Pop quiz: What's your favorite Speedlight modifier?

[studio460]

<p>Hey, Marc!</p>

<p>I absolutely love handstraps, but with modern pro DSLRs, I just can't reach the AF-sensor selector when using one! But, I'll check out the camdapter--thanks! Yes, I'm pretty addicted to my Newton bracket (best, and smallest rotating bracket on the planet!) since it eliminates a lot of shadow problems when using on-camera flash (kind of required for red carpet verticals).</p>

<p>For regular straps, I use the standard-issue Nikon straps (which I love) threaded through a split-ring, which hangs off of the left camera-strap lug only (I do this with all my bodies). When carrying two bodies, one body slings off of each shoulder, and hangs "sideways." Works like a Black Rapid, but without the fuss.</p>

<p>Yes, I also love shooting flash "freehand." I have a ton of TTL cables of various lengths. Great image! Really love your work, Marc!</p>

[michaelmowery]

<p>I agree with Marc on all points...Now what do i use today? I just buy a sheet of diffusion paper or plastic and cut it to size. I also buy sheets of gels for my color conversions and cut those to size as well. Cheap and effective and most of all no name Branding. lol</p>

[studio460]

<p>Yeah, I'll buy the Graslons, and I know I'll just end up deciding they're too heavy or bulky, and wind up throwing those in "The Box" as well. Actually, I've been thinking about cutting a piece of 8" x 10" hard diffusion gel, and just holding it up a few inches away, directly in front of my Speedlight, to broaden its surface area.</p>

[studio460]

<p>Ha! Here's my new favorite Speedlight modifier!</p>

<p><img src="http://studio460.com/studio460/rose1.jpg" alt="" /></p>

<p>My camera-mounted Speedlight, bounced into a 4' x 4' piece of Foamcore!</p>

[studio460]

<p>Even at f/5.6 at 1/200th, I was able to expose for the ambient at ISO 1,000 in the image above, on a Nikon D3s (the reflection in the upper-left frame is of a bounced LED strip-light about 10 feet away).</p>

[tomweis]

<p>Hi Ralph,<br>

My vote is for #1 None. I bounce almost exclusively. They key for me is zooming the flash head to 200mm coverage so I am getting the narrowest cone of light off the head. The other trick is using Eneloop AAs so I get a pretty fast recycle with those in my SB-900 units. I carry two cameras at all times when working so adding more junk to my rig is not desirable. However, I do have two of the small Demb flip things for those really dark high ceiling caves that some clients torture me with. The only advantage to the Demb is being able to shoot vertically and get the same quality of light that I would horizontally. Using the SB-900 built-in bounce card isn't as versatile that way.<br>

I will shoot at ISO 3200 @ f2 if I have to in order to avoid direct flash which I just hate.<br>

T</p>

[ellery_chua___singapore]

<p>I tend to find using a card 6~7 x 4~5 on the back of the flash and head angled varied from 90 (straight up) to 45 works well worked in conjunction with the active face of the face pointing at subject or angled off left or right up to 90 degrees. Of late for large venues I use the large Rouge modifier and will add the fabric face to use this like a softbox for certain situation. This replaces the A4 plus size card for wide angle work, or in dark cave rooms. I like cheap solutions that are light as some time stuff gets lost. Shot with giant white coasters gaffered on when the card got torn off, styrofoam coffee cup when the strobofen hit a beam and got swipped off - not too bad a tad warm but worked out okay lots of blue light wandering light at that gig.<br>

I used the soften before it is a nice effect but bare bulb lighting has good and bad points. I bought and tested the Gary Fong unit too broad a brush plus it will damaged the gears on the flash head in prolong usage. I can be many thing in a shoot but choose to avoid being court jester who drops what is like a small head on occasion. <br>

Gels I used to use velco but after a workshop session with McNally and speaking with his friendly assistant move on to using gaffer tape which is silent on stick on and tear off unlike velco. <br>

I still have that lumiquest softbox which by now is abt 20 years old which I used in cave dark situations where I need to have softer light in direct flash application (seldom) or just use direct with cut back to suite. A stiff fabric snoot is lovely when you are shooting far and only want the subject lit - special application work. A grid is the back up for the snoot. I had 2 big bouncer but lost both.... let just say they got adopted by some very desperate people at some event work - the Rouge replace the big bouncers. <br>

Bottom line what you use should be directed by the shoot situation. Lighting is what we bring to the shoot when we pull out a flash be prepared to be decisive about the kind and quality of light you want. With the excellent new body high iso low noise is a reality, so why stop your iso at 800 take a chance look at what shooting at 1600, 3200, 4000 or 5000 does for you ( you need to figger out where is the limit which your camera works for high iso low noise sharp enough images).</p>