On location lighting options

[fotografz]

 

 

<p ><em>"You couldn't care less.. Even though you were the one insisting on the 'balancing the light' analogy? If you didn't care less sooner based on the understanding of 'everyone' - then this could have been avoided all together."</em></p>

<p > </p>

<p ><strong>I did not say I agreed with you Ian ... because I do not</strong>. I just don't care to argue with someone who takes a photographic technique out of context of a creative objective and debates it endlessly ... which adds absolutely nothing to what most already grasp as the end objective ... as demonstrated in the link you provided.</p>

<p > </p>

<p >I never once said the two terms were an analogy, synonym, or interchangeable ... I simply contented that the common objective of overpowering-the-sun is to bring the background and the subject visually into balance using amount and direction to make it look as natural as possible. That is the intuitively understood creative objective. </p>

<p > </p>

<p >What is not always readily understood is how to do that, and more importantly how much light is required when the image is grossly out-of-balance ... with a nuclear background, and a subject that is grossly underexposed when that background is properly exposed ... "properly exposed" being a subjective creative decision as to what the photographer may want that to look like. However, to accomplish <em>any</em> level of darkened background in such extreme out-of-balance conditions requires overpowering-the-sun to one degree or another, which in turn requires varying levels of output on the subject based on that background exposure (further impacted by distance & modification). </p>

<p > </p>

<p >Personally I do not think of techniques out of context of the objective ... which is why I asked early on ... if balancing the exposure of the subject with the background isn't the objective (when shooting in very bright ambient conditions where the sun can only be augmented as suggested in the link you provided), then what is? Endlessly debating terminology out of context to an objective doesn't answer the simple question of how to achieve that common goal.</p>

<p > </p>

<p >I can say one thing with certainty, having art directed thousands of location shoots for national advertising with hundreds of different professional photographers ... balancing exposure for a natural look was almost always the stated objective, and when faced with extreme ambient conditions, none of them showed-up with speed-lights, Quantums, Lumidynes or anything of the sort. Not that the OP's situation is anywhere the same, but it makes the point that you can't send a boy to do a man's job when it comes to lighting in extremely out-of-balance conditions. </p>

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[studio460]

<p>Marc said:</p>

<blockquote>

<p>I can say one thing with certainty, having art directed thousands of location shoots for national advertising with hundreds of different professional photographers ... balancing exposure for a natural look was almost always the stated objective, and when faced with extreme ambient conditions, none of them showed-up with speed-lights, Quantums, Lumidynes or anything of the sort. Not that the OP's situation is anywhere the same, but it makes the point that you can't send a boy to do a man's job when it comes to lighting in extremely out-of-balance conditions.<br /> </p>

</blockquote>

<p>I've worked on dozens, if not hundreds of national-campaign photo shoots as well. Not as a photographer, but as a behind-the-scenes shooter for television. Now, I didn't happen to notice too many Qflashes or Lumidynes either, but these weren't those kinds of shoots. These were multiple-pack Profoto shoots (once in a while, a multiple-pack Broncolor shoot), typically in a large studio, with like a zillion assistants, stylists, agency people, etc.</p>

<p>Now, don't get me wrong, I think both of you are talented, knowledgeable photographers, each with considerable expertise to share, and I'm certainly not taking any sides, especially since I've already learned a lot from both of you. I'm not even quite sure what the debate is about, but the more hands-on, brass-tacks informational posts (both of which, both of you have contributed), are kinda useful stuff around here.</p>

<p>I'll re-tell the story I mentioned earlier . . . there I was, shooting another behind-the-scenes celebrity photo shoot for a national campaign, and of course, I start asking the photographer a few questions. He had two set-ups in a hotel room, using multiple Profoto packs. One set-up was on the balcony. He had a small softbox on the ground, connected to a 1,200Ws Profoto pack. I asked, "How many Watt-seconds are you using?" He replied, "I have the pack at only half-power." So, 600Ws, from a softbox a few feet from the model, standing on a balcony on a sunny day with partial cloud cover did the trick. Interesting!</p>

<p>Again, I'm hoping not to raise the ire of either of you, because I think you both have very valuable reserves of knowledge to share.</p>

[studio460]

<p>Here's an image from one of my old HyperSync tests, shooting directly into the sun. If I remember correctly, I have a Speedotron Force 10 monolight about 6' from the subject with a 22" beauty dish. I was powering the Force 10 with my Vagabond Mini Lithium inverter at the time (unaware of any potential damage I may have been causing to the Force 10):</p>

<p><img src="http://nikoncinematographer.com/images/hyper32.jpg" alt="" /><br>

Nikon D3s; AF-S Nikkor 50mm f/1.4G; ISO: 100; f/5.6 @ 1/8000th (bottom of frame is cropped).</p>

 

[fotografz]

<p>Ralph, I'm not all that interested in semantic debates either, and sure as heck don't want to even form "sides" ... sorry I even got into it now.</p>

<p>All we can do is share experiences. After all, we are just trying to take better photographs by controlling the light to meet our creative vision. My own experiences coincide with the ones you mention, and 600w/s out of soft-box only a few feet away doesn't surprise me (depending on what that background was doing). Using 600w/s with a 1200w/s generator cuts recycling time, and dialing down a more powerful pack than needed is not unusual to facilitate work flow.</p>

<p>Now, if you expand that need to cover a larger subject like a group of people or a set of some sort ... and you need to overcome a hot background, the lighting sure isn't going to be just a couple of feet away from the subject(s), so the output is going to have to increase in relationship to that increased distance. </p>

<p>Could you expand on your use of Hypersync with studio packs which I do not know much about ... what is required? A system with a longer duration? For example, the Broncolor Verso A4 2400 publishes duration of t:05:1/250th @ full power. Help me out here. </p>

[ian_casement]

<blockquote>

<p>Could you expand on your use of Hypersync with studio packs which I do not know much about ... what is required? A system with a longer duration? For example, the Broncolor Verso A4 2400 publishes duration of t:05:1/250th @ full power. Help me out here.</p>

</blockquote>

<p>Longer durations are better. Lumedynes work well, so too do Normans. A Quantum 400ws works very well here.. so much so I even pointed it out earlier in this thread as an advantage. No special gizmos required.. just keep it within the system. (Page 3). Rather than get only 400ws on subject you get the equivalent of 800ws at 1/8000s cutting that ambient back an extra -1 stop and even providing shallow depth of field.</p>

<p>The 6K pack I use also performs well, along with Traveller G packs. These don't benefit from an increase in output beyond the maximum x-sync, but do retain ratio unlike speedlights. The QuadX 3000 I mentioned, don't work so well in this respect, their flash duration is shorter than the Profoto 7b so better suited to action stopping and brute force for overpowering or balancing 'anything' rather than being carried and using FP/HSS tricks, no battery with these so you need a generator or to plug them in the main line.</p>

<p>As Ralph knows, the numbers mean very little, you need to actually try it with the camera you use, the trigger you use and the lighting.</p>

<p>That pretty much bears up your point about sending a boy to do a mans job, Marc. Obviously the boy wouldn't have a clue about these things, but stick a known label on a product - and it's sure to sell or be hired.</p>

<p> </p>

[ian_casement]

<blockquote>

<p>... I simply contented that the common objective of overpowering-the-sun is to bring the background and the subject visually into balance using amount and direction to make it look as natural as possible. That is the intuitively understood creative objective.</p>

</blockquote>

<p>Theres nothing natural about the visual effect of 'overpowering the sun' - with this there is a deliberate in-balance and the result is obvious as such. Believe what you want.</p>

[fotografz]

<p>Ian, you can go right ahead and produce "unnatural" looking shots to your heart's content ... and I'll make photos my way.</p>

<p>BTW, I didn't ask you about anything ... I asked Ralph. I'm no longer interested in anything you have to say because you see it as some sort of contest to bandy insults about, with an odd emotionally immature superiority goal in mind. Life is to short for dealing with internet people like you.</p>

<p>Adios</p>

<p> </p>

[ian_casement]

<p>Marc,<br>

I have no intention of producing 'unnatural' looking shots, in fact, if you read back I was the one who questioned how appropriate this might be with the request to the OP of his intentions.</p>

<p>And don't think your underhanded comments go unnoticed. As you sow, so shall you reap.</p>

[fotografz]

<p>Ralph, if you are so inclined, please consider e-mailing me about the question I asked you. If not, that is fine too, but I'd like to learn about your experiences if you have the time. Thanks.<br>

</p>

<p> </p>

[studio460]

<p>Marc:</p>

<p>I certainly don't mind answering your post publicly. Unfortunately, there is a dearth of information on this subject, and it took a bit of effort to find some answers. I first posted this same question here on photo.net, and Ian was of great assistance in helping me to understand what was going on. While it would be easiest to point you to the thread where this was previously discussed, I have since inadvertantly deleted all of the reference photos used in the thread which illustrated my tests, so a majority of the thread isn't of much use anymore. I'm sure, much of the following you already know.</p>

<p>Here it is a nutshell:</p>

<p>1. LPA Design claims a superior feature of their PocketWizard trigger products called "HyperSync," which permits, higher than x-sync sync speeds. This capability is neither unique to PocketWizards, nor that much of a "feature."</p>

<p>2. The effectiveness of HyperSync is highly variable, and is entirely dependent on your specific camera body (even within the same series or brand), and your specific strobe.</p>

<p>3. Both theoretically, and practically, strobes with the longest duration, or longest tail, will benefit most from HyperSync; however, in all of my tests there were compromises.</p>

<p>4. Any flash exposure (at least with a Nikon D3s) synced above 1/250th, results in either an uneven, darkened exposure (HSS/FP mode), or a shutter-curtain shadow in the lower part of the frame.</p>

<p>5. Bottom line, the maximum recordable flash output will always be at the camera's native x-sync.</p>

<p>That's not to say the technique isn't useful, but it's good to finally know, there's no free lunch when employing HyperSync. The technique in my particular set-up is useful at sync speeds up to about 1/2000th, if I recall correctly (there are still some darkening effects or shutter-curtain shadows, but are slight enough not to be noticed, or may be cropped out). The most efficient way to "overpower the sun" is to use your flash at x-sync, and if desired, add an ND filter to your lens. Ian is the person who took the time to explain this to me in much detail, and is far more knowledgable on the topic than me.</p>

<p>The next chapter in this saga is for me to run a battery of tests with LPA's newest Nikon firmare for their MiniTT1/FlexTT5 triggers for Nikon.</p>

[fotografz]

<p>Thanks Ralph.</p>

<p> </p>

[studio460]

<p>You're welcome, Marc. Note that my statements above are subject to re-confirmation. Also, my experience is only with the three monolights I own (Qflash Model T, Dynalite Uni400 Jr., Speedotron Force 10), not with any pack-and-head systems as you asked. Again, I still need to re-test with the new PocketWizard Nikon firmware, to both vet my previous observations, and to discover if there is any added efficiency (i.e., faster problem-free shutter speeds).</p>

<p><br />Hopefully, I can carve out some time to do a test or two this weekend. Even though I'm supposed to finish demoing our master bath shower on Saturday (have to rent a jackhammer), and have to work the Oscars on Sunday, I'm now anxious to get to it. This thread has gotten me interested in finding the results again.</p>

[studio460]

<p>Let me say one more thing here . . . I'm far from expert on any of this. In fact, I'm a novice. When I started the original thread, I didn't know a t.1 from a teacup. Several photo.net members contributed a lot of helpful information to that earlier thread, and I'm completely in their debt for the small amount of knowledge on this subject I've been able to decipher thus far.</p>

<p>So, this evening, I posted my first test with the new Nikon firmware in a separate thread. Honestly, I have very little familiarity with the PocketWizard utility software. As you'll see in the new thread, the first test appears as if HyperSync isn't even working. I still have to re-familiarize myself with the utility, and determine what the most optimum settings are for the tests, and if I've even set the initial setting anywhere close to where I need to be.</p>

[fotografz]

<p>Thanks again Ralph. It does seem dependent on quite a few variable factors.</p>

<p>I was interested in whether there was something new I was missing because I have been open to a work-around for our dual shutter capable Leica S2 as owners patiently wait for the promised Leaf Shutter versions of the Lieca S lenses. Currently HSS is available only with the Leica speed-light (basically a rebranded Metz 58-AF), which coupled with a max focal plane shutter sync speed of 1/125 is often too weak to apply some of the techniques being discussed. There isn't a radio system with the HyperSync feature for this camera anyway, at least as far as I know.</p>

<p>Since I don't use a Nikon or Canon 35mm DSLR anymore, it all may be a moot point ... unless I'm <em>still</em> missing something.</p>

<p>We also use a Hasselblad H4D/60 which does offer ISO 50 and 1/800 sync with all lenses when hard-wired (1/500 with radio), then use variable NDs to further control use of wider apertures with strobes outdoors when desired.</p>

<p>Currently, all of the studio lighting is Profoto packs and D1 monos, and on location Hensel Porty 1200 L packs ... which are fully controlled and triggered by AIR radio. I know this is a lot of fairly exotic gear, however we do, or have done, a lot of work for clients like General Motors, Johnston Outdoor, and Unilever Foods ... and the availability of rental gear to supplement our existing base is a critical factor.</p>

<p>That isn't to say that everything benefits from this type of lighting gear ... for many situations it is just over-kill ... especially smaller assignments or commissions where you are working alone or with one assistant, and you have more control of when and where you'll be shooting. So, I may use anything from a Elinchrom Quadra, to just a Sony A900 with a pass through TTL radio to trigger other Sony off-camera speed-lights ... to a 120J on a light pole powered by a Quantum Turbo C using a simple radio trigger. I haven't pushed this area of investment in lighting gear very much because the need and revenue doesn't justify it ... but would love it if Quantum made a TRIO for the Leica S2 with HHS just to get to a bare-bulb configuration. </p>

<p>Best of luck with the Jack-Hammer Ralph, you are a braver man than I. </p>

<p>You are shooting at the Oscars I presume ... best of luck with that also!</p>

<p>-Marc</p>

<p> </p>

[studio460]

<p>Marc:</p>

<p>Don't confuse HSS/FP with so-called "HyperSync." This feature is not unique to PocketWizards--it basically works with most all RF triggers to some degree, and works on a completely different principle than HSS/FP. PocketWizard simply developed a software utility to help exploit the function a bit more. Try it--it may work!</p>

[fotografz]

<p>Yes, I grasp the difference, but the objective of using higher than standard sync speeds is similar ... just arrived at very differently. My point was that the only thing I currently have uses HSS to get there ... and as we all know, that is too weak for most of these lighting techniques ... thus the interest in HyperSync techniques.</p>

<p>I'm not sure I even have a camera and/or lighting system that'll allow any level of HyperSync ... but I'll fool around with a bunch of different combinations just for kicks ...</p>

<p>-Marc </p>

<p> </p>

[ian_casement]

<p>At the beginning of this thread I left out the extended possibilities of the +1.6 stop advantage speedlights could be afforded using Peak Hypersync and much of the tail FP mode benefit available with the right camera/flash combinations, but seeing as this is the lighting forum perhaps it's most relevant to this thread - particularly with the OP's intentions.</p>

<p>It's ironic that suggestions of using a 1200ws power pack in overpowering the sun situations combined with low max. x-sync equipped cameras result in a net output loss compared to a conventional shutter equiped camera and comparatively lower output flash unit and a HSS technique.</p>

<p>A 1200ws flash unit using a camera with a 1/30-1/60s max x-sync with studio strobes, or a 1/125s max x-sync with FP shutter will only manage to - at best - in the fist instance, fail to match a 400ws unit at full x-sync, and in the second - barely exceed the 400ws unit at full x-sync and then at greater shutterspeeds be permanently chasing the optimised 400ws unit until finally being left behind with less than half the useable output of the smaller output, form factor, and weight of the 400ws unit.</p>

<p>Hard to believe, but a 400ws unit providing twice as much light in this situation on subject as a 1200ws unit? It seems so.</p>

<p>In the same situation of using a 1/125s x-shutter equipped camera, using a 1200ws power pack and comparing it to a 'lowly' speedlight using Peak Hypersync to its best advantage will produce only an equal par in light benefit with an incomparable form factor, weight and convenience to the benefit of the speedlight! Now thats a revelation in itself.</p>

<p>The obvious advice to the OP would be that in order to maximise output and convenience and minimise size and weight would be to start from obtaining a camera which will perform at a high maximum x-sync as each increase in shutterspeed is equivalent to a necessary doubling of WS, maintain that x-sync with whatever flash is being used and employ whatever other technique is applicable to that camera to work at it's most efficient level beyond the manufacturers set limit. Failing to do this will necessitate compensation by way of increased WS and for no real added benefit.</p>

<p>There are pack systems available which are reported to work well in certain configurations which will retain their increased WS benefit, work with the higher x-sync cameras and perform well with extended shutterspeeds. I'll find the reference I have for this and report the benefit.</p>

[studio460]

<p>Hey, there Ian--I re-did my Qflash test, and I'm rather impressed (although, there does seem to be something odd happening at x-sync--I'll have to re-test with a hard-wired PC connection at x-sync). I'm really liking my ancient Model T, and will probably invest in more Quantums in the future. Darn good flash.</p>

[studio460]

<p>Marc:</p>

<p>I just noticed that I had made several inaccurate statements in my reply to you, previously in this thread. It's been so long since I've worked with this stuff, I had gotten some of my terms mixed up, and had forgotten the details of my old tests. Please refer to my new "Nikon 3.003 firmware tests" thread for more accurate/current information.</p>

[rob_h5]

<blockquote>

<p> ...using a 1200ws power pack in overpowering the sun situations combined with low max. x-sync equipped cameras result in a net output loss compared to a conventional shutter equiped camera and comparatively lower output flash unit and a HSS technique.</p>

</blockquote>

<p><strong>You have it backwards...again. No 60w/s flash is going to compete in light output or GN , DOF and long range flash distances with a 1200w/s strobe light pack especially in midday sun.</strong><br>

<strong></strong> <br>

When you use FP/HSS or PW Hypersync enabled speedlites there are several penalities: as you increase shutter speed <strong>you are decreasing the guide number (GN) / effective light in half each time the shutter speed is quadrupled, you are actually losing f-stops</strong>. This is also multiplied as you increase distance. Outside of shooting only a few feet away from the subject at 1/8000s in full midday sun the power of the speedlight decreases rapidly to the point of being virtually ineffective in midday sun.</p>

<p>Another problem is you have to shoot in <strong>ONLY wide apertures with speedlites at high sync speeds</strong> because so little of the light is actually emitted at high sync speeds with speedlites. Shooting at only wide apertures is not always desired and with speedlights at high speed syncs you do not have a choice. Furthermore because during FP/HSS speed mode it acts like a continuous light source it also seriously drains your battery on your speedlight. Having a deep DOF regardless of sync speed and overpowering the sun with light modifiers is just both impractical and not possible at distances beyond only 10ft with speedlights and only possible with portable studio lights with more wattage such as 1200w/s strobe light packs.</p>

 

[ian_casement]

<p>Here is what I said;</p>

<blockquote>

<p>A 1200ws flash unit using a camera with a 1/30-1/60s max x-sync with studio strobes, or a 1/125s max x-sync with FP shutter will only manage to - at best - in the fist instance, fail to match a 400ws unit at full x-sync, and in the second - barely exceed the 400ws unit at full x-sync and then at greater shutterspeeds be permanently chasing the optimised 400ws unit until finally being left behind with less than half the useable output of the smaller output, form factor, and weight of the 400ws unit.</p>

</blockquote>

<p>The best performance beyond x-sync comprises of either retaining ratio with a <em>suitably</em> slow flash duration - or - by using Peak Hypersync with a <em>suitably</em> fast flash duration, with this you can get an increase in ratio to the benefit of the flash up to whatever shutter speed your flash/camera combination is capable of providing, but with the caveat that you probably won't get complete even coverage across the frame. Using a slow flash duration can provide an evenly exposed frame. This is how it works out...</p>

<p>Using your 'manufacturers specification' that a 5DII can only sync to 1/30-1/60s with a studio type strobe, heres what happens ( I'll use 1/60s for your benefit).<br>

<em>In the first instance..</em> Comparing a 1200ws unit using a camera with 1/60s x-sync.. to a camera with a 1/250s x-sync which can continuously sync to 1/8000s with a 400ws unit.<br>

<strong>1200ws</strong> unit ................................................ <strong>400ws</strong> unit<br>

1/60s @ 1200ws Max..................................... 400ws (1.5 stops difference to the benefit of the 1200ws)<br>

1/125s @ 600ws equivalent (<em>won't sync</em>) ........ 400ws (still), <strong>gain +1 stop</strong><br>

1/250s @ 300ws (-1 stop) (<em>won't sync</em>)......... 400ws (still), <strong>gain +1 stop</strong><br>

1/500s @ 150ws (-2 stops) (<em>won't sync</em>)........ 200ws (gain of 0.5 stops overall)<br>

1/1000s @ 75ws (-3 stops) (<em>won't sync</em>)....... 100ws (gain of 0.5 stops overall)<br>

1/2000s @ 37.5ws (-4 stops) (<em>won't sync</em>).... 50ws (gain of 0.5 stops overall)<br>

1/4000s @ 18.75ws (-5 stops) (<em>won't sync</em>)..... 25 ws (gain of 0.5 stops overall)<br>

1/8000s @ 9.375ws (-6 stops) (<em>won't sync</em>).. <strong>50ws. Gain +1 stop. Gain 1.5 stops overall for 400ws unit.</strong><br>

<strong><br /></strong><br>

<strong><br /></strong><br>

<em>In the second instance..</em> Comparing a 1200ws unit using a camera with 1/125s x-sync.. to a camera with a 1/250s x-sync which can continuously sync to 1/8000s with a 400ws unit.<br>

<strong>1200ws</strong> unit ................................................ <strong>400ws</strong> unit<br>

1/125s @ 1200ws Max..................................... 400ws (+ 1.5 stops difference to the benefit of the 1200ws)<br>

1/250s @ 600ws (-1 stop) (<em>won't sync</em>)......... 400ws (still), <strong>gain +1 stop</strong><br>

1/500s @ 300ws (-2 stops) (<em>won't sync</em>)........ 200ws <br>

1/1000s @ 150ws (-3 stops) (<em>won't sync</em>)....... 100ws <br>

1/2000s @ 75ws (-4 stops) (<em>won't sync</em>)....... 50ws <br>

1/4000s @ 37.5ws (-5 stops) (<em>won't sync</em>)...... 25 ws <br>

1/8000s @ 18.75ws (-6 stops) (<em>won't sync</em>).. <strong>50ws. Gain +1.. Gain of 0.5 stops overall for 400ws unit.</strong><br>

<strong><br /></strong><br>

<strong><br /></strong></p>

<blockquote>

<p>Rob H wrote:<br>

<strong>You have it backwards...again. No 60w/s flash is going to compete in light output or GN , DOF and long range flash distances with a 1200w/s strobe light pack especially in midday sun.</strong></p>

</blockquote>

 

<blockquote>

<p>I wrote:<br>

In the same situation of using a 1/125s x-shutter equipped camera, using a 1200ws power pack and comparing it to a 'lowly' speedlight using Peak Hypersync to its best advantage will produce only an equal par in light benefit with an incomparable form factor, weight and convenience to the benefit of the speedlight! Now thats a revelation in itself.</p>

</blockquote>

<p>So how does that work out?</p>

<p><strong>1200ws</strong> unit ................................................ Speedlight <strong>80ws</strong> unit<br>

1/125s @ 1200ws Max..................................... 80ws (+ 4 stops difference to the benefit of the 1200ws)<br>

1/250s @ 600ws (-1 stop) (<em>won't sync</em>)......... 80ws (still), <strong>gain +1 stop</strong><br>

1/500s @ 300ws (-2 stops) (<em>won't sync</em>)........ 80ws (still), <strong>gain +1 stop</strong><br>

1/1000s @ 150ws (-3 stops) (<em>won't sync</em>)....... 80ws (still), <strong>gain +1 stop</strong> (use debateable) <br>

<strong>Total difference achieved +1 stop to the benefit of the 1200ws unit.</strong><br>

Do the same with a 1/30-1/60s max x-sync camera and the <strong>speedlight matches or betters</strong> the 1200ws in light output.</p>

<p> </p>

<blockquote>

<p>When you use FP/HSS or PW Hypersync enabled speedlites there are several penalities: as you increase shutter speed <strong>you are decreasing the guide number (GN) / effective light in half each time the shutter speed is quadrupled, you are actually losing f-stops</strong>.</p>

</blockquote>

<p><strong>No it doesn't</strong>. That only happens when you use the conventional FP/HSS along with the associated FP/HSS losses. If you optimise your system and set your unit to use peak hypersync you can get greater output comprising of either a brighter image or greater range as long as your strobe has a <em>suitably</em> short flash duration..</p>

<p>Nowhere did I mention the use of FP mode or HSS with the proprietory flash pulsing as my reference was only using the retimed sync of the PW ControlTL with manual flash output, and this using a Nikon unit. The example with the 400ws unit doesn't have any 'pulsing' and as such is incompatible with FP/HSS.</p>

<p>Although an interesting exercise, I wouldn't want to be using speedlights for this type of work, and don't. I no longer have the PW ControlTL system as my own system works completely fine without any retiming and provides better results.</p>