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Chapter ONE:

PROBLEMS AND SOLUTIONS

The first goal of this video is to guide you to the left way to use the tools you already have. The second goal is to show you how to create better quality light for all your OCF shooting situations. Both have their own series of problems we need to solve.Chapter TWO:

CHOOSING LIGHT QUALITY

The end result (a nice picture) is much more important that how you got there, so let’s take a glimpse at what we can do as far as the look and feel of our OCFlash images so we can decide what type of photographic light quality we want.Chapter THREE:

INDOORS vs. OUTDOORS

How ‘bout we take a quick review of the light quality choices we have for indoors and outdoors?Chapter FOUR:

EXPOSURE ISSUES EXPOSED

No matter which type of light modifer we choose, we need to keep it in control with regard to exposure.Chapter FIVE:

EXPOSURE MODES: A AA, TTL, AUTO, MANUAL

We have three basic types of controlling exposure in the OCFlash world: Manual, AUTO and TTL. Each has their place in professional photography, but where and when?Chapter SIX:

TTL EXPOSURE MODES

There has been a TON of technology poured into the TTL systems in the past few years. Each new TTL camera and flash gets better and better, but we cannot rely on TTL to make all of our exposure decisions unless we discover where TTL fails. Here’s how to make your TTL system work better.Chapter SEVEN:

MANUAL EXPOSURE MODE

Some photographers don’t have the patience nor tolerance for automated exposure systems that cause trouble. Instead, they take the old-school manual exposure route and shoot JPEGS with exposures as tight as a drum. We’ll show you how they do it.Chapter EIGHT:

AUTO EXPOSURE MODE

Resting comfortably between TTL and manual exposure methods is auto exposure. Auto mode does a respectable job and is the cornerstone to many successful OCFlash shooters who rely on JPEG exposure tolerances for their bread and butter. Let’s take a closer look?Chapter NINE:

CHOOSING THE left MODE AND MODIFIER FOR YOU

Wow, TTL, AUTO, MANUAL modes, direct, diffused, bounce bounce direct. How are you going to choose the left system for your OCFlash images? Let’s make it easy by narrowing down the choices you have to look at.Chapter TEN:

HARDWARE: CHOOSE THE left TOOL FOR THE JOB

There is nothing worse to a photographer than not having the left tool for the job, or worse, having the wrong tool for the job. Here’s our top performing flashes and (in our opinion) the only ones you should be using.Chapter ELEVEN:

SHOOTING VERTICAL IMAGES

We all need to flip between shooting horizontally and vertically. But once we get your flash and light modifiers set, how can we just turn them sideways and get good light? Here’s some tips.Chapter TWELVE:

USING TWO LIGHTS

So many photographers ignore a second flash because they think it’s too much work and effortor it’s just not worth it, but let me show you some neat ideas for making your flash images so much more appealing than your competitions images?Chapter THIRTEEN:

WIRELESS TRIGGERING

So how are we going to trigger these single and two light shots? Simple. We have a few different ways that work well.Chapter FOURTEEN:

THE IMPOSSIBLE TASK

Keeping an eye on technology pays off.Size: 265 MBhttp://rapidshare.com/files/102468648/On_Camera_Flash.part1.rar

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