![]() ![]() Once you go past this speed, you’re into High Speed Sync territory, but that’s a whole different lighting conversation. Regardless of the speed, when your shutter speed is slower than your sync speed, the shutter speed doesn’t affect the flash exposure in your shot. Check your camera manual or hit up Google to find out what the sync speed is for your own camera. In most cameras, this is typically somewhere between 1/160th of a second and 1/250th of a second. The fastest speed at which the front curtain is fully open before the rear curtain starts to close is your maximum sync speed. So, the rear curtain starts to close before the front curtain is fully open. ![]() But there comes a point where these mechanical curtains just aren’t fast enough. At the end of the exposure, the rear curtain comes across your sensor to cover it back up again. When an exposure begins after you hit the shutter button and you’re below the sync speed, the front curtain fully opens, exposing your sensor to the scene before it. There is a front curtain and a rear curtain. As the name suggests, these cover up the shutter – just like real curtains cover up your windows. When you take a shot with a camera that has a mechanical shutter, it has two “curtains”. The final rule only applies if you’re shooting below your camera’s sync speed. It will, however, let you wrangle that ambient light under control. Match the shutter speed to the ambient light – When you’re below your sync speed (we’ll get to that), your shutter speed does not affect the exposure from your strobes.This ensures that your strobes are giving you a good exposure for your aperture setting. If you’re shooting f/16, meter them to f/16. Match the strobe power to your aperture setting – If you’re shooting at f/2.8, you want your lights to meter f/2.8.Choose your aperture – Setting this first allows you to have the most control over your depth of field, as you’re not using it to balance your exposure.It’s a fairly straightforward approach, once you become familiar with it, and Jay has put this process down into a set of easy to remember steps. One to put the ambient light where you want it, and another to add the flash. But in all instances, you’re essentially working with two exposures simultaneously. Technically, the same rules apply indoors, too, but as mentioned above, typically we’ll kill the ambient light completely, removing it as a factor in our shot. ![]()
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