Hi Folks,
as already announced, someone put the french version of the
EOS Flash Works brochure online at:
http://eosseries.ifrance.com
I promised to comment on the capabilities and limitations
of wireless E-TTL, so here is my comment on the displayed samples.
Die deutschen Leser mögen mir nachsehen dass ich in Englisch
schreibe, die Message geht im Original an die EOS Mailingliste
und ProNetPhoto, da ist Englisch Verkehrssprache. Das Thema
war aber auch hier von Interesse, daher Kopie hier rein.
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_david.html
My statement was that you need fixed manual output in scenes
with high contrast. Proven here. All units on manual mode.
-- Flash meter neccessary. --
No TTL-flavor would have been able to fill the right amount here.
So basically the advanatge here was firing the flash remotely.
The front flash was triggered with a cable.
Wow. So why not just get a small used flash device with cable
jack for 10 US$ and reduce power if necessary with Lee filters?
The camera was tzriggered with a remote control. Okay, one point.
Then the rear flash units: They shine against the camera on
the back of the cyclist. If at all, there are just two places
where their effect *might* be visible. One is the blue spot under
the cyclists right leg, and the other the small highlights in
his beard. Mentally remove those and you just saved 800 US$
for two 550 EX flash units.
Or you might decide that Cobra slave units for 10 US$ would
do as well for this purpose......
Yes, he speaks in great length about pilot light and wireless
capabilities.... and certainly shooting a sparrow with a
howitzer 155 renders a dead sparrow.
To make a difference, the rear flashes had to be mounted
above the cyclist in a way that their light separates the
cyclists head from the bachground. That would also ask for
color adjustment of flash, a boom over his head from the
front and could easily be triggered with a cable connection.
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_hiroyuki.html
The next howitzer used. Count 'em, *three* 550 EX units, 1200 US$
in flash equipment. Imagine the following: You place a big sheet of
tracing paper slightly curved above and aside the products. It will
thus be over the products and cover the complete right side in a curve.
If not cheap tracing paper, a sheet of Bulkton TransLum will be the
better alternative. Now place just one old Vivitar flash over it.
Or your sturdy Metz 45 torch. Adjust focus and dispersion of the light
by changing location and distance of the flash in relation to the
tracing paper. Check light with your 5 US$ desktop lamp. Done.
If firing once will not suffice, you can as well pop multiple flashes.
Nothing moves, and the camera is on the tripod. Ah, yes: The EOS
550 EX units are in manual mode in this sample, so:
-- Flash meter neccessary. -- No saver here.
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_uwe.html
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_hans.html
Both simple fill flash, no need to elaborate on that.
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_paul.html
Aha, pilot lamp..... yeah....
Aside of that (and I doubt that) simple fill flash.
Nothing big.
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_bryan.html
My statement was that TTL of any flavor needs rather flat subject
contrast to work acceptably. Proven here.
For the price of the second 550 EX you could have bought a flash meter
and could have been sure, what the light outcome would be. And then
use a simple 10 US$ cobra slave again.....
In my opinion this shot is not very good either. The fluorescent
lights are too prominently green, a Lee filter fluo to daylight
would have helped and also would have been a fingersnip to mount.
Same with the halogen lamps, Lee full CT blue, HT version because
of the temperature. Work fast, mount, shoot, remove again.
He states that the pilot lamp helped him in placing the shadows.
And I state that the up-stairs drown in shadows, there is an ugly
hotspot on the handrail and the ceiling and the shadows cast on
the left wall are certainly not what the original architect planned.
I would not dare showing this to my architect clients, let alone
suggest they pay me for this. Again, manually controlled cheap
servo cells would have been able to do the job with just a few
tools (filters) added.
The up-stairs need a focused extra light, and the fill on the
lower stairs would have been better applied if he just had bounced
it onto the underside of the up-stairs.
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_yoshiaki.html
http://eosseries.ifrance.com/eosseries/flashwork/flashworks_masayuki.html
Simple fill flashes again on a rather flat contrast subject.
Well.... in conclusion I still haven't run into an application,
where wireless TTL is really indispensable. Or shows more
advantages than disadvantages. Or is a must to get the picture done.
It is certainly a nice toy, and it saves you from wiring and
fiddling around with servo cells. I can imagine that in bridging
say 10 meters distance to your subject in rather flat lighting
handing the flash to ones assistent might be a good idea.
But that needs a command transmitter, and can as well be done with
fixed manual output and a cable much more reliable.
Now..... comments, questions?
--
Michael Quack <[EMAIL PROTECTED]>
http://www.photoquack.de
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