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Apple Patents Directional Flash Tech For Cameras
tekgoblin writes "A patent application has surfaced that shows Apple's attempts at creating a new way for a flash to work on a camera. The way the new flash works is very intriguing: a user can select a dimly lit area of the photo and the camera will try to illuminate just that area with the flash. The way Apple is attempting to accomplish this is similar to the way the autofocus works on the iPhone 4 where you can touch the screen in certain areas to focus on that area. Instead you will be able to light up that area with the flash. This is accomplished by the camera flash passing through a 'redirector' so the flash can be placed other than directly centered when a photo is taken."
This doesn't make any sense. I'm *sure* I heard Jobs say that he was against this type of technology.
How does this redirector work? the problem with flashes on camera is that they are coming from the point of view of the photo. This creates rather unflattering light.
You can redirect a flash by aiming it, but its still coming from the same point in space as the camera. This isnt ideal or good either.
The best way is to get that flash off the camera... but if you cant, as would be the case with an iphone... it is best to bounce it by redirecting the flash onto a wall to the left, right if you can, or ceiling. Generally up and to the rigth and left work well, as it forces light to bounce off the wall, which in effect makes the wall a large light source.
The problem with the flash being on the phone is that it is still a small light source. Small light sources cast hard shadows. This redirector wont change that, unless it can bounce light off a surface such as a wall. Which i dont see it doing as it has limited mobility being stuck in the back of the iphone. Generally with higher end camera flashes, you can rotate them in 360 degrees left to right and have a large up and down range of movement so you can point it right at the ceiling. you cant do that with an iphone.
We'll see.
Sounds like a cute gimmick for camera novices, but not a new solution to anything other than perhaps interface. Light is light.
I'm a professional photographer and I've been using flash zoom, feathering etc for years to achieve this effect. Guess I won't be allowed to do that anymore without asking Apple for permission first?
http://www.meejahor.com/2008/06/06/feathering-two-lights-for-the-price-of-one/
http://www.meejahor.com/2008/09/29/feathering-its-like-off-camera-lighting-but-faster/
(Just kidding. I know it's a patent for a specific method, not the technique.)
We don't have to hold it in a certain way to make it work properly.
The only time I bother taking a picture with my phone's camera as opposed to a normal camera is if it's something happening spontaneous and I want to take a shot immediately.
If I'm going to take the time to make adjustments and setup lighting I'm not shooting with my cell phone.
That said, if the camera can auto-select dark spots and light them without over-lighting other areas or otherwise screwing up the shot, I could certainly see that as a good thing.
well its stuck on the back of the phone. You cant aim the flash without aiming the stupid iphone camera in the direction of the flash:)
Its not an SLR with a real flash... its a solid phone you hold in one direction with the lense and flash on the same plane no matter how you angle the damn thing.
Photoshop filters are no replacement for actual light.
The difference to a Canon EOS 50D being that the flash on the Canon is stuck to the top?
I'm not that well versed in photography as to understand how much of an impact this can have, hence my original post. ;)
Eventually, a raw 3D picture with color data can be rendered into any picture you may want.
With no light, there is no colour data.
Well it depends on which flash you're talking about.
If you're talking about the flash that comes built in on a Canon EOS Slr... The one that "pops up"... That is as worthless an Iphone flash, as it can not be aimed.
But if you're talking about a Canon 550EX Flash, which is an expensive professional grade small flash unit that mounts into the "Hot shoe" on top of the Canon EOS SLR... Those flashes can be rotated in just about every direction, including aiming it behind you... Those types of flashes are much more versatile than the "pop up" flash that comes built into the camera.
The reason is based on the physics of light.
If you've ever seen a studio photography setup, you will notice that none of the lights are attached to the camera. (Although sometimes there will be a ring flash attached to the camera.. this is a special effect I'll ignore to keep this simple)
I'm sure you've seen studio lights where theres a light thats aimed into an umbrella. This is a classic studio photography cliche that you probably have seen once in your life.
The reason you do that, is because the flash unit itself is a small light source. Small light sources cast hard shadows. If you look at most fashion photography, you will rarely if ever see a hard shadow, because hard shadows are unflattering. Hard shadows show all of the imperfections in a persons skin, and often occlude harshly areas of your subject.
So by aiming the flash into an umbrella... you are basically turning a small light source into a large light source. The reason this works is because light photons bounce from surface to surface and decrease at an exponential rate.
Firing a bright small flash into a large white surface, such as an umbrella... illuminates the umbrella and then that umbrealla becomes a source of light that casts SOFT shadows. Soft shadows, soften imperfections in skin, can fill and blend with existing light very well, and generally looks better.
So small light source = hard shadows and large light source = soft shadows. There are other fancier devices other than umbrellas. There are things called soft boxes, where instead of bouncing light off the umbrealla, you are actually shooting the light through a large transparent white surface that is encased to keep light from escaping in directions you do not want. So the lgiht only transmits out that transparent white surface... thus enlarging teh light and creating a more directional soft shadow effect. This is is the tool of choice of every studio photographer. Umbrellas work well, but soft boxes are better because they contain light and only emit it out the front. An umbrella will leak light all over your room, but it will soften the light.
ANYWAYS. I'm getting too much into this ;)
But basically an after market flash such as a Canon 550EX allows you to position the flash so that you can aim it at large surfaces around your subject, while still being attached to your camera. A pop up flash only fires in one direction... straight ahead.
An interesting thing to try if you do not own a real flash... is to simply take some kind of card, perferably white, or even better, take a piece of cardboard and wrap it in tin foil.... Now hold that card just under that pop up flash on the camera... and angle it so that it directs the light towards the ceiling. Now take a picture. You will be amazed at how more appealing it is, compared to just taking a photo with the pop up flash aimed directly at your subject. The reason is, by aiming the flash at the ceiling, you're using the ceiling as a light source, and not your flash. You've turned a small light source, into a large one, by bouncing that light off the ceiling which then bounces around the room... and eliminates the hard shadow of the pop up flash.
Well, I have to say, it is a novel idea as far as I can tell. I could probably do one better by combining the power of a projector lamp and a DLP mirror system to paint a rather precise lighting system for the purposes of portrait photography. Light can be manipulated with very precise detail, coloring and intensity over the whole scene, not just one point. (Now, someone go patent this idea...) Using this technology, you could photoshop an image before you take it.
As someone pointed out, it is not so easy or as good when photos are edited after the fact than before. The reason why, I will assert, is that there is an unlimited range of variables of light while there is a far more limited range of variables of pixel data. The act of capturing an image on a CCD is already lossy compression of information. By setting up the image before-hand, you are increasing your ability to edit a final product in a more pleasing way.
I would be interested to know how Apple intends to integrate this into an iProduct. iPhone/iPad wouldn't be particularly good at this type of photography I don't think. To accomplish this, a complex focusing system would have to be implemented and while I have heard of liquid lenses (here on slashdot) before, I can't help but believe that the throw distance of such projection technology would be rather short.
Still, all in all, this is a neat idea. And it's not quite a software patent, so I'm okay with it.
Yet another way to really fuck up your photos. If you know anything about professional photography, you immediately know this is a failed "solution". In many cases when you light a scene for photography, it's the DIRECTION that the light comes from that is important together with the amount of light. That's why you rarely see camera-mounted flash used in the studio, strobes (flashes) are positioned away from the camera so as to light the scene in a certain way from one or more directions. With the proposed "invention", the direction light comes from will always be the same, close to the lens. It doesn't matter that it's only lighting a part of the scene.
Now, if Jobs has found out how to use the reality distortion field to his advantage and actually BEND light passing through the air... that would be impressive.
I thought Apple hated Flash, stating poor performance and what not.
That's only partially true. In a photo the received surface's color comes from the position and angle of that surface relative to the camera and the lights. If you know the 3D map of the object you can reverse that composition and gather the original information. That original information is what I called the "color data".
Yes, and said colour data cannot be gathered in any way other than collecting light bounced off the surfaces... No light, no colour, it's as simple as that.
Try to take a picture of a male common damselfly or even a dragonfly in different light conditions. Light is not just reflection, it is also refraction (especially on the more "interesting" photographs). That cannot be modelled realistically based on color data from light falling from the wrong direction. You need knowledge of the actual material to model that and even then it is least likely to be realistic.
There are many examples - the colour of the wings is different depending on the angle at which the light falls on it; same for any other insect; same for rocks, crystals, birds (try taking pictures of a common kingfisher or a sunbird from different angles); open water; in fact nearly anything worth taking a picture I can think of. Even human face if done properly. Try taking a portrait in a standard "halo" shot (works best on pretty blonds :-). Try that with flash and/or additional supporting lights and try taking a "plain" shot and try to get the same effect with photoshop afterwards. You will see what I mean - if you do not have the lighting from the right angle in the first place there is no way you can simulate that "gold shimmer" look from a l'Oreal commercial after that.
In photography light is everything. It is what makes the 10000$ difference between a work of art and POS produced by a point-n-shoot. If the light was not there in the first place and _at_ the right angle the necessary colour data will not be there to record.
Baker's Law: Misery no longer loves company. Nowadays it insists on it
http://www.sigsegv.cx/
Apple does it and they get a patent. When I did it I got arrested.
Aside: The person who did the beating down uses an iPhone.
Lesson: don't be a twat and call people unintelligent because of the technology they chose to use, many made an informed choice and just had different requirements to you.
Years ago we had industrial photographers come in and take a picture of the equipment
we were building. Lots of curved stainless steel. They brought in a lot of lights, set
them up high and low all over the place, and our boring-looking equipment started
to look Really Good. Pictures came out great.
The nice thing about the little popup flashes in most SLRs these days is that they can trigger a remote flash wirelessly.
(A modern take on the classic "optical slave" where the camera can actually control the remote flash's light output. Nikon calls this CLS, Canon calles it wireless E-TTL I think, Pentax calls it wireless P-TTL.)
Most SLRs can be put in a mode where the onboard flash is reduced so much in output that it doesn't contribute significantly to exposure at all. (It will still, however, contribute some.) It can also be allowed to contribute to exposure, causing it to act as a small fill flash.
One thing you didn't explicitly mention but have hinted at in past posts: Sometimes, instead of bringing a large reflective object (umbrella, softbox, etc), a photographer will use their environment. This is why highend flashes swivel/tilt - for example, to point the flash head at the ceiling. In this situation, the ceiling becomes a large diffuse light source. (Note: White ceiling required unless you're going for a funky effect. Black ceilings such as found at many concert venues are a pain in the ass. )
retrorocket.o not found, launch anyway?
Everything you said is true and a good addition to what I wrote.
Although the optical slave comment... While its true that an built in flash can trigger remote flashes via optical response, the Nikon CLS and Canon ETTL require a Nikon SB800 or a Canon 580EX II to control the remote flashes if you're talking CLS and ETTL. The reason is because ETTL (I'm more experienced with as I shoot canon so I'll talk about ETTL).. The reason is ETTL transmit exposure settings via an infrared transmitter in front of the 580EX II. This is what canon considers ETTL, which is basically the camera metering the exposure with your + or - flash exposure compensation, and the correct flash power is then transmitted via the infrared transmitter on the "Master" flash which is a 580ex II mounted in the hot shoe. This sends the proper metering to the other flashes so that they do not over expose.
The classical optical slave as you mentioned, does not transmit exposure data. The remote flashes simply respond to a sudden burst of light coming from another flash. This is a problem in areas where other people are taking photos. Now a days everyone has a camera and a flash on it. That would trigger your flashes using the old optical way. So now everything requires a Nikon Speedlight or a Canon Speedlight to act as a Master controller mounted on the camera... because they communicate via infrared.
Most people though now use radio triggers. They're expensive but they're an absolute must. They do not have the range issues of infrared, and they always trigger, where as infrared is range limited and is limited to line of sight with the master flash. Radio triggers can be anywhere... and at very large distances.
And yeah those black ceilings sap the light out of everything :) hehehe Most music photos are available light as a result... stage lighting helps with it so you do have lighting usually available there already.... hopefully its good lighting ;)
I shoot mostly studio stuff though, on locations... so mostly lugging around studio lights, or speed lights with radio triggers and soft boxes etc. I have a group of 580EX II when I dont want to use bigger strobe units... and they're great. They work great with radio triggers etc.
Also one note with radio triggers.... ETTL doesnt work with radio triggers but really if you're using radios, you're in the deep end and really dont need to rely on any automatic features in cameras. First thing I do is go right to manual, or Shutter or Aperture priority modes on a camera. The automatics rarely get anything right especially when you toss lighting into the mix because the cameras dont know how much light the flashes will add to the exposure. It does with ETTL though... which can be nice at times if you have no time for crafting a shot.
Canon 580EX IIs are incredible units.
Why do all Iphone users insist on telling the world that their platform is okay? Could it be a proxy for homosexual tendencies?
Not really very rhetorical that one – the reason is simple... Because the entire geek world insists on telling iPhone users that their platform is not okay.
No matter how much you spend on computing technology, you will never find the cute boyfriend you seek by displaying Apple devices.
That's okay, I'm happily married.
However, if you think that Apple crap is easy to use, then you're more deluded than the typical meatbag.
I rest my case about twats and telling people apple kit isn't okay ;)