ian_casement

Quantum FreeXwire. They handle TTL with my Quantum stuff, enable control from an on camera Trio, on camera Pilot, On camera Radio Trigger and I fit one to every light across the range of Quantum, Lumedyne, Sunpak as well as having a set for studio lighting use. On the Sunpak's they get velcro'd to the front of the handles where they don't swing around or get in the way and all my lighting where appropriate share the same Velcro Hook/Eye configuration so that they can be interchanged if needed. The Receivers have soft 'Eye' velcro and the Handles / Pack sides have 'Hook' velcro.

Try the same test in daylight. Compare and provide the images produced. Speedlights are JUST underpowered compared to daylight. When your subject needs matching light levels to those provided by daylight and your "Hammerhead" is just about managing at full power and at full zoom, then you'll see how woefully inadequate the Speedlight is in comparison. Ressurecting underexposed subjects through lack of output is just unnecessary if you use the correct equipment. That is not to say that a Hammerhead has any better quality of light than a Speedlight has - not in the slightest - both are crap. Hammerheads are probably worse as their fresnels are less developed and are do not provide even coverage, but both compared to a parabolic are in a much lower class. Hammerhead Parabolic? I'll take that, but I detest the extra weight and inconvenience of the power pack and umbilical, also without a zoom reflector they will provide less light on subject than a Fresnel zoom Hammerhead could provide (of less Ws) and if it's only for Hammerhead type photos and outside, then the matched frame coverage benefit and minimal loss of output would go a long way to swing the use to the Fresnel Hammerhead instead. Off camera flash: Speedlight - Hammerhead - Parabolic? Parabolic every time, apart from where some low level fill or maybe some soft box use might be required.

Sunpak users might like this setup where I've fixed a Quick Release clamp to the battery holder rather than needing to use the supplied L bracket. The supplied L bracket, whilst sturdy leaves a vicious pin sticking out if the flash is removed from the bracket: http://www.accolade-photography.com/DPR/spbracket2.jpg

Interesting thread... Moreso as I've just been using my 622's today... and they're a dream. Battery options I've arrived at are: The simplest - Use 5500mAh NiMH C cells. Great duration, great recycle times, great single combined flash unit and power supply. Next easiest - Quantum Turbo batteries, Great duration, great recycle times, but umbilical cord cable connection to contend with. The Sunpak 622 Super with its zoom head and integral battery really are a tough combination to beat. Their efficient reflector makes them a worthy competitor to a 400Ws parabolic and with better ergonomics. In syncro sunlight situations, overpowering the sun and matching ambient they're pretty much unbeatable. Where you have any requirement to combine external lighting along with lighting a subject the power provided y the 622's is what is needed and no adjustment of ISO will ever save you. Gear Porn: Opening the Sunpak case today. http://www.accolade-photography.com/DPR/622kit1800.jpg The flat fronted battery packs provide a great location for fixing a radio receiver and when given to an assistant the handle/flash/battery/radio are a fantastic combination. Without an assistant theres a 1/4" screw fitting at the bottom of the handle.

You could look here: Product Review: Clik Elite Volt Studio Light Backpack or make something yourself? An old framed rucksack would be a good starting point then clamp poles to it. Camptrails made some fantastic framed rucksacks.. check out any used available items online. Here's a DIY: DIY Backpack OctoDome for Lighting Solo Shoots

Agree. Entirely. Lets leave the T2 out of the equation as thats like saying the Ford motor company make a great 'Model T'. The Quantum T5dR is probably the most well known and aspired-to lighting addition of the the Quantum range , but I would wholeheartedly , 100% advocate the X5d-R range. 400Ws, Pack configuration, full camera and remote integration, battery options, expandable output to 2x 400Ws per pack. Beautiful. I have been a long time user of Quantum equipment after evaluating my needs and identifying the (Quantum) solution. This extends to control Speedlights and trigger studio packs too. Note this: Models purchased in the year 2000 can STILL be up to date with modern day cameras via firmware updates and are still being use in professional applications. I have 10 Quantum units and they all work great today. Some ARE prior to 2000 units. ROI has never been equated. There are things which could be changed for the better for working professionals but these changes would be down to 'attention to details' rather than pure function. If, as you state there is a T6 coming out, then I hope it already has professional requirements priotised and it will retain the ROI offered by no other system.

<p>..Tungsten, HMI's would work with a good low light camera.</p>

<p>Forget squirming, you'd scare the life out of an animal with flash at 12 fps!</p> <p>Set to 100Ws I was able to get 11fps with a Quantum 400Ws set up. If you added more 200Ws boosters to the basic 200Ws pack you'd probably get up to 12fps for 24-30 shot sequence but you'd need quite a few boosters.. maybe a dozen (?!).</p> <p>Some lighting which has a TTL capability would be your requirement. These cycle to full storage capacity each time and use what they need for each shot but recycle again to full power each time. This won't happen in the time you're thinking about so you'll need a big energy reserve in the first place.</p> <p>LED's, Tungsten, HMI's would all be better options I'd say.</p>

<blockquote> <p>Short exposure (or more correctly, high intensity) Reciprocity Failure doesn't kick in suddenly above 1/1000th s. It's a gradual process and works such that contrast is reduced. In other words the highlights are affected more than the shadows, resulting in a flat-looking exposure, but not a completely blank frame.</p> </blockquote> <p> <br> That ^</p>

<p>Your shutter or whole shutter box may be faulty.</p> <p>Check by looking through the shutter blades without film in the camera, back open and no lens on the body. You should see light coming through the shutter by way of a travelling slit.</p> <p>By the sounds of your initial post you should only need to check speeds faster than 1/1000s.</p>

<p>Establish what the correct exposure is and adjust the ASA or ISO on your meter so that you get the correct reading. Each time you use it, remember to reduce your ASA OR ISO by the same amount again.</p>

<p>You could just buy a Wein IR transmitter. They're the smallest and last the longest. You can DIY your own but they end up being more expensive unless you already have IR gel filter. There are other IR transmitters but they do tend to be quite large. Prolinca make such a transmitter.</p>

<p>A barebulb set to Wide at the full extent of the umbrella shaft will give you even coverage of the umbrella.</p> <p>The geometry of umbrellas is pretty much the same unless you have a removable shaft. The position of the flash on the shaft is pretty much the same for any umbrella too.</p>

<p>Reflector in place, set it to Wide if you can (? not sure if the Sunpak can be set like this) Your flash will need to be at the full length of the umbrella shaft for anything like even coverage.</p>

<p>Your subjects need to be lit to the same level as the bridge in the background. Not 'fill' at a lower level. The subject is primary. Not only does it need to be lit, it needs to be "realistically" lit... not just fill flash from camera position, which provide the required lighting brightness equivalent but also provide favourable modelling. That may require a hard light equalling the light level at the bridge, but also a fill light to balance the the (then) black shadows.</p> <p>If your background is too bright with the lighting you're using, then you're not adding enough flash. OR.. you are tripping into HSS/FP mode beyond 1/250s where your lighting is compromised and cannot provide enough output.</p>