studio460

<p>Here's a direct link to some HyperSync test images using a Quantum Qflash:</p> <p><a href="http://lightbasics.com/hypersync-test-series-1-nikon-d800e-quantum-qflash/">http://lightbasics.com/hypersync-test-series-1-nikon-d800e-quantum-qflash/</a></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>

<p>I wanted to create a new thread for the sake of clarity since the original thread is now missing many of its image links (I had inadvertently deleted the server-side images and did not have a back-up). Re-posted from the former thread ["Which monolights HyperSync to 1/8,000th with a Nikon D3s + Mini TT1/Flex TT5?"], Ian quoted the following statement from my website:</p> <blockquote> <p><em>Why HyperSync?</em><br /> <em>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 <a id="itxthook5" href="/photography-lighting-equipment-techniques-forum/00YrJV?start=100" rel="nofollow">applications<img id="itxthook5icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" alt="" /></a> where HyperSync can be useful:</em><br /><em>1. Increasing flash-to-ambient ratio to darken daylight exterior backgrounds.</em><br /><em>2. Enabling large apertures when using strobes in daylight, without using an ND filter.</em><br /><em>3. Employing high shutter speeds when using strobes in daylight to freeze motion.</em></p> </blockquote> <p>Ian said:</p> <blockquote> <p>I would question the validity of 1... 'Increasing flash-to-ambient ratio to darken daylight exterior backgrounds.' The physics of hypersync is to allow a <a id="itxthook6" href="/photography-lighting-equipment-techniques-forum/00YrJV?start=100" rel="nofollow">faster<img id="itxthook6icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" alt="" /></a> shutter speed to be used with the SAME flash output. The SAME flash output (operating as 'ambient') is being reduced by shutter speed too.<br /> So where does this 'Increasing flash-to-ambient ratio' happen?<br /> 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 <a id="itxthook7" href="/photography-lighting-equipment-techniques-forum/00YrJV?start=100" rel="nofollow">intrusion<img id="itxthook7icon" src="http://images.intellitxt.com/ast/adTypes/icon1.png" alt="" /></a>.</p> </blockquote> <p>Strictly speaking, you're correct, Ian. I tried to qualify these statements throughout the article, indicating the shortcomings of the technique, while still trying to communicate that HyperSync does offer tangible benefits. Note that in most instances, I state that HyperSync permits increased <em>recorded</em> flash output (not increased flash output, per se).</p>

<p>Sorry for all the broken image links (I dumped some server-based files by mistake). I came across this old thread and thought I'd at least add a link to some updated HyperSync tests I recently performed. These new tests are more controlled and better-documented. Also, the current (as of November 2014) PocketWizard Mini TT1/Flex TT5 firmware for Nikon cameras was used in these tests, v3.700:</p> <p><a href="http://lightbasics.com/pocketwizard-hypersync-long-duration-flash-tests/">http://lightbasics.com/pocketwizard-hypersync-long-duration-flash-tests/</a></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>

<p><img src="http://studio460.com/images/goldenhour-3-c.png" alt="" /><br /> Nikon D800E + Sigma 150mm f/2.8 OS; ISO: 200; exposure: f/5.6 @ 1/250th.<br /> Supplemental lighting: Speedotron 1,000Ws AC monolight, through a 54" x 72" softbox, approximately 6' from subject.</p> <p>The above exposure was taken at the time the sun's output was reduced by a full, three stops thanks to some late-afternoon atmospheric haze. Earlier in the day, my shutter speeds were as high as 1/1,000th (same f-stop, but at ISO 100), where I was employing HyperSync methods to achieve the higher sync-speed. When shooting at higher ambient light levels (i.e., a brighter sun), you could do the following:</p> <p>• Use the lowest ISO your camera supports.<br /> • Use a smaller (numerically, higher), aperture.<br /> • Employ HyperSync (a much longer answer).</p> <p>However, to enable adequate supplemental light level, you would need:</p> <p>• More flash power (e.g., 400-1,000Ws), or,<br /> • Silver reflector.<br /> <br /> <img src="http://studio460.com/images/bikini1-cs.jpg" alt="" width="700" height="467" /></p> <p>Silver reflectors are one of the most economical solutions in this application (e.g., products from Westcott, Photoflex, Lasotolite), since they're relatively affordable, require no power, and are capable of producing a ton of light. The primary reason that your flash "isn't cooperating," is likely that its output is simply inadequate to balance with the ambient sunlight. High-powered studio flashes (like the one used in the first image above) require AC power, and need an AC inverter to use on location. More portable 400Ws flash units designed for location use are handy for these types of applications; however, with only 400Ws, you may be required to use it only directly (i.e., without a modifier) to maintain the required light output.</p> <p>PocketWizard's HyperSync:</p> <p>Another way to achieve higher sync speeds is to use PocketWizard-brand triggers in their so-called "HyperSync" mode. This requires a PocketWizard Flex TT1 on your camera's hot-shoe, and a PocketWizard Flex TT5 attached your flash (Speedlight or AC studio flash). A full discussion of HyperSync applications is beyond the scope of this post, but with the right flash gear (those with long-duration "t.5 values"), this technique can produce excellent results with far less loss of recorded flash output than obtained when employing traditional high-speed sync methods (e.g., Nikon's FP sync or Canon's HSS).</p>

<p><img src="http://studio460.com/images/N2-700P.png" alt="" /></p>

<blockquote> <p><em>I just noticed that Lastolite also makes butterfly kits, including a 6.6' x 6.6' kit. It's larger than the Westcott, and includes a 1.25-stop diffuser, plus a silver/white reflector panel, all for $399 (however, the grip-heads required for stand-mounting are extra):</em><br /><br /><em><a href="http://www.bhphotovideo.com/c/product/982321-REG/lastolite_ll_lr82243r_skylite_rapid_standard_large.html" rel="nofollow" target="_blank">(link)</a></em></p> </blockquote> <p>Just to follow up--after a bit more research, I've just ordered the large Lastolite Skylite Rapid kit (6.6' x 6.6') to replace our Westcott 72" x 72" ScrimJims in our work packages (plus, I'll also be ordering one for myself). Its design is superior to that of Westcott's ScrimJim. Its frame mounts securely into a grip head and avoids Westcott's problem of requiring special brackets (which can often detach from the frame when stressed by a light wind). Also, Lastolite's reflector panels stretch onto their frames with a good bit of tension, avoiding the "ripple" effect of competing products (<em>including</em> California Sunbounce products). After looking at all the rest, the new, improved Lastolite Skylites appear to be the best of the bunch, offering the quickest set-up, and most functional design.</p>

<p>You could also rent one of these:</p> <p><img src="http://studio460.com/images/baloon1.JPG" alt="" /></p>

<p>Thanks, Thomas! The bikini shoot was more of a test for my own purposes, as well as helping out a friend shoot her bikini catalog. I have to correct a couple of errors in my previous post: 1.) I used a Dynalite <strong><em>XP-1100</em></strong> (now, discontinued, but often still available used), 2.) Plus, a Westcott <em><strong>1-1/4 stop</strong></em> diffusion panel (though, it acts more like two-stops in light reduction).</p> <p>Thomas said:</p> <blockquote> <p><em>So, with you Ralph . . . sounds like you are . . . If I may say . . . very equipment heavy type of photographer . . .</em></p> </blockquote> <p>Yeah, the XP-1100s are beasts, weighing in at about 26 lbs., but they take sealed-lead acid batteries with a ton of capacity (16 amp-hours). Plus, they're easily replaceable with better-than-OEM batteries, available from a number of dealers (about $120 each). The Speedotron Force 10s weigh in at 8 lbs., but put out a <em>lot</em> of light. I like the "overkill" factor because once on-set, I don't have to worry about strobe output or battery power. Plus, the recycle times with an inverter that size are about as fast as plugging into house-power.</p> <p>But, I think scrims are an often-overlooked tool for photographers battling harsh sunlight when shooting daylight exteriors. They don't need any power, and create gorgeous light. I wrote about several different brands of diffusion products in another thread here which you may find useful:</p> <p>http://m.photo.net/portraits-and-fashion-photography-forum/00cXb1</p>

<p>Of course, once the sun dips below the horizon, you'll need much less flash output. Knowing that I would be shooting through dusk, I also brought a Nikon SB-800 Speedlight (used at a very low power setting), plus a 3' octa for the shot below:</p> <p><img src="http://studio460.com/images/bikini+SB800.jpg" alt="" /><br /> Nikon D800E + Sigma 35mm f/1.4</p>

<p>Here's another subject, this time facing directly into an otherwise harsh, direct-sun (no cloud cover), but made much softer by placing a Westcott two-stop 42" x 42" ScrimJim diffuser in front of the subject:</p> <p><img src="http://studio460.com/images/alyssawest-2stop.jpg" alt="" /><br /> Nikon D3s + AF-S Nikkor 85mm f/1.8G</p>

<p>Here's a daylight-exterior where the subject's back was lit by direct-sun (since we were at the beach, I was able to select my camera position/background at will). I was able to match the sun's output using a 1,000 Watt-second AC monolight (Speedotron Force 10), powered by a Dynalite XP-1000 AC inverter, through a 54" x 72" Photoflex softbox (with its interior baffle removed), placed as close as possible to the subject (about 6'):</p> <p><img src="http://studio460.com/images/bikini/hyper2.jpg" alt="" width="467" height="700" /><br> Nikon D800E + Sigma 150mm f/2.8 OS</p>

<p>I'm also in California (Los Angeles area). If a location scout at the time you're planning to shoot simply isn't possible, you could use one of the many available iOS apps to predict where the sun will be at that time. However, at 5:00-6:00PM, at this time of year, the sun is still fairly high in the sky (which isn't ideal).</p> <p>In answer to your question, if the sun's position won't allow you to use your preferred background, you may diffuse harsh side-lighting using a scrim (e.g., Photoflex LitePanel, Westcott Scrim Jim, etc.). The downside to using scrims (e.g., "overheads" or "butterfly" sets), is that if shooting a large group, a similarly large scrim would be necessary to "shadow" the entire group. Very large scrims are usually impractical for non-professional applications due to the huge amount of grip equipment required to rig them (e.g., a crane is usually required to rig a 20' x 20' scrim).</p> <p>If planning to shoot as the sun nears the horizon (i.e., "golden hour"), the lowered color temperature of the sun's rays may be too warm when also reflected by a gold reflector. Also, both large, foldable, "Flexfill-type" reflectors, and "soft" panel-style reflectors (e.g., Photoflex LitePanel, California Sunbounce, etc.) are often ineffective, because if there's any wind, they mostly produce an uneven, "water-ripple" effect type of light, rather than a continuous, plane of reflected light. In my experience, <em>the</em> best reflector for daylight exteriors is Matthews' "Matthboard" (fill version) expendable reflector. Unfortunately, the Matthboard is only 40" x 40" and is really only sufficient for a tight, head-and-shoulders, two-shot (traditional hard-silver reflectors may also be used, but you'd also need to shoot them through a silk or diffuser, since traditional hard-silver reflectors produce very hard light).</p> <p>Lastly, a brute-force, high Watt-second strobe (400-1,000Ws) source may be used to key your subjects (competing with the high light level from the sun), used either directly, or with a modifier if placed <em>very</em> close to subject.</p> <p>To be <em>completely</em> prepared, one would need need to bring:</p> <p>A.) Very large scrims (plus, an assistant, or the required grip equipment to rig).<br /> B.) Matthews' Matthboard (plus, an assistant, or a stand and shotbags).<br /> B.) A high Watt-second strobe (plus a high-voltage battery, or AC inverter/battery).</p> <p> </p>

<p>We just converted from Blackberry phones to iPhones where I work. It's my first iPhone ever! What's everyone's favorite apps? Photography or other?</p>

<p>I mentioned in another thread that I was about to buy a used lead-gel Elinchrom Ranger kit (even used, they're super-expensive), then found the Impact-brand LiteTrek 4.0 400Ws Lithium pack system for only $650 (also sold under the Phottix brand as the PPL-400). I was considering the Lithium Ranger Quadra kit for faster recycle times (over the lead-gel version), but Elinchrom's Lithium battery packs are crazy-expensive. Also, since Li-ions require careful care and maintenance, and have far fewer maximum charge cycles than SLAs (sealed lead-acid batteries), I originally went with SLAs for my "heavy-lifting" AC inverters (a pair of Dynalite XP-1100s). Spare batteries for Dynalite XP-1100s only cost about $120 each, and are available from a wide variety of non-photo specific suppliers. Of course, the trade-off is weight--the XP-1100s weigh a ton.</p> <p>I was all set on getting the Impact LiteTrek 4.0 product, plus a bunch of (relatively) inexpensive, Impact-brand Li-ion spares, then of course, I started looking at Quantum units again. Also, it seems that 400Ws is just "about right," and powerful enough for a number of daylight-exterior applications, even with modifiers--here's a test image I shot yesterday using a 400Ws, Dynalite Uni400 Jr.through a double-baffled 4' x 6' softbox placed about 6-feet from the subject (powered by a Dynalite XP-1100 AC inverter):</p> <p><img src="http://studio460.com/images/4x6-1.jpg" alt="" width="700" height="467" /><br /> Dynalite Uni400 Jr. + XP-1100</p> <p>Yeah, that XP-1100 is heavy, but it sure recycles fast--virtually identical to wall-powered cycle-times (just under two seconds at full power). Now, I'll still keep the Dynalite Uni400s so that I'll have AC-powerable strobes on hand as well. But I'm re-considering what my 400Ws, "ultra-portable" system should be. I'll only be buying a single head, and will mainly be using it on an assistant-held pole with a 3' octa. I'm primarily looking at three factors:</p> <p>1. Lightweight head.<br /> 2. Recycle time.<br /> 3. Cost of spare/replacement batteries.</p> <p>Requirements:</p> <p>A. 400Ws minimum.<br /> B. Li-ion battery system.<br /> C. Belt-worn battery/inverter.</p> <p>I've pretty much discounted the otherwise excellent Elinchrom Ranger Quadra series--I've simply had too much Li-ion failure of very expensive battery systems in the past, so I'm leaning toward the LiteTrek system, mainly for its low-cost Li-ion replacement batteries. But then I came back to looking at the Quantum Qflash units again. So here's what I'm considering:</p> <p>1. Quantum.<br /> 2. Lumedyne.<br /> 3. LiteTrek/Phottix.<br /> 4. Vagabond Mini-Lithium (I already own two of these, and one battery just failed).<br /> 5. Some "hybrid" solution I haven't thought of?</p> <p>[Note that I'm not considering Einstein E640s--they're simply too heavy at 5.3 lbs. My Dynalite Uni400 Jr. weighs 3.6 lbs., and the LiteTrek head weighs 2.5 lbs. For comparison, the Elinchrom Quadra head weighs only 0.55 lbs.]</p> <p>Anything else worth considering which I'm overlooking?</p>

<p>I've just created a SmugMug <em>portfolio-level</em> site, and as some of you may know, SmugMug offers you a choice of labs for your clients' printing needs. Here are the three located in the US:</p> <p>1. BayPhoto<br /> 2. WHCC<br /> 3. ezprints [CafePress]</p> <p>I've heard BayPhoto recommended here before, so I'm inclined to go with them (although I think I recall WHCC had a number of fans here as well). I'm specifically looking for either Durst Lambda or Lightjet Type-C prints. For certain applications, I'll also want a digital instant press (e.g., HP Indigo). If anyone has experience with one or more of the above, I'd appreciate your comments!</p>

<p>I used to sling my standard-sized Manfrotto carbon-fiber tripod over one shoulder with an Op-Tech strap. Not really the most elegant solution. Now, I just replaced my heavy Manfrotto/pistol grip tripod with a much lighter, 2.5-lb. tripod, and a 1.1-lb. ball-head. I mentioned in another thread that I was thinking to sew two Velcro straps to the back of a Nylon pistol belt, so that the tripod could stow horizontally in the small of my back. For the new, lighter-weight tripod I just bought, my horizontal clearance will be the sum of a 22.2" tripod with a 3.9"-tall ball-head attached.</p> <p>Here's what I just bought:</p> <p>Oben BA-2 single-lever ball-head; 1.1 lbs.<br />Oben CC-2300 three-section, flip-lock, carbon-fiber tripod; 2.5 lbs.</p> <p>Though the Oben legs feels sturdy (even fully extended), the Oben tripod above is only rated at an 11-lb. capacity. However, since the Oben BA-2 head I chose has a 26-lb. capacity, I was thinking of also ordering a similar capacity carbon-fiber tripod such as this 5.5 lb. Vanguard below, for use when shooting extended time-exposures:<br /> <br /> http://www.bhphotovideo.com/c/product/896056-REG/vanguard_abeo_plus_323ct_tripod.html<br /> <br /> This tripod is quite a bit longer than the Oben, with a stowed length of nearly 26.5". Has anyone had any clever ideas on how to carry full-sized tripods when hiking? I'll be carrying a Nikon D800E with an AF-S Nikkor 16-35mm f/4.0 VR lens on a binocular harness, and a lightweight backpack (it's a Camelbak hydration pack--so, no tripod straps). It's fairly uneven terrian, so I'll also be using a Leki walking stick. Thanks for any replies!</p>

<p>I may soon be starting to work with an established wedding photographer as a second-shooter. Conversely, I was also asking other photographers I know today (I commonly work events where dozens of other photographers are also present) about hiring them as second-shooters when I eventually get to do my first wedding as a primary. What are common rates for second-shooters and assistants (for weddings) for a major market (e.g., Los Angeles)? I was thinking $600-$800 for a second, but I have no idea what to pay an assistant.</p>

<p>In April of 2012, Elinchrom announced the availability of new third-party speedrings to fit their highly regarded line of Rotalux modifiers to owners of non-Elinchrom gear. In November of the same year, Profoto announced their new RFi line of softboxes, along with their new line of third-party speedrings as well. Incredibly good news for owners of other brands of flash heads who've for years may have wanted either Elinchrom or Profoto modifiers for their other-branded flash heads. Since I now have a choice of two of the best-branded modifiers on the market, I thought I'd make a quick comparison. Here's my quick take on Elinchrom vs. Profoto.</p> <p>Elinchrom Rotalux:<br /> + Excellent "umbrella-like" design for super-fast set-up and tear-down.<br /> + Unique flat-storage bag enables storing an un-tensioned modifier without disassembly.<br /> + Easy-in, 90-degree turning speedring receiver.<br /> + Availability of renowned Deep Octas to owners of non-Elinchrom strobes.<br /> + Deep-recessed diffusers for greater feathering ability.<br /> - Fabric eggcrates [softgrids] available only from Lighttools--large grids are very expensive (e.g., grid for 69" octa is $659).<br /> - Extra-large strips, squares, rectangles, and octas are very expensive ($967-$1,038).</p> <p>Profoto RFi:<br /> + Price-competitive with third-party brands.<br /> + Available line of softgrids for each RFi product--most, reasonably priced.<br /> + Available line of masks.<br /> + Wide selection of rectangular, square, octa, and strip light boxes.<br /> + Color-coded pins.<br /> - Few improvements over previous versions.<br /> - No innovative umbrella, or quick-release design allowing for easier set-up.<br /> - Color-coded pins not a huge "feature."</p> <p>For location use, I think the Elinchrom products are the clear winner. The innovative umbrella design and un-tensioned storage bags make set-up and break-down faster than any of their comptitors' products (save for the similar-folding, Paul C. Buff modifiers). However, for those wanting fabric eggcrates for each of their softboxes, Profoto makes one for each RFi product, many of which are reasonably priced.</p>

<p><strong>Dynalite XP1100 AC Inverter + Jackrabbit II + Quantum Turbo SLA replacement battery pack OEM-equivalents:</strong><br /> <br /> I had previously posted this information in the "Dynalite XP1100 AC Inverter Replacement?" thread I started a few weeks ago. Rather than have it buried under a somewhat off-topic thread, I thought I'd make this information easier to search for under its own thread:<br /> <br /> Dynalite Jackrabbit II = custom-built, Ni-Cad AA-pack by Batteries Plus: $50.<br />Quantum Turbo (original, SLA-versions only) = Power-Sonic PS-832: $20 (various resellers).<br />Dynalite XP1100 = Enersys Odyssey PC680: $105-117 (various resellers).<br /> <br /> Original thread:<br /> <br /> http://www.photo.net/photography-lighting-equipment-techniques-forum/00b895</p>