# Diffuser for Canon 600ex for event



## Ryan_ (Mar 1, 2015)

Hi all, been lurking here for a while cause I like to nerd out on all the sensor/lens talk.

A little background:
Anyway, I am a hobby landscape/surf photographer, though slowly I've been learning/taking small jobs (commercial stuff, installation shots) from people I know, and its been going pretty good. Slowly but surely... So last month I did a one day shoot of an installation of a cleaning accessory in the house (a pretty hands on involved process). The company wanted photos of the whole process for PR and their website. Before that job I purchased a canon 16-35 f4 which I was getting anyways for landscapes, and also the canon 600ex flash. I have 2 old 3rd party flashes w/ PW's I used years ago when photographing skateboarding, but they are fully manual and pretty slow to recycle. Fine for off camera lighting with skateboarding but for paid event, I wouldn't feel comfortable. Those 2 purchases really helped the job go smoothly.. Tight spaces, low light - that new lens and flash worked perfectly. The customer and I were very happy with the results. Luckily the whole house had white ceilings and light palette colored walls, so I bounced the flash off the ceiling for 99% of the shots.

Need advice:
Now the same company wants me to shoot a 2 day event. It will be outside, under a few tents. I don't know much more details. I assume they will be medium-ish sized tents, and I assume they will be white, however they could be black for all I know. I'd like to be prepared for both instances. If they're white, I'm thinking I could bounce the flash off the tent. However, I'd like to purchase a diffuser if the tents are black or for shots taken outside of the tent. I'd appreciate if you'd share your experiences with whatever diffuser you have. I've been looking on BH and see a bunch but just wanting to hear others experiences and maybe recommendations based on the provided info.

Thank you


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## privatebydesign (Mar 1, 2015)

I'd strongly recommend getting the flash off camera and into a white umbrella. You'd need an ST-E3-RT or YN-E3-RT to trigger your 600, or use the older flashes you have and trigger them how you did for the skateboarding.

If you have to have on camera bounce then take a look at the Rouge FlashBender kit, I have the large version and it works fine, but it is no umbrella........


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## Ryan_ (Mar 1, 2015)

privatebydesign said:


> I'd strongly recommend getting the flash off camera and into a white umbrella. You'd need an ST-E3-RT or YN-E3-RT to trigger your 600, or use the older flashes you have and trigger them how you did for the skateboarding.
> 
> If you have to have on camera bounce then take a look at the Rouge FlashBender kit, I have the large version and it works fine, but it is no umbrella........


Thanks private. I'll be flying to this event, and my tripod barely fits into my checked bag as it is, so bringing the light stand/umbrella that I do have isn't really an option. And truthfully if it was I'm not sure I'm comfortable with that just yet. Like I said anything but landscapes/surf is pretty new to me, so I can't picture myself running around with an umbrella/light on a stand during the event without looking like a klutz. I do plan on getting the ST-E3-RT and another 600ex or 2 in the future because I have an interest in tying portraits into my landscapes, but that'll be a little further down the line.

How is the Rouge FlashBender compared to a mini soft box attachment such as: http://www.bhphotovideo.com/c/product/752482-REG/Vello_FD_320_Universal_Softbox_for_Portable.html or http://www.bhphotovideo.com/bnh/controller/home?O=&sku=1010800&gclid=COGnvaOjiMQCFaRi7AodzDsA8A&Q=&is=REG&A=details ? I thought a soft box would make the light softer than something like the flash bender, but I'm no expert so could be wrong

Also should I maybe consider some sort of bracket that attaches to hotshoe or something to place the flash slightly off to the side of the camera? Would that help the quality of the light at all? Or maybe (less ideally) a cord from camera to flash to hold it off center? But that would then disable TTL metering with the flash right?


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## candc (Mar 1, 2015)

This came up on a previous thread and another forum member who seems to know a lot about lighting recommended the winglight http://winglightstore.com/ I bought one to take on trips and I think its fantastic.


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## old-pr-pix (Mar 2, 2015)

Good suggestions so far. I like the Gary Fong Lightsphere myself; but you do have to be willing to put up with the jokes about having a Tuperware bowl stuck on your flash. I've also used the Lumiquest pocket bouncer which folds up really flat for easy portability.

Just using ceiling bounce flash without any fill can be really ugly for people's faces. If all the light comes from the ceiling it tends to make for dark eye sockets and other unflattering shadows on the face. If you happen to have a white tent, I'd suggest you use bounce with the little white reflector card built into the 600ex. The white card provides enough direct light to counter some of the shadows from the bounce. (Caution though since the tent roof is likely curved and may not reflect most of the light back in the direction you want.) For years I used a white, unlined, 4x6 index card held to the flash with a rubber band. About as cheap a solution as you can find but quite effective.


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## candc (Mar 2, 2015)

p.s. 

Here is an example of a shot with the winglight. Its just direct flash with a 70d, 320ex, and sigma 18-35. It is straight out of camera jpeg on the go.


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## old-pr-pix (Mar 2, 2015)

Thinking more about your question and events I've covered... I suggest you try to get a little more information about your client's expectations. Will you be taking photos of people-employees or their clients-or products? During the day or night (affects ambient light)? Do they expect candids or should you plan on having a little set-up to do informal portraits? If you are just wandering around doing candids you will want on camera flash or flash mounted on a bracket slightly off-axis. (Using the right cord will maintain TTL control BTW.) 

The goal with any of the diffusers is to try to make the flash appear like a bigger source of light than it is. Reflectors can be helpful as well - and inexpensive. You'd be surprised how many portraits have been shot with one flash and white table cloths and aluminum foil for reflectors.


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## Ryan_ (Mar 2, 2015)

candc said:


> This came up on a previous thread and another forum member who seems to know a lot about lighting recommended the winglight http://winglightstore.com/ I bought one to take on trips and I think its fantastic.


Thanks candc.. Currently looking into that and comparing to Rogue and mini soft boxes.



old-pr-pix said:


> Good suggestions so far. I like the Gary Fong Lightsphere myself; but you do have to be willing to put up with the jokes about having a Tuperware bowl stuck on your flash. I've also used the Lumiquest pocket bouncer which folds up really flat for easy portability.
> 
> Just using ceiling bounce flash without any fill can be really ugly for people's faces. If all the light comes from the ceiling it tends to make for dark eye sockets and other unflattering shadows on the face. If you happen to have a white tent, I'd suggest you use bounce with the little white reflector card built into the 600ex. The white card provides enough direct light to counter some of the shadows from the bounce. (Caution though since the tent roof is likely curved and may not reflect most of the light back in the direction you want.) For years I used a white, unlined, 4x6 index card held to the flash with a rubber band. About as cheap a solution as you can find but quite effective.


Yea the Lightsphere looks decent, but it seems more directed specifically at indoor stuff. So I think the Rogue or a mini soft box will be more versatile for this event given that I'll probably be in and out of the tents.

Also the event is a promotional thing. There will be other companies/vendors there. Overall its a pretty big event but I'm only with this company. They want me to document what goes on in their booth/tents. I know thats not very specific but the person I spoke with said it will be pretty laid back, they just want nice photos of the event and whatever it is they'll be doing. The person I know in the company also knows my primary focus in photography is landscape/surf. They know I'm new to event photography but still of course they'll expect top quality so I want to go in feeling well prepared


Thanks for the advice guys, appreciate it


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## eninja (Mar 3, 2015)

You can also check graslon diffuser. - they say the bigger, the softer, so I chose this.


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## MintChocs (Mar 3, 2015)

Just some thoughts from a hobbyist. If the tents are white and let some light in then a moderately high ISO with some fill in flash might do the trick. Having the flash off the camera and slightly higher to one side is better than direct on camera. There are various accessories for this so I don't know which is best. I recently got the Rogue medium flash bender to help out fill in the eye sockets with bounce flash. Depending on the distance to the subject it can help but the wider the angle the less useful it is. The biggest problem with shooting people (with flash) is the specular highlights on oily shiny skin (more noticeable on dark skin).


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## mrzero (Mar 3, 2015)

Ryan_ said:


> Also should I maybe consider some sort of bracket that attaches to hotshoe or something to place the flash slightly off to the side of the camera? Would that help the quality of the light at all? Or maybe (less ideally) a cord from camera to flash to hold it off center? But that would then disable TTL metering with the flash right?



This is a good idea, many/most event photographers using flash will use a bracket and cable. Consider a bracket that allows you to quickly flip the camera from horizontal to vertical and keep the flash above. (I don't have one but I know they're out there). The bracket will attach to the tripod mount of the camera and have an arm for the flash to mount on top. You connect the hotshoe of the flash to the hotshoe mount on the camera with a coiled cable. Here is an example of the setup, although I don't know anything about the particular bracket: http://www.bhphotovideo.com/c/product/743039-REG/Vello_CB_200_Speedy_Camera_Bracket.html

You want to get an E-TTL cable that will keep TTL metering between the flash and the camera. Canon makes one, but there are more inexpensive versions as well. If you go off-brand, just try it out and make sure it works consistently before your event.


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## YuengLinger (Mar 3, 2015)

privatebydesign said:


> I'd strongly recommend getting the flash off camera and into a white umbrella. You'd need an ST-E3-RT or YN-E3-RT to trigger your 600, or use the older flashes you have and trigger them how you did for the skateboarding.
> 
> If you have to have on camera bounce then take a look at the Rouge FlashBender kit, I have the large version and it works fine, but it is no umbrella........



+1

FlashBender works better than on-camera soft-boxes. A lot better. The sb's look just like bare flash if more than 1 meter away. The FlashBender gives a little better than double that and is less clumsy.

If possible arrive early and find some good bounce spots, trying to get guests at (or to) those points. Generally ok to ask subjects to step to a better spot. For truly pleasing shots without bounce, off-camera is the reality.

Congrats on the 600ex! Great on umbrellas!!! Or in an Impact 24" Soft-box.

Checkout Neil Van Niekerk to see how versatile bounce really is.


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## RLPhoto (Mar 3, 2015)

I second the Large Rogue Flashbender and the option to take the speedlite off camera. If you can get some help, A speedlite+umbrella on a mono-pod w/ an assistant moving it quickly through the event will be a life-saver if everything is black.


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## Ryan_ (Mar 4, 2015)

Unfortunately I don't think I have the budget for a bracket right now. I did do some outside shots with no ceiling/bounce/diffuser using HSS for some fill and they came out nice.

I really gotta order this soon. Now I'm between a mini soft box and the flash bender. It seems theres a line split down the whole internet about which is more effective or effective at all. So hard to decide.

Thank you all for your input


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## privatebydesign (Mar 4, 2015)

Mini softboxes are a POS, they are not worth the postage unless you can get them off camera and close, very close, to a small subject. The Rouge FlashBender isn't much better, especially on camera, but it is better in that it has more flexibility.


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## Ryan_ (Mar 5, 2015)

privatebydesign said:


> Mini softboxes are a POS, they are not worth the postage unless you can get them off camera and close, very close, to a small subject. The Rouge FlashBender isn't much better, especially on camera, but it is better in that it has more flexibility.


I guess thats where I'm getting lost. I can bend it, but whats so great about that as far as softening light? It seems pretty useful if you're under white ceilings or a tent cause then you're not wasting all that light going up, but what about for the outside shots with sky overhead? Use the flash vertical and use flash bender to reflect the bit of light it'll catch as fill? Or is bare flash at a low power fine for simple fill?


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## privatebydesign (Mar 5, 2015)

Ryan_ said:


> privatebydesign said:
> 
> 
> > Mini softboxes are a POS, they are not worth the postage unless you can get them off camera and close, very close, to a small subject. The Rouge FlashBender isn't much better, especially on camera, but it is better in that it has more flexibility.
> ...



Nothing.

On camera with no bounce they are both extremely limited, but the Rouge does give you the option to split light in any percentage you want between direct forwards and bouncing if the venue allows that capability. With a small softbox you are stuck with a slightly larger than flash head sized output.

Neither is ideal, the Rouge gives you more flexibility if you get the opportunity to use it, if you don't they also do a little cover to make it a pure softbox, which I also have.

Light is not magic, it is entirely dependent on the apparent size to the subject, with that softbox in this situation you are stuck at one size and one distance, with the Rouge you are not, you have all the capability of the softbox and more options if you can use them.

I'd use the Rouge for your outsides, it makes the light bigger, comparatively, and further from the lens axis, which are both good things. Just curl the top over and make a scoop.


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## Ryan_ (Mar 5, 2015)

privatebydesign said:


> Ryan_ said:
> 
> 
> > privatebydesign said:
> ...


Thank you private. Between what I've read here and a couple youtube videos I've been watching I'm sold.


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## YuengLinger (Mar 5, 2015)

Nothing has remained more permanently in my gadget bin than my on-camera softbox.


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## brianodell (Mar 5, 2015)

RLPhoto said:


> I second the Large Rogue Flashbender and the option to take the speedlite off camera. If you can get some help, A speedlite+umbrella on a mono-pod w/ an assistant moving it quickly through the event will be a life-saver if everything is black.



I'm in a similar situation, as the OP. I use a pair of Canon 580exii flashes though. I do have access to an assistant. So... what kind of umbrella would be ideal, and what size? Thank you!!


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## joshmurrah (Mar 5, 2015)

My 2c.

Large and small Rogue Flashbender softbox kits are what you want. 

The large kits are only good when you need to be portable to get onsite, but once onsite you are doing "fixed" type work, where they're on a stand or if you have an assistant to help handle them, they don't go on-camera. This requires a transmitter or flashgun that's talking to the other flashgun/softbox setups.

The small kit is what you want if you are solo and/or can't deal with lots of gear, or are on the run like at a wedding reception, you leave the flashgun on the camera with the flashbender on top.

I have both types, and they each have their uses, I highly recommend them for small/portable setups where you don't want to deal with umbrellas.


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## privatebydesign (Mar 5, 2015)

brianodell said:


> RLPhoto said:
> 
> 
> > I second the Large Rogue Flashbender and the option to take the speedlite off camera. If you can get some help, A speedlite+umbrella on a mono-pod w/ an assistant moving it quickly through the event will be a life-saver if everything is black.
> ...



I use 32"-36" white shoot through. Don't get expensive ones as they are effectively disposable, even the good ones break or get damaged, and if they are much bigger they start hitting ceilings, light fittings and fans, or peoples heads! I prefer shoot through as the light just goes everywhere and there is no chance of having it at 'the wrong angle'.

Most people/assistants use monopods or collapsed lightstands to elevate the light but I use a converted painter pole as it is much more comfortable to hold for hours.


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## LDS (Mar 5, 2015)

privatebydesign said:


> Light is not magic, it is entirely dependent on the apparent size to the subject.



Correct - to achieve a soft light you need a light source that seen from the subject is large enough to light it from several directions at the same time. That's why bouncing works well - you get a huge reflector, the wall/ceiling themselves. You can increase the effect using "diffuser" that spread more flash light in different directions to have more light reflected by walls and ceilings. Just remember to throw enough directly to the subject to avoid unnnatural and unpleasant shadows. Some portable softboxes may be mounted on a portable handheld boom to be kept nearby the subject, but you then need a wireless trigger and an assistant.

Outdoor, you need to take advantage of natural reflectors (sky, walls, whatever), or artificial ones - there are some collapsible reflectors (i.e. Photoflex LitePanels, Lastolite Trigrip) that can be used effectively bouncing natural light, but they may need an assistant, especially the larger ones. Even a 600EX may be too dim outdoor but for some fii-in of near subjects. Using more than one unit on support designed for that may help to increase available light, but it can be expensive (although cheaper clones may be used as well).


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## YuengLinger (Mar 5, 2015)

privatebydesign said:


> brianodell said:
> 
> 
> > RLPhoto said:
> ...



I used to think the same way, pbd, but I've twice had lights saved by using slightly more expensive umbrellas--those made with fiberglass instead of hollow metal ribs. One was a Speedlite tipping over on concrete, the other was a Buff Einstein falling hard in a gust onto turf. In both cases, the fiberglass ribs cushioned the fall and the lights were not damaged in the slightest.

I've been using Westcotts, my favorite being this one: 
http://www.bhphotovideo.com/c/product/63319-REG/Westcott_2016_Umbrella_White_Satin.html/prm/alsVwDtl


On the same page you'll see an Impact flash bracket, which is also what I use for Speedlites.

I'd suggest calling B&H or other merchant to confirm the ribs are still fiberglass, because materials, specs change.


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## privatebydesign (Mar 5, 2015)

I absolutely agree that for bigger umbrellas the money is often well spent on better build. But I was talking about the smaller models for VAL situations. Those don't benefit so much from the more expensive build and shouldn't be falling over, if they are you need a new VAL ;D

In the OP's specific situation I would be looking at $15 cheapies, I use [pro]master, and although my favourite umbrella is a convertible by PhotoFlex I don't rate the convertibles very highly as unless you have a decent amount of time converting them is not a quick process.


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## brianodell (Mar 18, 2015)

YuengLinger said:


> privatebydesign said:
> 
> 
> > brianodell said:
> ...



Do you prefer to use these umbrellas shoot through, or as reflectors? Just wondering... And do you have any problems with the said bracket getting the speedlite close to the center of the shaft of the umbrella?


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## pwp (Mar 19, 2015)

Ryan_ said:


> privatebydesign said:
> 
> 
> > Mini softboxes are a POS, they are not worth the postage unless you can get them off camera and close, very close, to a small subject. The Rouge FlashBender isn't much better, especially on camera, but it is better in that it has more flexibility.
> ...



You're not wrong about mini softboxes for anything other than very close-up. Learned that a LONG time ago. OP, if you're working in white tents, then regular bounce should be fine. The FlashBender would be handy, as would the Joe Demb Flash Diffuser Pro http://www.dembflashproducts.com/products/flash-diffuser/ I have two of these and like the hinged reflector to give instant adjustment, especially when mixing ceiling bounce with on-flash diffusers. Watch the videos on the Joe Demb site and you'll quickly get the idea.

I spent years wading through a ridiculous number of flash diffuser products; mini softboxes, just about everything Gary Fong ever released including the fragile but fairly effective, now discontinued Whale-Tail, Stofens, loads of home-made gadgets and half a dozen other products from now forgotten companies. I picked the Joe Demb Flash Diffuser Pro over Rogue FlashBender because of the hinged reflector and the little front diffuser. 

But it's worth realising that there is no magic bullet for compact on-flash diffusers. A small light-source is a small light-source and that's that. I like the Joe Demb Flash Diffuser Pro system as it gives me the most flexibility when used with white ceiling bounce. Outdoors in full sun a bare 600EX-RT will struggle, especially in HSS mode...they just don't have the horsepower. Put a diffuser on and the struggle for power gets even greater. In full sun event-work I prefer to work with an assistant with something like a very gutsy Godox Witstro AD360 on a boom with a suitable diffuser (beauty dish, umbrella or even a regular 8 inch dish)
http://www.godox.com/EN/Products_Camera_Flash_Witstro_AD180&AD360_Powerfou&Portable_Flash.html

OP, you sound like a resourceful type of person. I'd advice you to keep it reasonably simple and set out to learn from the upcoming two day project. You'll be fine.

-pw


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## pwp (Mar 20, 2015)

Someone mentioned the Graslon Diffusers. Errgh! 
Have a look at the "superior light" shots displayed on the Graslon homepage. 
Hate to say it, but they clearly don't get it! 
http://graslon.com/

-pw


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## agierke (Mar 20, 2015)

pwp said:


> Someone mentioned the Graslon Diffusers. Errgh!
> Have a look at the "superior light" shots displayed on the Graslon homepage.
> Hate to say it, but they clearly don't get it!
> http://graslon.com/
> ...



Yeah...those example shots are terrible. Steer clear of any products made by a company that can't even produce good photography in the first place.


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## eninja (Mar 31, 2015)

agierke said:


> pwp said:
> 
> 
> > Someone mentioned the Graslon Diffusers. Errgh!
> ...



thanks for the constructive criticism, it was me who advise graslon.
I got one, but lately I find my flash not able to output enough power maybe because of this.
But output of graslon is surely soft.
I bought 600ex-rt two weeks ago, I just used the bounce card for the mean time.
Still, light a bit hard, will try other diffusers soon.

Thanks for this thread.


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## jonathan7007 (Apr 1, 2015)

I use two Joe Demb products and they are both excellent, so I second that recommendation for all reading the thread. And his web site is a good read.

http://www.dembflashproducts.com/products/flash-diffuser/

I have his mount-on-the-speedlight scoop that folds/rolls into a very portable shape. I use it when I see that the room I'm in has super-high and/or dark ceilings. Portability is a big part of its value, and it is made out of a sturdy thick stiff material.

OK, I see Joe calls it a "portrait dish".
http://www.dembflashproducts.com/instructions/portrait-dish/


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## mackguyver (Apr 1, 2015)

I find the Stofen diffuser works best for general purposes, but here's another option that I own that you might want to consider as well:

http://www.harbordigitaldesign.com/ultimatelightboxkit.aspx

It's not the cheapest product, but it's on sale at the moment, at least. It has a lot of options and produces nice results when this is your only option. For the size, it diffuses quite well and is better than many similar products I've tried over the years for event photography. Stay away from the fold in your pocket mini softboxes, they are lousy and don't hold up well.


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## sagittariansrock (Apr 2, 2015)

+1 for Rogue plus diffuser.
They are often on sale, BTW.


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## Hjalmarg1 (Apr 2, 2015)

I have the Westcott Pocketbox Max - 8 x 12" and it works really good. The smaller version (Westcott Pocketbox Mini - 6 x 7") is also nice and less conspicuous. 
Others like the Lastolite Ezybox Speed-Lite are more expensive and bigger when expanded. Just take a look to these options.


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## andrewflo (Apr 2, 2015)

Lots of good advice here! Sounds like lots of Rogue Flashbender fans. Although I haven't used one personally, it seems like a very solid choice from everything I've seen.

For $5, you could definitely grab a Sto-Fen and have a play around with it. It's one of the most basic starter modifiers... like the nifty fifty of on-camera flash modifiers  It's small and unobtrusive, even though you may outgrow it quickly, it's easy to keep in your bag when it's the right tool for the job. You can buy other modifiers as well, but for a few dollars, hard to go wrong with it.

For events (weddings) where I'm moving quickly around and have to be ready for out door, in door, in door without bounce-able surfaces, I usually run with the Sto-Fen and the flash head at 45 degrees up. 

I get bounce flashes if the immediate surroundings allows for it, and if not, the flash head 45 degrees up creates a point of light slightly higher than bare flash. I find it's at least a little bit of a better angle for the light source (but worth noting you'll be expelling a lot of unnecessary battery power like this because you're wasting a lot of directional light). I find it's a decent compromise for the versatility.

Attached are a few examples of on-camera 600EX-RT with a Sto-Fen and the flash head @ 45 degrees up. High wood ceilings (~20 feet) so no bounce on these. I think it's decent considering it's essentially a direct flash- but 2" raised higher than a regular straight bare flash. I imagine you'd have better results with a Flashbender though


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## YuengLinger (May 8, 2015)

andrewflo said:


> Lots of good advice here! Sounds like lots of Rogue Flashbender fans. Although I haven't used one personally, it seems like a very solid choice from everything I've seen.
> 
> For $5, you could definitely grab a Sto-Fen and have a play around with it. It's one of the most basic starter modifiers... like the nifty fifty of on-camera flash modifiers  It's small and unobtrusive, even though you may outgrow it quickly, it's easy to keep in your bag when it's the right tool for the job. You can buy other modifiers as well, but for a few dollars, hard to go wrong with it.
> 
> ...



Very helpful! Great examples.


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## zlatko (May 8, 2015)

I generally don't use a diffuser, but do use the clear thing that comes with the 600EX when bouncing -- the snap on thing that's meant to hold a gel. It's great for bouncing, and it does throw a little light forward. If I need to throw more light forward, I use the Demb flippy card.

White tents are great for bouncing. I've never seen a black tent. Off-camera flash and umbrellas are great, but not practical at many events.


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## IWLP (May 8, 2015)

First, off, what are you trying to accomplish? If it was me shooting the event, and it was outdoors under a tent, I'd be looking for something to provide fill flash - let the A/S/ISO do the heavy lifting and just fill for catchlights and to even out exposures on faces.

When I shoot events, I like the LumiQuest Pocket Bounce. It helps get the flash up a tad higher and evens out the light quite well, doesn't eat a bunch of output. If you want even softer, there's a version that has some diffusion in front of the Pocket Bounce. The Sto-Fen is OK, but without ceilings/walls to bounce, you might as well shoot straight-on, in my experience. It's useful in some situations, but if you're not bouncing, it's usually a battery eater.

Let's face it, when shooting events, an umbrella can be very unrealistic. It's a romantic view, but getting a flash off-camera in a way that is useful, versatile and doesn't trip people is often unrealistic, especially when working by yourself. This discussion of 40" vs. 50" umbrellas is quite amusing to me when often at events it's not about how hard the shadows are with a reflective white-lined umbrella compared to what you would have gotten with a shoot-through white - it's about capturing the moment, the expressions and the people your client wants. Good lighting is important, but amazing lighting isn't often appreciated. 

Less time messing with your gear = more usable shots = happier clients. 

And bring your Eneloops.


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## jdramirez (May 8, 2015)

I did an event and I used a diffuser on a monopod and a spotlight. So I had my assistant love to different angles do I could get some decent side lit shots... It wasn't easy... I didn't love the results, but it was better than the alternative...


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