If you can learn to identify these situations, you’ll get much more realistic, attractive pictures.įor example, suppose you’re in someone’s garage, looking at a beautifully restored antique car with wood-spoke wheels. (Without the flash, you’d get blur.) And sometimes the flash is essential for certain special effects, as described in Chapter 6.īut there are dozens of edge cases: situations where your camera is convinced that it needs the flash but in fact could do without it. Small cameras in particular may not be able to take certain pictures at all without the flash, like nighttime pictures and indoor shots where people are moving. Now, plenty of times, you have no choice. A no-flash picture is just about always better-looking and more realistic than a flash picture. The second time to avoid using the flash is, well, whenever possible. (Some of those people probably realize that the flash is pointless at that distance-but they don’t know how to turn it off. Do they really think they’re going to illuminate a singer, football player, or actor from 200 yards away? Remember: Beyond about 10 feet, the flash does absolutely nothing. They’re all firing their flashes for nothing. You know when thousands of flashes go off at a rock concert, football game, or school play? Don’t be one of those clueless people. Beyond that distance, it does nothing at all-except waste battery power and annoy people. Your camera’s flash probably has a range of about 10 feet. Enjoy, for example, this once-in-a-lifetime glimpse of the rare Estonian bifurcated snout shark: Most of the time, you wind up with nothing but a big white splash of flash reflection. And forget trying to take pictures through glass-at aquariums, in art museums, and through windows. The flash on small cameras can also produce redeye, the disturbing phenomenon where your dearly beloved’s pupils turn red like the devil’s (see Notes on Redeye). Worse, the flash illuminates only about the first 10 feet of the scene everything beyond that comes out black. If you’re close to the subject, the flash can blow out the picture, giving your best friend a ghost face that looks like it was photographed during a nuclear test. The results are usually nothing like what you’re seeing with your eye. It’s harsh, it’s white, it’s direct, and it comes from a single point: your camera. ![]() What most people don’t consider, though, is that the flash generally provides horrible light. Light is everything to a photograph: It provides the color, sharpness, and shadow.Īnd if there’s not enough light for a decent exposure, well, by golly, your camera stands ready to provide that light all by itself. You can understand why it’s there, of course. If ever there was a photographic function that not enough people consider, this is it.
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