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Author Topic: Playing with Speedlights  (Read 4365 times)
RSL
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« Reply #20 on: January 26, 2014, 09:14:43 AM »
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One thing I enjoyed and learned a lot from is Joe McNally's book "The Hot Shoe Diaries." There some instructional stuff at the beginning of the book, but what's even more interesting is the series of stories that cover a bunch of his real-life jobs.
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cjogo
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« Reply #21 on: January 26, 2014, 01:53:11 PM »
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If it's over-flashing use flash exposure compensation and dial it down a third of a stop. I'm assuming Canon has flash exposure comp. Can't imagine it hasn't.

I just went back to manual 1/4 for fill with flap , yesterday ....   I do a lot of bounce into a card &  for fast work,  I do use the ETTL and just dial in the compensation  { + or - }

>> I just don't like to do much post work :-) Like it nailed in the camera -- I also like that with my Canon 60d ~  I can flip the screen closed = so no one bugs me about chimping each shot. ;-}


« Last Edit: January 26, 2014, 01:59:58 PM by cjogo » Logged
armand
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« Reply #22 on: January 26, 2014, 02:12:23 PM »
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I also like that with my Canon 60d ~  I can flip the screen closed = so no one bugs me about chimping each shot. ;-}

You could just use a mirrorless and keep the image in the viewfinder. You get to see the shot (and adjust as needed) but no one else will.
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cjogo
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« Reply #23 on: January 26, 2014, 04:58:24 PM »
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The Canon works fine with the flip screen ... don't want to learn another camera.;-)  

I remember The Hot Shoe Diaries ...  Joe is also more AUTO Nikon in his book.  the Canon never gives me the result I am looking for in any Auto Mode .     And he shows flash in mostly KEY situations =  & very creatively , I might add.    Phrases like "so I just dialed up the shutter speed to kill off the extra ambient light"  and I work hard to make the ambient light = the KEY ;-)  Just a different style ---all good, of course.

 I try to hide the flash....ambient with a strobe edge... just enough to subtlety lite the eyes.   I  use flash on every single shot BUT make it so the client can barely notice.  There is a nice sharpness that a diffused strobe does to the subject.  Not really a lover of key flash > only when the day is full sun < and that's all one can do.  I just dislike mounting my Quantum flash on the shoe of my Canon and carrying the battery around....but if your subjects go past the footage --it's got to be there.  

Here is a shot from yesterday --- 100 // 250 @ f 8 --flash at 1/2 power ( no dome)  --ratio just right >> without the flash that left side of the kid = would be unacceptable.    
« Last Edit: January 26, 2014, 05:39:47 PM by cjogo » Logged
cjogo
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« Reply #24 on: January 26, 2014, 05:55:40 PM »
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Ratio --  set the flash where there is no shadow cast  > by the bounce strobe.    The card is hinged & about a 5 inches wide card across the top >> so you can bend in the ratio of light needed.   200 / 125 @ 5.6 --strobe at 1/4 power with card at about 45*  ===meaning the light from the strobe is about f 3.5 @ the subject >  but well diffused.  
« Last Edit: January 26, 2014, 06:17:46 PM by cjogo » Logged
Steve Weldon
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« Reply #25 on: January 26, 2014, 06:43:26 PM »
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You guys are so cute, talking about "dialling" this and that when you really mean "pushing buttons, reading LCD screens, more buttons, more screens, maybe if you're lucky you'll set up a dial on the back of your camera to "dial" a setting..   But I hear your pain, that you really want to dial.. to have one simple control.  Or maybe a few simple controls.

Quantum can be as complicated or as simple as you like.  An entire wedding can easily be shot by selecting a reflector for the desired type of flash (taking it on/off quickly also gives you bare bulb which can be great), putting it in either ETTL or manual (after some practice manual is nearly as quick as ETTL) and then fine turning the light by turning this dial up/down either in wireless (if your assistants are in portable light stand mode), or wired (if speed isi essential) with one simple control.


Walking into the reception with your lights already set up and use this control to adjust light output, which lights/banks you want used..  and you still haven't touched a button or had to read an LCD screen.  Just shoot and chimp occasionally..


Or use 1-many of these lights like you would studio strobes with nearly the power.. Adjust each light with a dial.  Use one light in manual, another in fill, and yet another in some other mode.

It's a system meant for pros in that it can be configured in a simple mode to a highly complex mode from 1 to unlimited lights.. Once you experience the power, the ability to shoot non-stop, to carry a complete system say 3-4 lights in one small bag, the carry out very technical tasks, but mostly the wonderful quality of light on par with strobes.. you'll never play with the toy speedlights again..  It will be an important day in your life..

Watching their tutorials is worth your time many times over.
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« Reply #26 on: January 26, 2014, 06:46:15 PM »
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Steve, it's pretty clear you don't know what Nikon's CLS can do. Yes, I'm talking about dials. Yes I'm talking about being able to control all my lights right from the camera, etc., etc. Yes, there are other systems, but I've never heard of a hot shoe system that's as good as what Nikon has.
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« Reply #27 on: January 26, 2014, 07:11:53 PM »
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Steve, it's pretty clear you don't know what Nikon's CLS can do. Yes, I'm talking about dials -- at least when using an SB-910 or SB-900 as the controller. Yes I'm talking about being able to control all my lights right from the camera, including turning a group off, including switching a group to full manual mode so it doesn't pay any attention to the ttl signals and can be dialed up and down independently, etc., etc. Yes, there are other systems, but I've never heard of a hot shoe system that's as good as what Nikon has.
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cjogo
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« Reply #28 on: January 26, 2014, 07:19:42 PM »
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Used many Quantums for years ( Norman was too difficult with manual everything & a heavy setup)  

Love the dome on the Quantums -- beautiful spread of light > especially bounced into a card ..

I have only used the Q flash as a shoe mount -- so no room for these controller boxes.


My favorite ( and easiest)  flash is one with AUTO settings ( F 2 -11 )  --ie Nikon /Quantum ..  

 So fast ::  Say you are in a lighting situation of 125 @ 8 overcast /even light -- you want a fill of F4 light -- one click on the back button and your are there .  That's why the shoe mount NIKON worked so well atop my Hassy and RZ  > camera had no control -- you set the Fstop of the flash amount ~!

But once I went to 35mm  >> I only had the sync of 250th and had to go with the Quantum for power ...
« Last Edit: January 26, 2014, 09:55:48 PM by cjogo » Logged
cjogo
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« Reply #29 on: January 26, 2014, 07:43:49 PM »
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I only used the Broncolor in the studio > and some smaller  Dynalites out on assignments..

http://photos.imageevent.com/estrump/extra/extra/icons/MASTER%20STUDIO%20PHOTO%20GEAR.jpg
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Steve Weldon
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« Reply #30 on: January 26, 2014, 07:50:07 PM »
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Steve, it's pretty clear you don't know what Nikon's CLS can do. Yes, I'm talking about dials. Yes I'm talking about being able to control all my lights right from the camera, etc., etc. Yes, there are other systems, but I've never heard of a hot shoe system that's as good as what Nikon has.

"As good" as measured in obscure functions only useful in even less obscure scenarios.. or "as good" as measured in how easily a pro can work without the flash getting in the way, missing a shot because the "thermal protection" kicked in, or the entire unit is in for warranty repair. (again).    Or as good by ease of use and light quality?



 
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« Reply #31 on: January 26, 2014, 07:57:57 PM »
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Used many Quantums for years ( Norman was too difficult with manual everything & a heavy setup)  

Love the dome on the Quantums -- beautiful spread of light > especially bounced into a card ..

I have only used the Q flash as a shoe mount -- so no room for these controller boxes.


My favorite ( and easiest)  flash is one with AUTO settings ( F 2 -11 )  --ie Nikon /Quantum ..  

 So fast ::  You are in a lighting situation of 125 @ 8 overcast /even -- you want a fill of F4 light -- one click and your are there .  That's why the shoe mount NIKON worked so well atop my Hassy and RZ  > camera had no control -- you set the Fstop of the flash amount ~!
You might want to give them a new look.  They keep pace with OEM features, at least the useful ones..
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« Reply #32 on: January 26, 2014, 07:59:38 PM »
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I only used the Broncolor in the studio > and some smaller  Dynalites out on assignments..

http://photos.imageevent.com/estrump/extra/extra/icons/MASTER%20STUDIO%20PHOTO%20GEAR.jpg

The overexposure is understandable.. Smiley
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cjogo
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« Reply #33 on: January 26, 2014, 09:02:43 PM »
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The overexposure is understandable.. Smiley

You could stand in that softbox we had ;-)
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Steve Weldon
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« Reply #34 on: January 26, 2014, 09:10:07 PM »
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You could stand in that softbox we had ;-)
I've got the really large Photoflex.. I think it's 7 feet at its' largest part of the hex.  It varies by less than 1/2 stop and is perfect for wedding dresses.. I haven't used it in a while.. think I'll pull it out.
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cjogo
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« Reply #35 on: January 26, 2014, 09:52:36 PM »
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Strobe with a softbox/umbrella setup ...not go over to well in this market...;-)   But its also year round outdoor events here.

I shoot pretty quick & easy -- lots to be done  in hi-speed gear ,  for a wedding.   Shooting probably not even  half what most photographers fire @ will.  More like 5/7  frames in a minute : if that..

 Coming from the film days of 12/24 frames with 120 cameras > every shot counted or it cost you...
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« Reply #36 on: January 26, 2014, 10:48:22 PM »
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Strobe with a softbox/umbrella setup ...not go over to well in this market...;-)   But its also year round outdoor events here.

I shoot pretty quick & easy -- lots to be done  in hi-speed gear ,  for a wedding.   Shooting probably not even  half what most photographers fire @ will.  More like 5/7  frames in a minute : if that..

 Coming from the film days of 12/24 frames with 120 cameras > every shot counted or it cost you...

I've found that over the years my total shot count as gone down (way down) and the keeper ratio way up.  But there are still certain times during a wedding where I'll shoot bursts.

Over the last ten years my wedding have been in Thailand, and the way it's normally done there are posed studio shots and then more posed shots at certain places around town.  You do  this 30-45 days before the wedding so the pics can be distributed before and used for the wedding.   Since a Thai wedding begins before the sun comes up, goes through a ton of light changes before ending at about 1400-1500 and then a 2-3 hour break before the reception/dinner.. pros rarely shoot the actual weddings.  Usually it's "collect the cell phone pics" time.   Shooting the actual wedding is the most physical experience (very hot wet morning followed by even more hot but not as wet high noon and then mid-noon shots) I've had in photography and I've hiked through jungles, been in war zones, ziplined through trees and more.  You're losing so much water you can't stay hydrated.. heat stroke is a real risk.  I hire an assistant whose only job is to bring cold water bottles to me and the other assistants.  We drink non-stop.   You can imagine the equipment we go through before the day is out.. It's usually me and one more shooter, 2 working as human light stands (their training is critical), water girl, and one more working the social side to go grab the people they want posed together and set them up to be shot..  It's a production, expensive, and I think I'm the only one doing it to this extent.   Not because I'm good, but because no one else wants the job.. Smiley  I've been flown back for weddings.    Western weddings are a breeze in comparison.
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cjogo
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« Reply #37 on: January 26, 2014, 11:37:02 PM »
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Whoa STEVE ;;;;;    I wish my clients had the budget these days -- that when goodbye > about 3 years ago.  I show up for maybe 2-5 hours these days..  send them a DVD in a day or so.   Straight hourly for shooting and a charge for CS editing.  Manual focus /exposure a lot  >>> so no flying around with insane per second shots.

Temperatures ultra mild --year round >> no air conditioning in this town.. These are destination weddings .. in for the weekend --

one camera > one zoom > one flash --never sweat....I don't even bring in a bag .....batteries and card's in my suit jacket...

Yesterday was 4 hours  --90 guest ( no ceremony )  I shot 246 images  > delivered 211 :: 30 meg files > Delivered the DVD today  > before they left.

.
« Last Edit: January 27, 2014, 12:27:41 AM by cjogo » Logged
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« Reply #38 on: January 27, 2014, 12:32:18 AM »
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Whoa STEVE ;;;;;    I wish my clients had the budget these days -- that when goodbye > about 5 years ago.  I show up for maybe 2-5 hours these days..  send them a DVD in a day or so.   Straight hourly for shooting and a charge for CS editing.  Manual focus /exposure a lot  >>> so no flying around with insane per second shots.

Temperatures ultra mild --year round >> no air conditioning in this town.. These are destination weddings .. in for the weekend --

one camera > one zoom > one flash --never sweat....I don't even bring in a bag .....batteries and card's in my suit jacket...

Ha, got you there!  No suits required in the hot weather.  If they were Thai they'd be wearing one, but I tell them upfront I'd die and they'd have no pictures and it would ruin the wedding to have my body laying around.. you know how it is..  Grin


I started a long while back doing budget weddings.. I quickly learned getting clients at any level is more about business than photography skills.. so when I felt my photography was up to it I just marketed myself differently.  Some have told me my current rates (plus travel) are too low, some think too high.   Since no one else is doing what I do, and since Thai's only do the staged shots before the wedding and no "at wedding" shots, most all of my customers are Thai/Western marriages where the western partner wants them or rich Thai's who like to live like Westerners.   The Thai's actually get social mileage out of telling people they hired a famous western photographer for their wedding.  You question the famous part right?  I did.  I was asked "you have a website?"  Yes I replied.  FAMOUS..  Someone not famous would have one.  Most people get all mired down in the cultural differences and tell you how bad they are.. I prefer to find where the differences benefit me..  And that my friend is how I became famous.  (to someone).  Grin
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cjogo
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« Reply #39 on: January 27, 2014, 01:02:13 AM »
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I went the famous route starting in the late 70's until about 2005 ... Yes, it was great pay ...traveled a lot  ~  rubbed elbows and captured the rich & famous and yes = the budgets were great / but \ guess I got burned out ....and way too old to want to compete..  rather stay 10 minutes from home , these days.  :=)    Free time + ease of life  ==  much more important then the $$$ **  30 years later :-)
« Last Edit: January 27, 2014, 01:17:55 AM by cjogo » Logged
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