Pocketwizard Syncs Studio Flashes at 1/500th of a second

As a follow up to my Pocketwizard Review I found a Video by Chris OConnell, shooting Broncolor Studio Flashes triggered with Pocketwizard FlexTT5s to fire at a sync speed of 1/500th of a second, where normal cameras max out at 1/200 to 1/250th of a second. He uses Pocketwizards Hypersync technology to achieve this.

Video via fstoppers

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Pocketwizards and the Magic behind them…

Pocketwizards are the de-facto standard when it comes to triggering (studio) flashes. I bought my Profoto Compacts with the built-in PW receiver back in the day and never worried about any cables to begin with. They are great, wonderful, and they work.
I started out with a PlusII accompanying my Profotos. Very simple, future proof (transmit and receive in one device), four channels, one on/off switch, and two plugs to connect flashes or cameras to it. Easy-Peasy!
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Help Portrait Day Oxford, UK

Founded by photographer Jeremy Cowart, Help-Portrait is a movement of photographers, makeup artists and volunteers who come together to give, not take, pictures of those who are less fortunate. Help-Portrait’s mission is to equip, connect and mobilize volunteer photographers around the country and the world, giving them the means to give back through their photography.

Take part in the Help Portrait Day Event in Oxford on December 4th from 10am to 4pm at the OXSRAD Center. Hope to see you there.

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Joe McNally’s Talk for Authors@Google

Joe McNally might well be one of the best photographers in the world.
His books The Moment It Clicks: Photography secrets from one of the world’s top shooters and The Hot Shoe Diaries: Big Light from Small Flashes
are a phenomenal collection of his wisdom and experience, and a great and fun read.
Thank You Joe McNally for constantly inspiring!

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Little Tidbits

I tend to remember these little tidbits of knowledge that make your life easier, things that seem so obvious, but I never thought about them until somebody mentioned it and spoke it out loud. Those are the bits and pieces that make my work easy and speedy every day.

I have collected some of them here:

  • Exposure Compansation: If you look at a britht scene, you dial in + compensation, if you have a dark scene, you dial in -. It all seems perfectly obvious and logical: If the subject is bright, your camera still thinks it’s some 18% grey thing, and will underexpose it. Dial in + and you counter that. On the other side, if something is dark, the camera again thinks its 18% grey and will make that black a grey, so by underexposing it (dialing in – compensation) we counter that.
  • If you set your camera to continuous drive mode in dark situations, you might have camera shake in the first frame from pressing the shutter, but you increase your chance for getting a sharp second or third shot.
  • Long focal lengths compress the image and make objects that are at a distance behind oneanother look closer together (like subject and background)
  • Use a tripod. Seriously. If you have to move around a lot, at least take a monopod.
  • When you are using that tripod, and dont need full leg extension, you want to start extending from the top, which is the pipes with the larger diameter, which give more stability. If you are in sand, snow, water, dirt etc., go the other way around and start extending the thin parts from the bottom first. The idea is that you dont get too much dirt/water into the other sections of the legs since you are keeping the connecting part and joints from the ground.
  • Look at your pictures in black an white. What I do is set my camera to shoot large RAWs and small/fine jpegs with B/W picture style. What happens is that Adobe Camera Raw will discard the PictureStyle in the RAW file, but it will be in the jpeg and on the preview on the camera back. That way you get the best of both worlds.
  • Re-Format your memory cards in your camera. Dont just erase them, format them. That way any errors in the file system get fixed and you dont get any corrupt data. I have shot over 100.000 frames and not had a single corrupt one off the card.

If you have similar experiences and tips, please leave them in the comments below.

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Chase Jarvis Keynote on why you have a chance!

It freaks me out looking at what is possible today. Chase talks about the changes in the industry, why its the best time ever. The web enables us, makes us all producers. Just remember: you have to G.O.Y.A.!

more: here

Also check out Zack Arias (www.zarias.com) Vincent Laforet (laforetvisuals.com) Jasmine Star (jasmine-star.com) Rob Haggart (APhotoEditor.com) and Joey Lawrence (joeyl.com)

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The Network

I have been a member of the Fotografische Gesellschaft Regensburg for more than 5 years now, and just joined the Oxford Photographic Society now I have moved here. These communities have always been a great place for me to meet likeminded people, exchange knowledge and start projects.

I highly recommend getting in contact with your local photo groups, putting your images on flickr and other online communities like fotocommunity.de.

Of course also Facebook, LinkedIn or XING have groups and pages for photographers. It can also be a great starting point to find models and stylists or makeup artists in their respective forums.

What do you do to show your work, how do you get in contact with likeminded people, stylists and models?
Share your tips in the comments.

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Speedlite-Ringflash

Today we will take a closer look at the RayFlash Ringflash for Canon Speedlites, distributed by Hama/BIG in Germany. I bought mine at Photo Dinkel in Munich for somewhere around 170€ but you can also buy them at Amazon

The RayFlash comes in a rather large box, but due to the shape of the flash (with the speedlite connector) there is no other way around that. I keep my box, just in case, but have also transported it quite a bit without it just dumping it into my bag, and it seems to be just fine.

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Fashion Shoot // Sunglasses

My most recent Fashion Shoot. Four Models and MakeUp Artist Kristin on a shoot for Schönweitz Optic glasses and sunglasses. The tricky part of course is controlling the reflections on the glasses. I positioned the mainlight (beauty dish with and without grid) very high, and filled with a small speedlite from underneath.
To the sides were two 3′ x 1′ strip-boxes with grids towards the models for a sharp and contrasty edge or without them towards the background for a clean white.

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The Secrets to Lighting

The use and manipulation of light in photography can be simplyfied into four parameters with only a few basic rules. If you master those and get your head around them entirely, you can master any lighting situation you can dream of, be it a large set of studio strobes you have to handle, or lighting with the help of dinner plates and trays as light modifiers. The following applies to any kind of light and any situation.

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