Silverbased

Projects and ponderings for film photographers

Archive for the ‘Gadgets & Accessories’


DIY: Plastic Food Tub Flash Diffuser

Today we’ve got an easy and fun DIY project that is guaranteed to improve your flash photos: A simple diffuser for your strobe made from a plastic food tub—the Tupperflash!

Shoe-mounted Tupperflash

Why Are We Doing This?

Sometimes you want to take pictures in a place where the ambient light is so dim that electronic flash is the only way get a photo at all.

However the typical flash, just a few inches from the camera lens, is the harshest and ugliest form of illumination ever invented. The blasted, shadowless “deer in the headlamps” look is particularly unflattering for people photos.

For mood lighting in your living room, you don’t use a single bare light bulb, do you? Of course not. You soften and spread the light with a lampshade, right? Adding a diffuser to your flash gun is the same idea.

Sample Photo with Tupperlight

And better yet, move the flash away from the lens, too—this adds shadows to give better three-dimensionality and softer modeling to faces.

Choose Wisely

Finding the right plastic storage tub for this project can take some scrounging. Fortunately many thrift stores and rummage sales are overflowing with unwanted plastic containers. You’re looking for one about 6″ across, and its lid must be frosted, milky white plastic—not color-tinted, and not perfectly clear.

Choose Your Tub

The tub bottom can be any color or shape, but it should be at least three inches deep to leave room for light to bounce around. Authentic vintage Tupperware bowls are perfect for this; but we’re illustrating the project with a Rubbermaid Take-Along tub (right)—a style that was currently on the market the last time I checked.

For the flash itself, you simply want an ultra-basic, dumb, AA-powered strobe. Any whizzy auto-exposure features (e.g. “thyristor” types) will be useless: The photocell would be blinded by the flash-lit insides of the Tupperware. However you can use an auto model in manual mode, if that’s all you have available.

Not all vintage flashes have flash-trigger contacts in their foot, but that’s a desirable feature. (Unfortunately the particular flash unit illustrated in this article turned out to be rather unreliable at triggering on certain cameras—so don’t go hunting for one just like it.)

Spray-Painting Interior

Remove the lid of the tub, and spray the interior with silver spray paint. Paint does not stick very well to the waxy surface of many plastics, so roughen the surface with steel wool or fine sandpaper first.

We want all the flash’s light to be directed forwards; so spray two coats to insure that the tub’s sides are fully opaque when you’re done. White spray paint will also work, if that’s all you have handy. Or you could line the insides of the tub with aluminum foil, using spray adhesive or glue stick.

Mark the Opening

Mark the outline of the flash’s body on the bottom of the tub, positioning it so the flash tube is centered.

Cut an opening in the plastic, leaving tabs of about 1/2″ wide to bend back and tape to the flash. With some styles of flash, you may not have room for a tab on the bottom edge.

Cut and Fold Flaps

The plastic of some food tubs (like this one) is rather brittle—so cut and bend slowly and carefully. You can see I still ended up with some unwanted cracks.

Tape Flaps to Flash

Tape the tub’s flaps to the body of your flash unit. Avoid taping over the access door to the battery compartment.

Inside View

This inside view shows the desired result: The flash tube is centered in the bottom, and the plastic tabs are taped snugly against the flash so that no light can sneak out the back.

Replace the lid to the food tub, and the diffuser is ready to use! The top illustration of this article shows how the completed flash would fit an SLR with a hot-shoe flash connection. Note that with some cameras, the width of the food tub might interfere with the lens, or block viewfinder windows—be sure to check that first that when selecting your container.

Going Sideways

As I mentioned earlier, light from directly beside the lens fails to give three-dimensional shading to your subject. Light from off-camera flash is much better at defining shapes and casting flattering shadows. So for the best tupperflash results, trigger the flash while holding the tub well off to the side or above your camera—either on a bracket, or held in your other free hand.

Sample of Open Flash

To fire the flash off-camera, here’s one simple solution: Hold the shutter open on the “B” (bulb”) setting, then pop off the flash using its test button. In many dim environments, the room light contributes a negligible exposure compared to the flash—but, if there are some ghostly blurs from the ambient light, that can be an interesting effect too!

(Your test button may be an unmarked red pushbutton , or even the clear cover of the ready-lamp on some flashes.)

For Extra Credit

But the “correct” way to trigger things is to connect an extension PC cable to the X-sync socket on your camera. If you’re lucky, your flash has a cable connector in its base using a plug style you can still buy today. However over the decades, different flash manufacturers introduced a bewildering variety of plug styles, and usually you aren’t so lucky.

Snip Useless Cable Plug

Solution? Take any random PC flash cable from the clearance bin of your camera store; then cannibalize it by snipping off the useless connector.

Solder Extension Cable

Disassemble the foot on your flash unit and drill a hole to insert the snipped cable end. Solder the cable’s two wires to the flash hot shoe connection, and re-assemble. (If you don’t mind sacrificing the shoe-mount option, you could simply discard the flash foot, and splice directly to the wires from the flash.)

Getting Exposed

Finished with Cable

To figure the correct exposure, consult the table or calculator dial on the flash, based on your particular film speed and subject distance. Take the suggested f/stop, then open up two stops to compensate for the diffuser’s light loss. After seeing your results, you may need to adjust your personal tupperware fudge-factor up or down from there.

Oh—and the final bonus of this style of diffuser? You will get many photos of people grinning curiously at your crazy homebrew flash set-up. I promise it!

See examples from the Tupperflash in action on Vox’s Flickr stream.

Light Metering

I often shoot with old meterless cameras, pinhole cameras, and weird homemade flash setups–all needing some way of measuring the correct exposure. So I just wanted to show a few of the light meters that I’ve found useful.

Vox’s Favorite Light Meters

Sekonic L-398; Voigtländer VC Meter II; Soligor Flash Meter

The Sekonic L-398M is the 90s version of a classic incident light meter design that goes back about 60 years to the original Norwood Director. The main “improvement” of the M version seems to have been printing the number scales larger (which we over-40s do appreciate). Out of several light meters I own, for some reason this is usually the one I grab first. (Maybe it’s because of that easy-to-hold football shape.) Its main weakness is not being very sensitive in low light.

One subtlety of an incident meter is that you point the dome at the camera, not the light source. The 3-D shape of the dome weights the light coming from different directions in a way that yields a good average exposure for 3-D subjects.

This is the style of light meter that Hollywood considered the standard for decades—if they trusted incident meters to get their million-dollar stars properly exposed on film, that’s good enough for me. A version of the 398 is still in production, although now they’ve replaced the (theoretically toxic) selenium cell with a silicon version.

The Voigtlander VC Meter II was an appallingly expensive splurge—especially considering how tiny it is. You see my little loop of monofilament fishing line, added after the thing tumbled out of a camera hot shoe one time too many. It’s definitely the sleekest, smallest way to add metering to a vintage camera that lacks it. It’s also quite accurate in low light.

I have two beefs with it: One is that the ISO dial is way too easy to bump and nudge away from the correct setting. I eventually had to stuff some little plastic shims under the dial to add friction—a rather annoying design flaw considering the price. Beef number two is that the f/stop dial turns steplessly, but the shutter speed dial is click-stopped. Considering that I often use this with 1950s cameras having odd shutter speeds like 1/25, 1/300, etc., I would have preferred either no click stops, or for the aperture dial to have half-stop detents instead.

Also, I found it a little unintuitive that the light reading registers at the moment you take your finger off the orange button, and then stays held in memory as you twist the dials to try different exposure combinations. But once you understand that, it works fine.

There are many fancy digital flash meters on the market; but if you’re a guy like Vox who plays around with tupperware flash or softboxes made from roof flashing, or you would feel ridiculous checking your flash exposure with anything so high-tech.

The Soligor flash meter is one I nabbed off of eBay for… uh, seventeen dollars or something. This model is much more widely known under the Wein brand name; but I’ve seen variants branded as Singer/Graflex, Honeywell, and Soligor too. I love the totally garage-y, analog, project-box aesthetic—you don’t quite believe this was a real commercial product; but I’ll be damned if they aren’t still selling them.

The sensor element is in the white dome at the middle of the knob. This is actually the old version, where twisting the knob changed the meter sensitivity for different film speeds. The current models have a lame system where the needle indicates the f/stop that would be correct for ISO 100; then there’s a calculator dial which translates that to the equivalent f/stop at different ISO speeds. Maybe they had some trouble with the sensitivity pot getting dirty and causing inaccurate readings? But functionally, the old direct-readout style was much more sensible.

I’m not sure I trust its accuracy to much more than about a stop; but if you’re trying to get exposure in the ballpark with a mix of weird diffused, bounced, slaved, yard-sale strobes, this thing is a godsend.

A version of this originally posted on Flickr, 28 December 2007