Which monolights Hypersync to 1/8000th w/Nikon D3s + MiniTT1/FlexTT5 set-up?

<p>Iad said:</p>

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<p>From all the tests you've done what are your conclusions with the equipment you've been using and what method do you think you will be employing in the future to obtain the most benefit?</p>

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<p>Yes, I was about to post a summary about just that. Here's what I've concluded:</p>

<p>1. The HSS/FP-enabled mode offers a single modest benefit over using an ND filter: convenience. But it comes at a cost of about a stop-and-a-half loss, when used with the longer duration flashes I own: the Qflash and Dynalite. At least this loss is constant, and doesn't increase with higher shutter speeds.</p>

<p>2. The HSS/FP-disabled, HyperSync mode has a very workable range up to 1/1,000th, somewhat compromised peformance at 1/2,000th, and usable, but with some cropping, up to about 1/3,200th. Aiming the key slightly above the desired area of illumination helps "compensate" for the hot spot in the lower part of the frame when using this mode. The usefulness and efficacy of these methods are particularly dependent on the specific shot: model placement within the frame, specific areas of lighting, etc. I think this technique will be particularly useful in high-luminance ambient conditions, especially, if say, I'm lighting a full-length shot of a model, but only lighting her face with a gridded beauty dish, for example.</p>

<p>I said:</p>

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<p>I think this technique will be particularly useful in high-luminance ambient conditions, especially, if say, I'm <strong><em>lighting</em></strong> a full-length shot of a model, but only lighting her face with a gridded beauty dish, for example.</p>

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<p>I meant to say, <em>"I think this technique will be particularly useful in high-luminance ambient conditions, especially, if say, I'm <strong>framing</strong> a full-length shot of a model, but only lighting her face with a gridded beauty dish, for example."</em></p>

<p>In other words, in daylight exteriors, with high levels of ambient light present in the scene, HSS/FP-disabled, HyperSync is particularly applicable to such scenes where the model won't necessarily be evenly lit, from head-to-toe, by design. For example, a slash of light from a monolight, deliberately illuminating only the model's face and midriff, would "hide" the imperfect illumination from the "slitted" HyperSync flash exposure. While this may seem like an extremely limited application, it's a technique which can offer some additional benefits over shooting at X-sync.</p>

<p>I have been able to HSS hack my Oly E-3 and speedotron 805 pack for years at 1,8000th with no banding. I did it back in 2008. I moved from OLY because IMO they aren't ever going to try and compete with Nikon or Canon as real player in the Pro DLR market! I had to leave and lost my HSS hack for a little while but gained a better over all system. <br>

<a href="

Link to the video I made a long time ago, but lost my HD video hosting to Snapfish and moved the video to YouTube only a year or so ago. But I made that video more than a couple of years ago.<br>

Oly invented HSS The call it FP mode. All you needed to do is put the camera in FP mode by putting on a hot shoe flash like the fl-36r take a shot in FP mode, slip the flash off the hot shoe and place on any trigger. All done good to go, if you have the duration. My 805's work perfect ( I have 3 of them) Oly spoiled me, it was so easy. <br>

No need to pay for pocket wizards Flex tt what ever, I have a bag full of PW Plus and PlusII's now I habe to buy Flex's, Hell No I refuse. I wish all camera's worked as easy as my E-3 did.<br>

Now I have a 7D and it is a nightmare to make this work. I refuse to pay PW more money to do a HSS hack, so I started to investigate, this is what I found.</p>

<p>On a 7D this is what you do, buy a 220ex take it apart, slip in a mini photocell in the tube area, run the wires down inside the body, solder in a mini jack (3.5mm mono) and make a mini sync cable to your favorite radio trigger. On the 220ex slide the HSS switch to put the camera in HSS mode and you can trigger pack lights and mono lights with no banding. If you dont want the hot shoe installed flash to add any light, flag it with gaff tape.<br>

I will make a video to show the 7D in action. I have worked on this for a long time. Michael Bass was working with pocket wizard while they were developing the Flex & mini's. He spoke to me when I asked him to help me with my project when I was using the 430EXII. <br>

You can add a sync port on the 430EXII to trigger it off camera but you cant grab the signal to trigger a PW with the flash in HSS mode. It super imposes a weird voltage back to the camera and will only trigger the (radio trigger one time). I see that Photix, PW, and Radio popper have all figured it out. <br>

It is only a matter of time until you see Flea bay triggers with the ability to put a camera in HSS mode and allow you to trigger studio packs that have the proper duration's to allow the tail sync hack. <br>

I want to make a little cube, that let you slip in a standard radio trigger, and has a button or a switch that tricks a Canon or Nikon body into HSS mode. Then all you need is light source with the proper duration's. No need to replace all your triggers, I paid hundreds of $$$ on PW's and now they wont do what I want them to do, pisses me off.<br>

I always heard people cry Oly was late to the party, so it seems Oly wasn't so late to the party after all. The invented Sensor dust removal, IS, and HSS (FP mode) to bad they sold out to build Micro 4/3 cameras instead of building a real Pro DLSR or I would still be in Oly Camp instead of with my PITA 7D and dust pump thousand dollar plastic lenses. Did I mention Zuiko glass is some of the best I have ever owned namely the 35-100 f2 (still no equal)</p>

<p>OK well on with your mono block, flext tt BS. What a huge waste of money when they Canon and Nikon can offer this capability with ease as part of body. </p>

<p>Apologies for all the broken HyperSync test image links. Here's some updated HyperSync tests I performed recently, photographed under more controlled conditions:</p>

<p><a href="http://lightbasics.com/pocketwizard-hypersync-long-duration-flash-tests/">http://lightbasics.com/pocketwizard-hypersync-long-duration-flash-tests/</a></p>

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<h4>why HyperSync?</h4>

<p>What are the benefits to increased shutter speeds while still being able to use your strobe? While most view HyperSync as a technique to “overpower the sun,” that’s only one of three applications where HyperSync can be useful:<br>

1. Increasing flash-to-ambient ratio to darken daylight exterior backgrounds.<br />2. Enabling large apertures when using strobes in daylight, without using an ND filter.<br />3. Employing high shutter speeds when using strobes in daylight to freeze motion.</p>

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<p>I would question the validity of 1... "Increasing flash-to-ambient ratio to darken daylight exterior backgrounds."</p>

<p>The physics of hypersync is to allow a faster shutter speed to be used with the SAME flash output. The SAME flash output (operating as 'ambient') is being reduced by shutter speed too.</p>

<p>So where does this 'Increasing flash-to-ambient ratio' happen?</p>

<p>Not with Speedlights, not with long duration flashes (except at max shutter speed - and that marginally) and not with short duration flash without banding or severe shutter curtain intrusion.</p>

<p>For the sake of clarity (since my posted images in this thread are no longer on the server), I've created a new thread to continue this discussion here:</p>

<p><a href="/photography-lighting-equipment-techniques-forum/00cxDx">http://www.photo.net/photography-lighting-equipment-techniques-forum/00cxDx</a></p>