Speedlights offer a wide variety of lighting possibilities. They are relatively small, portable tools that you can depend on to create beautiful images.
The patented Ray Flash 2 creates the characteristic ring flash look, a shadow-wrapped, flat lighting effect valued by photographers for fashion, portrait, and macro photography. To create this effect, the Ray Flash’s acrylic light guides efficiently direct light from a camera mounted speedlight into a circle around the camera’s lens.
‘Shadows & Light: A Speedlight Workshop’ with Jayesunn Krump
Saturday, May 18, 2013 from 1:00 PM to 4:30 PM (PDT)
Shadows & Light: A Speedlight Workshop
with Jayesunn Krump
Hosted by Pro Photo Supply
When shooting on location you need small, portable tools that you can depend on to create beautiful light. Speedlights are an inexpensive and effective alternative to using big studio strobes. In this hands-on workshop, Jayesunn Krump will teach you to use your flash to its fullest potential. Through his control of shadow and light, Jayesunn takes unique and striking portraits and he will teach you the techniques he uses to create powerful images. Topics covered include:
The more I use the Lumopro LP160 the more I love it. Recently I have been using it as a slave unit with my Nikon flashes. It has worked seamlessly when using the digital optical slave function. With this function selected the flash will ignore the TTL pre-flash and wait for the actual flash for it to fire. Between the S (optical slave made) and the Si (optical slave mode that ignores the TTL pre-flash) it is nearly effortless to add in the LP160 as a manual flash into your shot for added depth of lighting.
With all of its triggering options there is little need for additional triggers. All you need is a single set and the optical modes of the LumoPro LP160 and they fire right along with your other flashes.
I have also been using the digital optical slave function when using my SU-800as the commander of my Nikon flashes in manual mode. When shooting with this type of set up I can control the Nikon flashes from the camera position via the Nikon SU800 and have the LP160 fire with the Nikon’s
If you wanted to have remote control of the LP160’s power I would suggest that you look into the Jrx series by Radiopopper. I have not used these triggers as of yet but from what I have read and heard they should not have a problem controlling the LumoPro LP160’s flash output.
I cannot express how happy I am with this flash unit and how much I recommend it to anyone looking for another flash in their kit.
The new Rogue Gels come in two different versions. The first is the Rogue Gel’s Universal Lighting Filter Kit and the second is the lighting filter gel kit for the Rogue Grid. Both kits come with 20 gels for a wide variety. The two sets offer the same color choices and options, but two different mounting methods.
The Universal Lighting Filter Kit is just what it sounds like: universal. This gel kit has a Gel-Band that attaches around the flash, along the lines of a custom shaped rubber band. You then take the tabs of the gels and tuck them into the side of the Gel-Band.
The gels are cut so that you can leave a bit of space between the head of the flash and the gels. The Gel-Band is a very secure fastener, it is not going to ever fall off of your flash, and the gels are held tightly and not going anywhere.
That being said, I do wish that the Gel-Band was similar to the Rogue Tension Strap found on the Honeycomb Grid. The way that the Tension Strap mounts is great and with a very small modification I am sure that it could be converted into a gel holder. But I am sure that would raise the cost significantly so it is all a matter of trade off.
The Rogue Gels lighting filter kit for the Rogue Grid is perfect in its integration with the grid. You place the gel between the bezel and the honeycomb. The two pieces line up via the grooves on the bezel and the honeycombs. It is super easy to put together and the gels cannot go anywhere because of the grids design.
In the spirit of keeping this “fresh” and trying new techniques, I decided to use these gel kits to enhance the natural tones of the location and the model. By putting a gel on my flash unit mounted in a Westcott 28” Apollo I filtered the light bringing it to a nice warm tone that complimented the model and the tones of the location.
Another technique that I tried was placing an amber gel on a flash and then bouncing the colored flash off of the wall bringing in again some warmer tones to the shot.
These two gel kits are fully capable of dealing with not only color correction but also with dramatic lighting situations. They are a truly comprehensive gel set. With 20 gels in each of these kits you have a wide range of colors to blend in or change altogether. I tried mainly to enhance the colors present instead of completely changing what was there, but these make it easy to accomplish either task.
One of the things that I love about the Rogue line is that they are small modifiers that have big results.
I always make sure to have these modifiers in my kit, every shoot. Their sublimity has a huge impact on the shot, and I love having them as an option providing so many different possibilities.
At the end of the day I find both the Rogue Universal Filter kit and the Rogue Gels lighting filter kit for the Rogue Grid just as versatile as the other light modifiers in the Rogue series. I believe Expoimaging has created a very well designed line of flash modifiers that every photographer should try.
I received a Ray Flash unit today and after shooting with it around the house for a bit I am more than impressed with it.
At first I thought that it might be a bit top heavy, but once I had it mounted it was just fine. The feel of this unit on camera is far more balanced that the Orbis ring flash.
I am not going to get into the Ray Flash vs. the Orbis until I write my full review
I will be writing a more comprehensive review of the Rayflash, but I wanted to get my first impression out there.
If the frio cold shoe mount is not the greatest thing since sliced bread it is pretty damn close! Even to Dave’s Killer Bread.
Sometimes it is the tiny little simple things that can make a great difference. When I first heard of these little guys I did not think that they would be that big of deal. As soon as I started using them – boy howdy was I wrong!
After I put the frio onto my travel stand I felt a level of security that I did not have with the generic cold shoe mounts that I had been using. On two occasions those same generic mounts failed to hold my Nikon SB900 in place and it fell right off if the stand.
At this point I no longer worry about any of my frio mounted flashes going anywhere. They have a metal 1/4 – 20 female thread on the underside for a stand mount. On the top there is a locking clip that holds the flash unit in place and that clip has to be pushed down in order to remove the mounted flash.
One other fantastic detail is a hole for a Nikon locking pin. These details keep your flash units where they need to be without any worry so you can concentrate on getting the shot.