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It isn’t often that a third party comes out with a product long before a brand, especially something that’s de riguer with most makers now. That’s exactly what Serene Automation have done with their RoboSHOOT TTL Triggers for Fuji.

The State of Fuji Flash
Flash is the weakest link in the X-Series System by a large margin. Their current flagship flash is the EF-42, a rebranded Sunpak flash. It’s more in keeping with the, larger, older S Pro cameras than the compact X-Series cameras (something the competing Nissan i40 can lay claim to). Power wise it matches the Canon 430EX or the Nikon SB600, rather than that of the Canon 580/600ex or Nikon SB910. This will all change with the brand new EF-X500 touted for a May landing. It swaps the measly GN 42 for GN50, almost that of the Canon’s at GN52. The X-Pro2 has already been delayed by a month, so hopefully that won’t affect the timeline for the EF-X500.

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As well as the increased power, the EF-X500 will be the first Fuji flash to allow a master/slave control, via optical control, similar to Nikon’s CLS. Even Nikon are moving into radio TTL, so for a flagship flash, it’s already a generation behind. Even third partly products like the Yong Nuo 600 series, or Godox v860’s are already TTL radio based. So while the EF-X500 is a blessing for Fuji users, it’s still got catching up to do.

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With the lack of any TTL remote control in camera, until recently the only way to get the flash off camera with TTL was to use a TTL cable. There is a limit to length of course, and the possibility of accident, either by tripping, or by pulling the light down. Neither are optimal.

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Introducing the RoboSHOOT Triggers
This long introduction is leading up to the key feature of the RoboSHOOT triggers; that is, they provide TTL control of Fuji flashes via radio. Not only that, but they also allow most modern TTL Nikon flashes to be used in TTL mode, as if they were native flashes to Fuji. This is a huge boost to those that are changing, or supplementing their existing Nikon setup with Fujifilm X-series cameras.

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The RoboSHOOT triggers come in a basic black box, with a transmitter and receiver in a moulded clear plastic tray. Included are a set of cables for remote camera triggering (another useful feature of the trigger), and a cloth bag with 2 internal pouches for safe keeping of the triggers. There’s a quick guide and a fuller manual included as well.

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A cursory look at the triggers shows they’re similar to most other triggers on the market. The transmitter has a metal hotshoe foot with a screw down grip, rather than the lever based ones that appear on most newer flashes now. I’ve had issues with the version on my Godox V860c, so I do prefer the newer design. However the triggers are quite light, and I know my issue is related to the weight of the flash, so I wouldn’t expect it to be a problem with the trigger. There’s an on-off button on the side, one push button on top, some LEDS, and a Flash button. There’s a pass through hotshoe on top, so this system can be mixed with other trigger systems. A sync port is on the receiver. The transmitter has a shutter release output to camera and an external trigger port input from switch or sensor. There’s no screen-something that’s notable as most transmitters sport one these days-We’ll come back to that shortly though. The receiver has a plastic foot with a screw thread for fitting on a light stand. Besides this, it looks similar to the transmitter.

The RoboSHOOT App
The reason why the transmitter lacks a screen is because there’s ‘an app for that’. Control is via a free iOS or Android app. Most people have one or the other available in some form. iOS requires 8.3 or higher (so my lowly iPhone 4s was ruled out), whereas Android has lower requirements. I ran the app with no issues on a Samsung Galaxy Tab 3 7 inch. The app connects to the triggers via Bluetooth and is a breeze to use.

From the app, you can control up to 4 groups of flashes in either TTL (with flash exposure compensation) or in manual increments from 1/1 power down. To set the group on the receiver, press the top button down and the A B C D buttons will light up with the next channel. Repeat until you get the to the desired channel. The app also allows you to do firmware updates to the triggers. Taking a look at the app in more detail.

Before you begin, turn on Bluetooth and pair with the RoboSHOOT triggers. Run the app. From the launch screen, click the Connect Button to begin or use App Settings to make changes (check the manual for more details).

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The main screen opens. I’ve the Zoom option on, so this screen shows the 4 Flash Groups (A,B,C & D), the zoom for each flash, and the Exposure compensation value. The Green ‘Light’ on the B channels shows that there’s a trigger on connected to B. Each Group can be turned off using the group switch. At the bottom you can test the flash using Check. Hold down the Flash icon to turn off all the flashes. You can also see the battery strength of the triggers as well as the camera’s status.

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Flash control isn’t the thing that the triggers can do. Press the + button to bring up more options.

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Cycle through them to see the Timer, the Intervalometer, High Speed Capture and External Trigger screens.

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Getting Started

To get the whole setup working, the manual says to turn everything off. First attach the flash to the triggers and to the camera. Next turn on the flashes, finally the camera. It’s key that the pin in the trigger lines up correctly on the camera for a connection to be make. The manual mentions you may have to wiggle it into position. I had trouble with getting the camera to see the trigger initially. In the end, I left the camera on when I attached the transmitter and moved it until I saw the flash symbol appear on the center left of the rear screen. All was good then. When operational, both the transmitter and receiver have a green LED on the front. Other colours and flashing states have various meanings. Blue, for instance means that a bluetooth connection has been made. Unfortunately knowing the other combinations means memorizing the meanings or having the manual with you, a minor minus point in my opinion. Yes, you can access the manual via the app, but this isn’t as convenient as other systems. (Note that there’s been a hardware upgrade that improves the connection, more further down). Bear in mind that my triggers are pre-production versions, so the wiggle issue has been fixed.

First Impressions
That’s the technical, so let’s go practical instead. My first test was simple shots of my son via the traditional method of bribing with treats. Hence there aren’t any really usable photos. Nevertheless, I was well impressed. For the initial setup, I was using the EF-42 with no modifiers. Flash exposure was dead on with each shot in TTL mode. Surprisingly so as TTL can be hit or miss. By way of background, I shoot TTL in nightclubs at least twice a week, so I’m used to seeing how one person with a white shirt in a group can completely throw the flash exposure off.

For my second test, I put the flash into a small softbox, meaning no line of sight for the flash (not an issue for radio triggers obviously). Again each exposure was perfect. As I was using only one flash, I tested exposure compensation via camera settings rather than the app. Adding or reducing the flash exposure was mirrored exactly as expected. Honestly, I couldn’t fault the operation in this regard.

Flash Compatibility
My other camera system is Canon, so I didn’t have the luxury of trying a Nikon TTL just then. I did have a Nikon SB-28dx available. I normally use this former top of the line flash (for their film cameras) in manual mode off camera. The RoboSHOOT had no issues triggering this flash, albeit as a dumb trigger with no remote power control.

Serene Automation do provide a list of compatible flashes:

Brand Model Rating Power On/Off Recycle Time Best for
Fujifilm EF-42 *** Yes Fair General Use
Fujifilm EF-X20 * No Poor Macro/Travel
Nikon SB-910* ***** Yes Excellent Portrait
Nikon SB-900* ***** Yes Excellent Portrait
Nikon SB-700* *** Yes Good General Use
Nikon SB-600 *** Yes Good Macro/General Use
Nissin i40 (Fuji) *** Yes Good Macro/Travel

Additional compatible flashes are listed on the Serene Automation Compatibility page. Nikon flashes with a * need to be in TTL mode to work, with manual control provided via the App.

Practical Testing
The real test is of course getting out there and using the system. So armed with the RoboSHOOT triggers, an EF-42, my X-T10 and a few lenses, I went to an industrial area near the studio to shoot with local model/radio & TV personality Laura Fox. Based on my initial test, I decided to shoot with a softbox. You can see the general modifiers I use with Speedlites in this post. For this shoot I went with the Godox Elinchrom Bracket and the basic Elinchrom Portalite 65cm square softbox. The BTS shot is a little shaky-it was more of an afterthought really!

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I shoot a lot of Butterfly Lighting, which is a straight on light look with a butterfly shaped shadow under the nose. It’s something that can be done with a TTL cable so for this I thought we’d go for a more dramatic look, and use a Short-lit Loop lighting pattern instead. This means placing the light off to the side of the subject to create shadow on the face. It has the effect of sliming the face. You can see a more extreme version of short lighting with my Hirsute project.

To begin, I metered the surrounding area with no flash, and then brought the shutter speed down to darken it. With manual flash, the flash power is tied to the lens aperture, so you need to change shutter speed to prevent the flash power changing. TTL flash will deal with whatever you send at it, so technically I could have darkened by changing either shutter speed or aperture.

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Next I turned on the triggers, and the flash. Now this is a review, so I have to say that I had a lot of trouble getting the camera to talk to the flash. Pressing the button on the transmitter would trigger the flash, but it refused to trigger from the camera, even though the flash symbol was on the camera. I did’t have my tablet with me to connect to the triggers to check what was going on, so I had to use Laura’s phone to download the app to see what was going on. Still no joy. In the end I went and changed the mode of the flash to Red-eye on, and miraculously it all worked. It definitely worked before in the other mode, so I wasn’t sure what happened. John from Serene Automation emailed to say he had a new foot for the transmitter which should solve all the communication problems. Either I could send it back, or he could send me the part. Being techie anyway, I said to send the part on. More on this shortly.

Anyway, with the flash now firing, off we went. The light was fading and I was at a pretty low shutter speed, so we only went for a few quick looks. The first thing to note is that the exposure was really close. TTL itself is typically hit and miss (as distinct from the triggers which are merely relaying this information). Bearing in mind that I was underexposing the scene, and lighting an off center subject, I was pretty impressed.

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For the next shot, we moved to one of the shutters in the background to use it as background. Again, I was going for a short lit look. Here’s how it looked.

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I shot a 3/4 shot first, and then a full length. TTL tends to suffer when you switch from tighter to wider shots, but this performed really well.
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The full length is probably about 1/3 stop brighter is appearance, but this is still really good for TTl. Now bear in mind that the trigger is only relaying the TTL information, but seeing these makes TTL look more useful than I’ve felt before. You can always use the App to change the Flash Exposure Compensation-either overall, or one each attached flash. It’s still possible to use the FEC option on the camera as well.

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I’ve talked about the Nikon flash compatibility, so for the sake of testing, I borrowed an SB-700 from my good friend and photographer Julia Dunin. We only had a really short shoot window, and it was rather windy, so this ruled out a softbox. So some quick location scouting later, we shot in front of a local bingo hall.

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Again the exposure was great. As you can see from the setting, I set my base exposure for the background. 1/8 sec isn’t great for camera shake, but it’s fine in this shot.

On another job, I had the triggers in the bag, so I pulled them out to give me some off camera effects with TTL. I was moving around a lot, so manual settings were out of the question. I varied between bouncing the flash and using direct flash, and the exposures were all very close.

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This next one is bounced off the DJ table-which was black, but still had enough light to give soft under fill.

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The Hardware Upgrade
I’ve said I’ll come to this twice, so here it is. John sent me the new foot for the transmitter. It was actually a really easy job. There are 4 screws to undo and then a little care is needed to line up pins to a block, but that’s it. Here’s how I did it.

This is the new foot (with white plastic), beside the MX-20 trigger. The old one has black plastic.

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Next, unscrew the 4 corner screws, then gently prize the case apart.

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Here’s the old and new foot side by side. See the black block in the centre part? The one on the new foot needs to mate with the pins visible on the top right of the left part in the shot. Line them up carefully then give the units a quick test before screwing the 4 screws back in. This is to make sure you’ve lined them up and that it’s working before finalising the job.

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Here’s the final look with the old foot off to the side.

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So what’s the verdict on the upgrade? Well it’s perfect. No fiddling or wiggling required anymore. It’s worked every time since. Best of all this upgrade is free (bar the cost of shipping). John will do it for you for free as well if you don’t fancy going at it yourself, but it’s quite easy if you are good with techie stuff.

Cost
So down to the nitty gritty. The RoboSHOOT comes as the MX-20 and RX-20 for the best operation. A set of these is $379.95 There are lower cost options as well, but there are less features with these. These are the MX-15 transmitter and the RX-15 receiver. The kit version of these is $259.95. You can also get an RX-20/MX-15 kit for $299.95. The RX-20 is available for $159.95 standalone, while the RX-15 is $129.95. The MX transmitters are only available in a kit.

Price wise these are on the high end, but not dissimilar to other products that perform a similar task. The price is also dictated by the market as well. Production is done in 90 day intervals, and a 25% deposit secures your order.

Conclusions
As these were preproduction units, it was probably inevitable that I’d have minor issues with them. While frustrating at the time, they’ve been entirely solved with the hardware upgrade. At the time of writing, a new firmware upgrade was out to add flash firing in continuous mode on the X-T1, so features are being added, meaning you get additional value after purchase. John plans on adding HSS support when the EF-X500 comes out. Hopefully Fuji will add HSS to older bodies via firmware (currently only the X-Pro2 supports it).

So what’s my verdict? With the new upgrade, the units have performed well, with no need to resort to the app. If you have a compatible phone, the lack of a screen isn’t really an issue. The inclusion of the hot shoe pass through means that I can use my existing systems with them. If you want remote TTL via radio, there is nothing else out there-even when Fuji brings in wireless TTL in May, it’ll be optical and require line of sight. Fortunately, despite being the only option, these triggers work well and have future proofing built in off the bat. If remote TTL on Fuji is your thing, I highly recommend these trigger. While the may be the only game in town, it’s a good game.

One aspect of my lighting Masterclass at the Societies Convention was the modifiers you can use on speedlights. For a lot of my work (some of it is on the site and the blog), I use a Godox 120cm Octa (which can be bought from this Ebay link for less than $30 shipped). You can also get it on Amazon UK US Affil. I’ve had others before, but the key advantage of the Godox (besides the excellent material), is that it uses fibre glass rods, making it really robust. So much so that I was able to bend it enough to fit in my suitcase safely. I use this as both a key light and to get a white background on headshots.

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On the other end of the pricing scale is the Elinchrom Rotalux 70cm Deep Octa (Amazon UK/US Affil). This is one of my favourite modifiers of all, because it’s so versatile. Without any diffusion, it acts as a parabolic reflector, focusing the light for a really efficient response. Because it’s an Elinchrom product, it can be used with any of the Elinchrom deflectors, making it act like a beauty dish (it ships with a white one). With just the inner diffusor attached, it gives a beautiful soft light, but with a little kick from the visible silver on the outer part of the softbox. You can add the outer diffusor for even softer, less contrasty light. There’s also nothing to stop you using just the outer diffusor; this will give soft light, but not as soft as with both. So that’s at least 5 different looks you can get from one modifier.

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The Deep Octa is a studio product, but there are a few different product that allow you to use them with speed lights. I’ve gone through a few of them, and by far the best is the Godox Bracket for Elinchrom (Amazon UK/US Affil). Firstly, the flash is clamped in place, rather than using the hotshoe, so balances better. The tilt arm is really robust. It also takes an umbrella or deflector via spring clip. Finally the wide outer ring fits any of the Lastolite EZ Box softboxes-Godox also do their own softbox kit version with a bracket.

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The other value product I showed was the Meking Studio Ringflash. This softbox ring flash works on camera for a softer ring light look, but works just as well off camera. You can also put gels inside it via the next modifier! Again here’s an Amazon UK/US Affil link, but you can get it cheaper on Ebay.

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The final modifier is the MagMod system. This is a mounting system that uses strong rubber and magnets to support a range of modifiers that include gels/holder and grids. I love it. Gone are the velcro straps that are a pain to use, and attaching a grid or gel is so much easier now. I use them with both grids and gels and will add a snoot at some stage.

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Note: Affilialte links are marked as such. It’s not Irish law until March , but I’m showing them as such right now. I don’t get much from them, and it doesn’t cost you any extra. If you find the information useful, please use them to buy!

On work shoots everything is prepared, everything is ready. Sometimes on impromptu shoots, things can be less organised. The other evening we had some Sun breaking through the evening cloud. In the hope of getting a repeat of the light with Aelita, I headed out with my buddy Dave Cooley and a model Pamela, in case we got lucky with it. Rather than drive to the excellent Fanore Beach, Dave had a location that was nearer, and only a ’10 minute walk’ from the car. I packed my stands and Octa, and threw in a shoot thru umbrella for Dave. We drove to the location and got out. Quick check revealed the first error: None of the 3 flashes that live in my were actually in my bag. Doh. No idea when or why they were taken out. Uh oh….#1.

“We’re fine” says Dave. “I have my studio head and power pack here”. “Do you have radio triggers for it?”. “Of course”. I check the Octa on the head, and of course the head is too big to fit properly. Uh oh.. #2.

Fortunately I still have the shoot thru. It fits the head too. Great! So off we set. After 15 mins into our ’10 minute walk’, I look over at Dave and ask “Um.. you do have the power pack for this light?”. Uh oh…#3.

Dave offers to run back to the car, so we head on. In the end, he drives closer and catches up. The light is dropping and the Sun has decided it’s had enough of breaking through clouds and whimpers off into the evening. 25 minutes of walking gets us to the spot, facing west for the glorious sunset clouds. We could’ve gotten to Fanore in that space of time.. but I digress. We start to set up and Dave pulls out the triggers. And then realizes that he doesn’t have the adaptor for the studio light. Uh oh… #4.

A search through the front pocket reveals a small flash, a Neewer TT520. The day is saved! I could’ve used the Octa with this, but the light is dropping, and the Octa is back at the car, so the shoot thru will be just fine.

I should mention that Pamela was a trooper through all this. Even though Dave neglected to tell her about the ’10 minute walk’-which was done in heels. On a rocky trail. That might count as #5, but it worked out ok.

We had about 20 minutes swapping over the trigger before the light was almost gone. With a walk ahead of us in the near dark, we made our way back to the car to go home. Fortunately a lot closer than when we started! As you can see, we still got some nice photos despite all the …errors.

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With the nice weather we’ve been having recently, I was banking on some nice evening shots. Originally I was supposed to shoot with Viaga from Roza, but she couldn’t make it with work. Fortunately she dragged in Aelita to fill in at short notice. The sky didn’t look like anything would happen, but then we hit the jackpot.

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Photo Info
Shot on the Fuji X-T10 with 18mm and 35mm lenses. Neewer TT850 (Godox v850 rebrand) into 120cm Octa. Lit from the side to short light the face. Here you’re mixing an ambient shot exposed for the sky and another of a flash portrait. Set the look of the sky first, then adjust the power of the flash to suit. I’ve aimed the Octa upwards to have less light hitting the ground.

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My mother used to say that I shouldn’t play with my food. I remember some gag about not playing with your food until you’ve eaten all your toys.. but instead I was playing with my toys while playing with my food.

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For the photographers: Neewer TT850 (a rebadged Godox V850) into a 120cm Octa, with silver reflector. Fuji X-10 with 18-55mm OIS at 55. 1/8 power ISO250 1/180 f5, f7.1. Triggered with Yong Nuo RF602 set, as the Godox transmitter wasn’t in the bag. First image had Octa on the left, the second from behind me.

After uploading the post, I realized the gear was still set up from before I got distracted with editing the site after changing the sites theme (did you notice?). So I went out and did a little more styling and did a BTS shot. Also for processing I just changed the Profile to Pro Neg Std and tweaked shadows and highlights. While a little darker and less saturated, I think it looks more natural. Here’s the shot:

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And here’s the BTS, with the Octa on the left and the reflector (a windscreen sun shade) on the right. Pardon the mess, it was unplanned!

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After the successful shoot at Kilcolgan Castle, Andreas Reimenschneider has organized another group shoot at Galway Airport. Limited to 24 photographers, there will be 8 models from Roza Model Agency as well as hair and makeup. All details are in the image above. I’ll be on hand to help with technical and lighting queries.

Basic color theory shows that combining red, green and blue lights together gives white light. This also holds true for their complimentary colours, cyan, magenta and yellow. Nick Fancher has an excellent guest post over on the Scott Kelby blog on how a photo by Sølve Sundsbø inspired him to use multiple flash to create a multi shadow effect. Thinking about how colours mix led him to start using gels to create really funky shadow colours. Using 3 flashes, with 3 different gels is the key. The gels are of course the cyan, magenta and yellow we mentioned earlier. Where the 3 overlap, the light is white, but elsewhere, it’s the combination of the different gels, or in areas of shadow, the colour of the gel that’s filling in that area.
That’s the thing about using gels, they really work best in areas of shadow. Because the lights mix, they can wash other colours out, so any gel that lights into a shadow area will be at it’s purest.

For my afternoon of play with Emer from Roza Model agency, I set up my 3 Godox flashes, 2 V850’s and 1 V860c. I triggered them all via the FT-16s trigger, which allows you to set the power remotely, as well as trigger the flash. Using MagMod gels and holders, I placed the flashes at roughly 6 inch intervals, powered to 1/64 power initially.

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As the shoot was for fun and experimentation, I travelled light and used my Fuji X-Pro1 to shoot with. I started without the gels first to get the following shot:

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I also tried using a Canon T-SE90mm Tilt Shift lens on an EOS-Fuji X adaptor for a few shots. I used the tilt to angle the plane of focus, creating a much shallower depth of field. I also rotated the lens on the mount so it wasn’t on a vertical or horizontal plane. Here’s one of those shots.

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For the last set, I went with the gels and spent time moving the flashes around, and swapping the gel positions to get different looks. Here’s some shots from the final set.

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It was great fun and I’ll definitely revisit this for an editorial.

I’ve been using Off Camera Flash(OCF) for almost 10 years now. I’ve used tonnes of different flashes for said OCF: Canon 550ex, 540ez, 580ex, 580ex II, Nikon SB28dx, Sigma 500 Super, Olympus FL50r, Yong Nuo 560. I’ve even modded some of them to take radio triggers (see here and here). I’ve made ring flashes and strip boxes, along with various bounce cards and bought loads of modifiers to shape their light. So that’s my OCF background. I’ll talk more about techniques and shoots again, but for now I want to talk about the gear, specifically the flash in OCF.

Recently I ordered 2 new flashes (despite owning 7 already). I went for the NEEWER® TT850 (Amazon US
), which are rebadged Godox Ving v850s. These flashes have a guide number of 58, which match the power of any of the flagship models from Canon or Nikon. They also come with a lithium battery giving 650 full power flashes, with a 1.5s recycle time. You can get matched triggers that allow full power and flash control remotely(FT-16s) for up to 16 groups of flashes(in 1/3 stop increments too, not all flashes allow that). The heads have a full 360 degree swivel, and don’t require holding a button in to start turning. They also have a lamp that projects a criss cross red light allowing you to see exactly where the flash is pointed. Spec wise these fulfill 95% of what I could want in a battery flash. And yes, I have been looking at getting new flashes for a while! Why did I go with the Neewer brand? Basically it’s cheaper than the identical Godox V850 Flash (US). Godox are an OEM producer for Neewer, Cheetah and Lencarta amongst others, so it’s not a question of being higher or lower quality based on the prices. The brand sets the price.

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After getting the flashes I saw they’ve an 860c, with TTL, so I’ve ordered that to get a matched 3 flash set (The 860 is the same flash with the auto addition). There are other options out there, but this is the first set that have built in long life batteries, which sealed the deal for me. I’ve done load of work with them now and am still quite impressed with them. I’m shooting loads of real estate currently, so I had been wasting loads of time walking to and from flashes to get good light balance. No more!

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Have there been any cons? Yep. They have a sleep function that I only discovered when they went asleep on me while mounted into a truss for MK in Carbon, where it was a pain to get at to wake them up again. The sleep settings can be changed but I just didn’t know it about it at the time. Also the power button isn’t flush, so you can accidentally turn it on putting it into the pouch after use. I’ve had the batteries die more than once from this.

I was teaching with them at Hamps Hall-this years location for Paul RG Haleys regular residential photo training (or photo retreat if you prefer). The class found the flashes great and really loved the remote power and modelling lamp. Here’s a quick portrait of Lisa from one of the classes. Single flash at 1/4 power into a Lastolite Trifold umbrella, with a mini reflector from below and a bare flash at 1/8 power or thereabouts pointed at the wall behind Lisa.

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While not as powerful as my Elinchrom Ranger Quadras, the TT850 with FT-16s gives me the same kind of control as I have via the Quadra/Skyport combination but with less weight for applications where the power just isn’t required. As to the 7 I already had, I’ve been selling them off!

Ben (from folio32.com) called over to me the other day, buying my ‘not used since I got Quadras’ Tronix Explorer. We were talking about beating daylight using the Quadra and the Maxispot 29º reflector. So despite still being crippled, I set it up by the door to show him..

First shot ambient only, underexposed. ISO100 f22 1/200sec

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2nd shot with Quadra added at 5.0 (half power)

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For a laugh I bumped the shutter speed to show what would happen once you went past sync speed. I was explaining that the ambient exposure would still work, but the shutter curtain would block the flash exposure. Below we can see the shutter is blocking the bottom third of the flash. Also Ben is in the feather of the light here, rather than being in the full direct light of the flash. The shot still serves it’s purpose. We’re at 1/400sec now.

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Knowing this, we can cheat a bit to keep our sync speed up. This next one is at 1/400 sec and looks okay? How is that?

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Well that’s easy. Let’s see the original uncropped and unrotated original.

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You see, knowing the curtain is coming in 1/3 of the way from the bottom means that if we go wider and shoot upside, we can still get our subject fully light if we have them in the bottom 2/3rds with the camera UPSIDE DOWN!

The final thing we did for a laugh was to put a 10X filter on and shoot at f2.8, changing the other settings to suit. This filter is susceptible to infrared and has a pink cast to it.

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Now none of these were serious shots. I literally shot out of my back door as I was to sore to go anywhere. My exterior wall is cream, so Ben was getting midday sun reflected onto him, making him squint. Still I think he enjoyed seeing the tricks performed!

Finally, I’d like to point out that bar white balancing on the last one, no exposure etc has been added, so the images are as out of camera (except where noted). The aim wasn’t perfect, it was showing what could happen in the 10 minutes we were messing with gear.

I dragged Quays colleague John Mullen out today for some quick tests shots with a mix of new and old gear. I’ve done a few shoots with the small reflectors and the 18cm reflector and easily overpowered the sun using my Ranger Quadras, but I was interested in seeing how I fared out with a beauty dish. I had also intended trying the Maxispot, but forgot to pack it in the unexpected rush to pink John up (I lost track of time!).

So here’s the silver Minisoft 44 on the Quadra (with El Adaptor) at full power (6.0). Exposure is 1/200, Continue reading ›