where to use it?
Use Quick Shift Bounce when you
want to reposition the flash head
or camera quickly and efficiently.
Proper orientation when shooting
portrait compositions
Portrait: Quick Shift Bounce
Camera turned vertical
with quick shift used and
flash tilted up 45 degrees to
bounce light of f the ceiling to
further reduce shadows and
harsh light.
16 17
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