Slave Speedlite tips

When using the Canon wireless flash system people work in one of two incompatible ways. They put the slaves in manual and set the power on the slaves individually, or they leave the slaves in E-TTL and then use either manual or E-TTL II on the master flash.

If you set the power of the slaves individually in true pure 'strobist' style then you have precise control and can in effect have more than the standard 3 groups of flashes. One flash at 1/128, one at 1/32, one at 1/4 and another at 1/2 power is all possible. Indeed this is the only way to work if you need this level of difference in power outputs. Problem is that to change the power levels you need to go round to each individual slave and make the change.

If you leave the slaves in E-TTL and assign them to the groups A, B and C; then from the on camera master flash such as the Speedlite 550EX, 580EX or 580EX II you determine the settings of each of the flashes in the slave groups. The only important thing is to note or remember which slave is in which group. For ease if you put A slaves to camera left, B slaves to camera right and the C as a background or hair light you don't go far wrong. You can have more than one slave in the same group if needed. 

Put the master flash in manual and then you can set the power level of each A, B and C group of slaves from the master. Leave the master in E-TTL II and use the ratio controls to balance A:B and the flash exposure compensation to adjust the strength of group C. 

In this second approach with the slaves assigned groups and left in E-TTL it makes it possible for a group of photographers to work in either style. The all manual strobist photographer can set the power output for his shots by adapting the power on his master flash, and other photographers can use E-TTL II with ratio control for theirs. Just recently on a model shoot outside we tried exactly this setup, and everyone got the results they needed. The slaves simply take the information from the master that communicated with them last and do what they are told switching from manual power outputs to E-TTL II outputs and even high speed sync as necessary.

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New Pocket Wizards

It seems Pocket Wizards have been looking on a Radio Poppers with envy and decided they don't want an upstart moving in on their market. So, they have just announced new products for wireless E-TTL II control of Canon flashguns. 

It seems it's a whole new system for radio flash control with units called the MiniTT1 (transmitter) and FlexTT5 (transceiver). 

Currently it's only for Canon users and it allows wireless control up to 8fps. 

From the Pocket Wizard Website: 

The New Shape of Wireless Freedom

The smallest PocketWizard radio ever, the MiniTT1™ Transmitter locks onto the camera’s hot shoe supporting an on-camera flash with its own hot shoe while working with remote PocketWizard units. Remotes can be one or more PocketWizard FlexTT5™ Transceivers connected to Canon E-TTL II flashes or any PocketWizard Receiver for triggering flash or remote cameras.

The MiniTT1 Transmitter is easy to use; just slide in place and begin to shoot. The new PocketWizard ControlTL™ System interprets the complex E-TTL II data being sent through the camera’s hot shoe and digitally transmits it in a reliable radio signal. Change the flash compensation dial on the camera, and those commands pass seamlessly through the system to your remote flash. Adjust your shutter speed, aperture or ISO and the system corrects for those changes. A ratio command set on the flash or command unit passes through the MiniTT1 to set the remotes. PocketWizard ControlTL radio communication allows you to shoot farther, faster, around corners, through walls even at high noon in bright daylight. Now you can deploy a wireless flash system wherever you want, without infrared limitations, in seconds.

Use the MiniTT1 for standard triggering with any PocketWizard Receiver including the FlexTT5, PlusII or MultiMAX. When used this way with a digital camera, you can take advantage of PocketWizard’s HyperSync Technology that allows up to 1/500th of a second camera sync with many camera/strobe set-ups. HyperSync allows you to advance the timing of your flash trigger so that faster then X-sync speeds can be achieved.
Need more speed? Push your ControlTL system beyond 1/500th and go into FP/High-Speed sync mode automatically. No buttons to press or settings to change other then your shutter speed will give you flash sync all the way to 1/8000th.

A new PocketWizard Utility program is provided to support the MiniTT1 via a USB port. The Utility allows you to configure your channel settings, dial in your HyperSync timing, adjust your sleep-mode timers and update your product to the latest firmware.
The PocketWizard MiniTT1 Transmitter is the start of a new era in wireless trigger control.

AVAILABILITY: For Canon, March 1st. For Nikon, Q2, 2009. US & Canadian Markets. Contact your local Distributor for availability in other markets.

From their just posted Instruction Manual:

ControlTL: PocketWizard’s newest firmware platform taps into the camera’s digital communications
to enable an entirely new level of remote flash capabilities through our proven radio system, beginning with remote TTL for Canon E-TTL II flash systems with Slide-n-Shoot Simplicity.
HyperSync - Achieve better than X-sync with many
cameras and flashes – up to 1/500th second.
FP/High-Speed Sync: Need more speed? Push
beyond 1/500th and go into FP/High-Speed sync mode
automatically. No buttons to press or settings to change
other than your shutter speed will give you flash sync
all the way to 1/8000th.
Power Tracking: When working in E-TTL II, you can
change any of your control settings on your flash or
camera and the system adjusts for those changes.
Eight Frames per second: Never before have you
been able to shoot remote E-TTL II at this speed.
Nothing else comes close.
Low Profile Design: The FlexTT5 lies flat to stay out of
the way and uses a flip-up antenna for additional range
when needed. The MiniTT1, with an internal antenna,
weighs in at 2.3 oz. and is the smallest PocketWizard
ever.

It seems things are hotting up in the wireless flash world. Hit the comments with your thoughts on it all. 

UPDATE: They've also posted a video on youtube showing some of the features. 

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Guest tog Tuesday - James Corrin

Our first Guest tog on Tuesday is James Corrin who describes himself as a 31 year old fashion / alternative fashion / gothic photographer from Aylesbury UK. We asked James a few questions from a big list to kick things off.

BLAB: Natural light or flash and why?

JC: Almost without fail, flash. However, if you'd asked "available light or flash?" the answer would be "both".

There have been two things which really changed my photography. One of these was digital cameras, which makes the learning process so much easier (and removed film processing companies from the loop mercifully). The other was studio flash. Learning about flash really opened my eyes to light as a whole in photography, funny though it may sound - before that point I just took what light there was and consequently I have many mediocre landscape photos to show for it. Studio lights put me back in control and reinvigorated my interest in photography - but more than that, once you learn to control light you also learn how to see light. I think learning about flash is one of the greatest things any photographer can do, after studying composition. I think this is part of the success story of Strobist - it's not only that David Hobby is teaching people how to use flash, but he teaches them how to see and study light.

To get back to topic, I tend to approach any photographic problem as an exercise in using flash. I can't help myself, it's fun and I just like how flash looks in a picture, especially the ability to get soft-but-not-flat light sources. I do much of my photography in a studio, so I can craft my light from scratch. When faced with natural light I tend to work out how to minimise its impact so I can bring out the flashguns and shift the highlight of an image. Having said that, I am increasingly looking to blend available light, especially artificial light sources, with flash. And there are some occasions, such as at gigs, where available light is better than reconstructing the scene using flash.

So I guess the answer is rather unhelpfully, whatever is most appropriate to the picture.

... and flash.


BLAB: Which photographer's work do you most admire and why?

This is a very difficult question. There are so many photographers producing great work now and I find the ones I admire most change quite rapidly. Chiefly I look for photographers within my own field; landscapes are great too, but I photograph what I like to see. I make a point of looking at a lot of other photos, to get ideas, study technique and also plot a path to my own style. I'm trying to avoid copying other artists and, though I do praise Strobist, I want to avoid the "Strobist look" that has become quite common on the web.

That said, if pushed to name my influences, I'd have to cite two photographers, unfortunately you may find some of their images not safe for work, you have been warned:

Nadya Lev - her work was a strong inspiration for some time and even now I find it highly inspiring. Her work is fairly hard to place, but high-fashion with historical themes and fetish overtones might get close. My early experiments with gels and gothic fashion were largely brought on by seeing her work.

Lithium Picnic who also has a large body of work on deviantart.com - LP is in a similar line to Nadya Lev, with strong fashion and glamour pictures with varying levels of fetish fashion scattered around. Where Nadya Lev produces bright works with strong colours and simple constructs, LP produces darker and more complex pictures with more subtlty. I wouldn't say Lithium Picnic was necessarily better than Nadya Lev or vice versa, but I think I discovered his work at a time when I was looking to produce more complex images myself. LP is very much a target for my pictures, not so much in content but in look, feel and production values.

BLAB: Which of your images means the most to you and why?

Many of the photos that mean the most to me are little better than holiday snaps, but they represent people, places and things that were important in my life. As a photo, they aren't so valuable.

At risk of sounding a bit "arty", I think this is where the highly constructed images I make differ from, say, journalistic images. Because I am photographing constructed scenes, especially ones that may not exist beyond the duration of the flash, the image content has no direct meaning to me. I saw the studio that day and it wasn't anything special. Instead the photo is judged on its final quality - does it capture a mood or a look, is it stylish or attractive? And because I'm aiming to improve all the time, the image that means the most to me changes all the time, usually to the most recent image made.

I worry when my most recent images don't mean the most to me!

There is one big exception though. Two of my friends got married at the end of last year and asked me to be their wedding photographer. We did some lovely posed shots with flash inside the wedding venue. This was a wonderful chance to capture a memory and also dress it up in light. There's something very special about capturing a beautiful image of a beautiful memory.

BLAB: What would your dream photo opportunity be?

So many to choose from, but if Gothic Beauty magazine phoned up and asked me to do a cover, I wouldn't be complaining!

BLAB: What colour would your Ferrari be?

JC: Black, but with plenty of shadow detail. ;)

Anything else..?

These are very exciting times for photography since the rise of digital cameras and photo sites like Flickr and Deviant Art. There's an incredible amount of high quality photography out there. The best part is that not only is photography more accessible but learning about photography is more accessible. I wish Flickr, Strobist, Cambridge in Colour and so many other sites existed when I started in photography - maybe I'd have fewer boxes of mediocre landscape photos.

With all this photography around, there is a real issue about how you differentiate yourself. When I started in portraiture, I rapidly became bored as it all started to look the same. I started becoming interested in fashion photography and in particular gothic fashion, playing with different styles and variations from the alternative photography and fashion communities. There's an interesting trend now for mainstream fashion to borrow increasingly from these communities, but I like to think that it still gives my images original themes. I love working with the extended conventions of the alternative scene in any case so I can't see me stopping that any time soon.

I once attended a photography seminar where the organiser asked "Who takes photos because they can't draw?" Everyone put their hand up. I think flash photography really opens up the possibility to be massively more creative. Certainly the turning point for my photography was discovering studio photography. Prior to that I didn't find people very interesting subjects, but this introduction to a world where I could construct the entire picture, from selecting models to placing them in light that I controlled, added the important creative element that I was missing before.

There's a great comment I saw from Chase Jarvis originally and many other people since. He said, there's two kinds of photographer - image takers and image makers. I would definitely say I'm on the image maker side. Going digital has been a huge boon as now the image making can happen after the camera - I know some experienced photographers dislike doing their own post processing and consider edits to be cheating, but I consider digital workflow a huge advantage. Photoshop is a great tool and most of my portfolio images pass through Photoshop at some point. The trick is getting good quality images going into the workflow then being subtle in the changes. I've been through many dilemmas of Photoshop vs in-camera editing before realising that both sides have something to offer.


BLAB: Ok but what about photos, got any pictures you'd like to show us?


http://www.flickr.com/photos/captured_light/2848742273/in/set-72157603348085520/
This image of Ethel Hallow is one of my favourites and she's always great to work with. This image also represents one of my biggest Photoshop edits to date. I couldn't find a good backdrop for her so took this picture on a white seamless studio backdrop. The original image was subtly lit and brought into Photoshop as a low-contrast image. I then took some segments of wall and floor from some holiday snaps and extended them across the picture, adding contrast and highlighting as I went. The advantage of shooting on white originally was that the shadows of Ethel on the floor effectively come for free through Photoshop blend modes. ... The skulls are real by the way, in as much as they are kickable objects in the scene with Ethel.



http://www.flickr.com/photos/captured_light/2848742135/in/set-72157603348085520/
This photo amuses me because most people assume the red light was created in Photoshop. In fact, though the image has been edited slightly, the red light is created using glowsticks. The entire image was a 30 second exposure with willing model Skarlett Venom standing still in a dark room while I waved glowsticks in the air in front of her. Towards the end of the 30 seconds I jumped out of the way and fired three studio lights - one softbox from Skarlett's front, one hair light to the left and a blue gelled light on a black paper backdrop.



http://www.flickr.com/photos/captured_light/2079023381/in/set-72157603348085520/
One of my early, big-team studio efforts and my first time with a makeup artist on set. No-one quite seems to get the concept I had in mind for this shot, but so far it's fairly well received. Thanks to the cooperation of Skarlett Venom and Indira Diabola, not much editing was required on this image. The only big change was the vase - I couldn't find an interesting vase before the shoot so had someone hold the flowers up and drew a vase in Photoshop over the hand after the event. I've learnt more about drawing through Photoshop than anywhere else.


http://www.flickr.com/photos/captured_light/3168339659/in/set-72157603352325505/
This simple photo was taken outside on an overcast day. It's fairly true to the real view, but I did use a flashgun with brolly top-left to get a directional light on Amaranth's face. I've invested in a few Canon speedlites and find them invaluable for studio photography outside the studio. The wireless trigger isn't great in direct sunlight but a bit of cloud cover helps massively. A little Photoshop after the event brought out some more detail in the purple of the dress.


http://www.flickr.com/photos/captured_light/3168339669/in/set-72157603348085520/
I don't often work in black and white, but this picture of Marvada and her replica machine gun cried out for it. It was photographed on a sunny day but in a dark room, so the speedlites came out again to swap the lighting from window-inwards to room-outwards. I love being able to re-engineer light on set like that. The muzzle flash is a Photoshop extra - just in case I'm not bullet proof.

James' photography and writings can be found in several other places on the web, most notably his website, www.capturedlight.eu.
Then there is his flickr account www.flickr.com/photos/captured_light/and techie and photo blog: jordax.livejournal.com/

Wow what a start, think you want to be here on Tuesday, drop a message to us or comment on this post.


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Off camera cord OC-E3 is your friend for wireless flash

It's Tuesday so I needed a photographer to feature, but in lieu of some photographer here's a tale of how even the simplest accessory can be your saviour in times of need.

The humble off camera cord OC-E3 sits on your hotshoe and connects the master flash to the camera. In fact the camera thinks the flash is on the hotshoe so you get all the control but now the flash is off camera and you can move it for better lighting. 

Just yesterday out on a shoot I was trying out some strobist techniques with a Speedlite 580EX II firing in to an umbrella high up on a lighting stand; nine or ten feet high up. The big problem was getting the flash in the umbrella to trigger reliably with the wireless from the on camera flash. Getting the on-camera flash on the end of the OC-E3 and in the hands of a VCA (voice controlled assistant) meant the assistant could hold the master and aim it at the high up Speedlite in the brolly and I could get on with the shooting. I was using the master flash only to trigger the slaved one in the brolly after all. The VCA let on later that he'd seen this kind of trick on Joe McNally's blog some weeks ago so a Nikon trick works on the Canon's too.

Some of you will think; that's a 60cm cable length only on that OC-E3, but remember you can daisy chain them together too for more reach. Another thing is that the older Off Camera Cord 2 also comes up on ebay a lot for little money and they work just as well. If you're handy with a soldering iron you can even remove the short 60cm curly cable and replace it with a longer length of ethernet patch cable. Off camera cord and wireless E-TTL lets me use high speed sync to kill the ambient a little easier than using a dumb trigger like an ebay trigger or pocket wizard.

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Gang lighting?

Hold the phone....another 'two posts in one day' situation...and it's all Syl Arena's fault!

Just the other day we brought you news of Syl Arena - you remember, the guy with 12 580EX II Speedlites and a bunch of Radio Poppers doing high speed sync portraits in the middle of the day at 1/8000sec? Well it seems that 12 Speedlites in a ring just wasn't going to work for everything, so he's progressed to 12 in a line...to photograph his son, smashing pumpkins, in the middle of the day, at 1/6400sec!

You may want to ask why he needs such high shutter speeds, surely the flash will freeze the subject? Sadly not. This is a high s(p)eed sync situation! Syl did what we should all do when shooting something like this - try out different settings. As such, he tried everything from 1/400sec up to 1/8000sec and discovered that 1/6400sec was where it got sharp!

With each Gang Light post, Syl is eroding the myth of Speedlites and showing where a bagful of Speedlites can really trump a Studio pack - especially on location.

You need to be aware of flash range if you're going to play with high speed sync. By way of example, if you go two stops faster than the max sync speed your flash range is reduced by a factor of 2x. Go four stops faster and the distance is reduced by a factor of 4x.

Since distance and power are analogous in this situation you can see how getting up to 1/6400sec (that's five stops beyond the sync speed of the EOS 5D that Syl was using - though he claims five and a third because his EOS 5D only syncs at 1/160sec) really needs a lot more power than can be produced by just the one or two Speedlites - and hence the gang of 12!

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Strobist comes to town

The Strobist was here. David Hobby aka the Strobist was delivering his own brand of off-camera lighting seminar in London this past weekend. Around eighty people attended the two seminars held at University of London Union (ULU).

David's blog at http://www.strobist.com has a massive global reach with some 250,000 readers who get great lighting advice for free, and the chance to share their work with other strobists via the flickr strobist group.

In this workshop Daivd mixed presentation and practical shooting using models carefully hidden as seminar guests. Here David is adjusting a gobo that's in front of a shoot-thru umbrella. You need to try this at home since the effect is quite evident in the photos, yet really quick to achieve. David's gobo was made from a bit of cardboard box found somewhere on site at ULU. If you put a box down on Sunday and it went missing - here's your box.

Peter Geller from California Sunbounce was also on hand dispensing some free compilation DVDs of videos previously featured on the the California Sunbounce site. There was also a lucky prize of a new Sunbounce Micro Mini for one seminar attendee each day. You can see the Micro Mini in action in the hands of fellow strobist and Belgian professional photographer Bert Stephani.

The overall seminar was highly entertaining and valuable with almost seventy percent of the attendees on Sunday being professional photographer looking to sharpen their lighting. I think you may find pocket wizards a little in short supply in the run up to Christmas.

David's almost legendary shorts were out in action, he makes a pretty incongruous sight walking up the street to the pub in shorts and t-shirt on a December Sunday evening with the temperature hitting a cool one degree celsius.

If you want to check out his site, you may find a need to be watching carefully for his next visit to London. David describes London as the next strobist city after the Seattle Strobists, though they have Chase Jarvis on their doorstep.

If you'd like to be a featured photographer here then leave a message in the comments.

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