high speed flash two images combined

Elinchrom ELC500 TTL studio flash

A new generation from Swiss masters of studio flash Elinca SA brings multi-platform TTL, super-fast recycling and flash durations, brilliant LED modelling and many design innovations. David Kilpatrick has been trying out the twin head kit.

The second wave of any innovation in technology is often safer to invest in than the pioneering first generation. Studio flash offering IGBT duration and power control, allowing much the same TTL and high speed functions found in camera speedlights, has been in development for over a decade but whole generations have been orphaned by advances in wireless trigger and camera firmware.

Finally bringing this to their new mid-range ELC TTL heads – one rung below the ELC Pro and one above the BRX – Elinchrom has worked for maturity in the whole technology. So, when the ELC 125 and 500 TTL arrived they worked much like any head with the EL Skyport Pro. Days later new firmware for the triggers enabled TTL operation, across a range of camera platforms already proven with the portable ELB 500 TTL.

The ELC 125 TTL is a little larger than a D-Lite. The ELC 500 TTL is substantial – as expected.
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Sony new RF wireless flash system

Sony today announced the availability of a new radio-controlled lighting system to meet the growing demands of professional and advanced amateur Sony photographers.Designed for compatibility with Sony’s α interchangeable lens cameras[i] and external flash units[ii], the new lighting system will include the FA-WRC1M wireless radio commander as well as the FA-WRR1 wireless radio receiver.

(Editor’s comment – this is a press release text, we realise that absolutely no-one calls RF wireless flash ‘radio controlled’ but there you are…)

The flexibility of the system means that it can be a totally portable solution, benefitting people like wedding photographers who are often working at locations where it is cumbersome to transport studio lighting but the results need to be perfect first time.

With a maximum range of 30m (approx. 98.4 feet), the new radio controlled system will allow for an extremely adaptable wireless flash shooting experience with exceptional performance in all types of shooting conditions using TTL, Manual or Group modes. In total, the system can control a maximum of 15 separate flash units[iii] in up to 5 groups of flashes which gives the photographer a huge amount of creative freedom to experiment with different settings to accurately capture their vision for the project.

Whilst using the system, shooting mode, flash ratio and exposure compensation on remotely located flashes can be controlled via the local commander which is equipped with a large, easy-to-see control panel on which the communication status with each receiver can be confirmed, thus making it convenient for one-man or small-crew shooting. The system also offers the added benefit of enabling remote release of multiple cameras[iv] which is particularly useful for sports and wildlife photographers as the system can work at up to 30 metres, enabling them to capture a wide range of views at the crucial moment.

The new lighting control system will be capable of flash sync speeds of up to 1/250th[v] of a second with high speed sync (HSS) available as well. Flash level can be controlled over 25 steps (1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128, 1/256) in 1/3 EV step increments.[vi]

The new system is designed for photographers who are creating specific set-ups necessitating multiple light sources, controllable at each flash station for dynamic lighting effects. By delivering a fully radio controlled system, the user does not have to worry about the limitations of IR triggering where strong sunlight or physical barriers may cause problems. It is dust and moisture resistant for use in a variety of conditions.[vii]

The new system will start to ship in September 2016 with the Remote Commander priced at approximately €420 and the Remote Receiver priced at approximately €240.

[i]α7 II / α7R II / α7S II via planned software update. Software updates currently scheduled to start in August 2016, as of press release timing

[ii]Multi Interface Shoe Flashes: HVL-F60M/F43M/F32M. Auto-lock Accessory Shoe Flashes HVL-F58AM / HVL-F43AM / HVL-F42AM in Manual mode only. Optional shoe adaptor ADP-MAA is required.

[iii]Max 5 groups in GROUP mode, 3 groups in TTL or MANUAL mode

[iv]Multi Terminal Connecting Cable is required. Sold separately

[v]Depending on camera specification

[vi]When using HVL-F32M, up to 1/128flash level is selectable. When shooting in High Speed Sync., flash level of a group including HVL-F32M must be set to 1/16 or higher

[vii]Although the design is dust and moisture resistant, absolute protection is not guaranteed in adverse weather conditions

Elinchrom EL-Skyport Plus HS for Sony MFA

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This is expanded from the feature which appears in the July/August issue of f2 Cameracraft magazine. We’ve been using the Elinchrom EL-Skyport Plus HS for Sony Multi-Function Accessory shoe since its arrival on May 28th as the first test unit released by Elinchrom. If you wonder why I don’t immediately do a clickbait blog post, it’s because Elinchrom were already concerned by synchronisation/shutter release timing delay issues – being unfamiliar with the very slow AF-AE-shutter cycle of the Sony mirrorless full frame models. My feedback was needed along with others. I can safely say that any practical difficulties encountered with hi-sync (hypersync) using the new Sony Skyport are entirely down to Sony.

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It’s not advisable to work too close to a DJI Phantom drone as the rotor tips whizz by at a touch less than 100 miles an hour. With a 16-35mm CZ zoom used at 16mm to get the low viewpoint it did feel a bit like being buzzed at times but Ali Graham kept it well within the target zone. Click this image to open a full sized 42 megapixel original where you can see the exact extent of 1/8000s blur…

The idea here was to test, and show off, the 1/8,000s synchronisation with the focal plane shutter of the Sony A7R II which the Elinchrom dedicated high speed sync trigger EL-Skport HS Plus Sony makes possible. It actually makes it effortless, as this studio flash trigger is properly set up to provide the camera with the right signals. It’s the first studio flash wireless trigger ever designed to do this for any Sony or previous Minolta camera across three different generations of flash shoe, and that is important as electronic viewfinders really need a trigger which emulates a native dedicated flash.

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The variable pre-sync timing (ODS) of the Skyport HS Plus uses HSS, originally intended for burst mode camera top strobe flash, to fire the studio or location professional flash milliseconds before the usually ‘hey, the shutter is fully open – fire!’ moment we call X-sync. The shutter then opens during the flash illumination, instead of the flash firing during the shutter opening. The white  gap in the diagram above represents the shutter opening. The grey bar to the left against the vertical axis shows the ODS, which can move the start of the shutter opening to a different point on the flash output curve. This is done by changing the shutter release timing not the flash! Think about it – you press the shutter button, and that is the earliest moment anything can happen, either shutter firing or flash firing. Since the flash must be triggered before the shutter opens when using HSS, it is the shutter action which is delayed (it’s very easy to think of this as the flash being fired early!).

The big selling point for Elinchrom is Hi-Sync. They have even made special slow-burn flash heads for their Quadra ELB battery location kit, which have a T=0.5 flash duration longer than 1/550s compared to as short as 1/5700s with a Type A head. In practice you can fine tune shutter speeds between 1/1000s and 1/8000s to catch a fairly level plateau of high level output (the flash is used on full power for this). But at £199 this trigger, with its full visual display and adjustment of multiple head flash control, is actually worth getting even if you never used Hi-Sync at all.

The EVF issue

With a plain hot-shoe trigger, using an adaptor or not,  no Flash Powered On signal is sent to the camera. It will remain in whatever P/A/S/M mode is already set, and if this results in a virtually blacked out EVF or screen because the modelling or ambient light is low it becomes necessary to turn off exposure or effect previewing (Setting Effect On, the normal setting which links the finder brightness to the exposure set). When you fit a dedicated flash, non-HSS modes set the camera to a standard flash sync speed typically between 1/60s and 1/160s and switch the finder to an auto gain mode (Setting Effect Off) without any menu diving required. HSS modes retain the same finder setting but allow any shutter speed down to the shortest 1/8000s time.

Normally,  any remote trigger or commander fitting the Sony body will do this if it’s part of a wireless remote flash set up using the camera maker’s own battery flash protocols (and a camera-mounted flash like the Nissin i40 can do the same). You can make a crude studio flash trigger using a small dedicated flashgun and masking it with an infra-red filter but it’s not simple as automatic pre-flash sequences or operating delays need to be disabled, though Elinchrom’s current heads can be programmed to allow for pre-flash bursts.

Pro flash triggers which are not part of the dedicated system won’t turn Setting Effect to OFF, and did not for the earlier locking flash Minolta-Sony shoe of the A77, A55 and other electronic viewfinder SLR-style models. It was apparently just a matter of applying a simple signal voltage across a pair of the contacts when the trigger was switched on – but not a single manufacturer could be bothered to find a solution. Not PocketWizard, not Skyport, nor anything else until the arrival of Phottix, Pixel King and a few other Chinese-made innovative brands which added a PC-X-sync socket to modules mainly intended for camera-top strobe guns.

SONY DSC

Now, with the rise in popularity of the Sony A7 series, Elinchrom has invested in a fully dedicated version of their EL-Skyport Plus HS which behaves just as if you had a Sony native flashgun mounted. To do so, they worked with Phottix and Sekonic. There’s no TTL, as the Elinchrom studio and location flash units are all high powered with manually controlled output. For normal use, the Plus HS offers a greater operating range to 290m (instead of 100m), LCD menus, and remote control of the power and modelling settings of all RX heads with the setting displayed on the trigger for the latest generation. Because it switches the EVF camera instantly into a studio-friendly mode and can act as a complete wireless remote control it’s worth the £199 cost for anyone using Elinchrom RX wireless triggered flash with Canon, Nikon and now Sony.

It is a very well made unit with a near locking shoe function (above). However, it’s also a bit of a monster (below) compared to the tiny original Skyport. That lens, by the way, is a Canon 40mm STM on a Commlite, with a 49mm filter thread adaptor and a Minolta 45mm f/2 lens hood. It’s actually one of the fastest-actuating lenses as its aperture mechanism makes up in speed of operation anything you might lose on AF speed.

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The size of this trigger is not only used for the informative top LCD display, it also houses two AA cells, which gives it the extra power for the 290m wireless reach and its advanced electronic functions.

SONY DSC

So for my money, this new trigger becomes my regular trigger. With any other trigger, I have to remember to change the Setting Effect and White Balance when working in the studio, and of course change it back. Sony, in their wisdom, have excluded Setting Effect on or off from the parameters you can remember in a user setting memory. With my A900 (optical finder) Sony all I had to do in the studio was turn the mode dial to 1 (Memory 1) and my camera was instantly set to ISO 100, Daylight, 1/200s, and f/13 as my startpoints for studio work. With my A99, the missing Setting Effect meant the 1, 2, 3 memory positions did not enable instant set-up or instant return to regular operation and it’s been the same with every SLT or mirrorless yet made by Sony.

Hi-Sync

The Hi-Sync feature – ability to emulate Nikon FP, Canon and Sony HSS – is compatible with all Canon DSLRs but not all Nikon, so check before ordering (example – no Hi-Sync with D5500 or D610, but fine with D750 or D300S). It’s also not compatible with all Elinchrom heads. My Ranger Quadra RX AS kit was bought with Type A (short flash duration heads) and my studio BRX500i heads are similar. They gave me high speed flash at normal flash sync speeds (up to 1/250s with most of my cameras) but the short, sharply peaking flash output can’t be used for Hi-Sync. I would need to buy Type S heads for the Quadra kit, or trade in and get the latest ELB 400 with Type HS heads – which is what I tested the unit with successfully before trying all my other flash. The lowest cost Hi-Sync studio head is the budget D-Lite 4 in IT (no remote setting) or RX (full remote) versions. In fact, the 400Ws D-Lite 4RX at under £250 per head, with its 5-stop output range down to 25Ws and constant 1/800s duration, is actually the most compatible of all current Elinchrom heads even though not really intended for intensive professional use.

Like PocketWizard and other triggers with hypersync, the EL-Skyport Plus HS offers a programmable delay in microsecond intervals from 0 to 5 milliseconds. This can be used with the Elinchrom RX Universal Receiver connected to almost any make of flash head. You then need to experiment with the power setting, as some have long durations at lower power with more even output level and for others a peak is followed by a relatively flat long tail decay at full power. There are some IBGT controlled flash units which cut off the peak and tail leaving a plateau of output. The ODS (delay) and camera shutter speed in HSS mode can be experimented with and you may get lucky.

However, the two certain ways to get maximum relative power and ease of Hi-Sync use are the ELB 400 with HS heads and the D-Lite 4RX. Mounting the very firm locking hot shoe on my Sony A7RII and switching the trigger on automatically set the camera to Wireless Flash and EVF Setting Effect Off, Auto WB to Flash. In Standard mode on the Plus HS, the shutter speed was set to 1/250s; just turning the Plus HS dial to set HS mode, my faster shutter speed set via the M mode on the camera was instantly restored and access to the full range from 30s to 1/8000s enabled. In fact it was impossible to create a mismatch, other than by entering an extreme ODS delay.

At all speeds faster than 1/250s, using Hi-Sync, the A7RII should be used with mechanical first shutter curtain. Silent electronic-only shutter mode simply doesn’t fire flash of any kind, and first curtain electronic mode may produce unevenly exposed or partial frames (I’ve since found that such problems really don’t happen often and you can risk using first curtain electronic to help overcome the really laggy shutter timing). Even used correctly, there’s some shading with the ELB 400 at full power, about a stop of fall-off smoothly grading to the bottom of the frame at 1/8000s. Moderating the shutter speed and adjusting the flash power and ODS can fine tune this but I wanted maximum output and my landscape format test shot benefited from the shading. Vertical shots are not as forgiving and the lighting may need feathering to suit. Be careful with some very fast lenses used wide open as these can also produce a shutter/scan related grad filter effect at the fastest shutter speeds.

To do the drone shot, we wanted to work fast so I did a simple manual adjustment of ISO and aperture in the studio first at the right distance. The main flash (2/3rd power, Outlet A on the Elinchrom ELB pack) had a red gel fitted, and the second head (1/3rd power, Outlet B) had no gel. I placed in the same relative positions I planned to use outside, and used my paper ceiling lantern to check settings.

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I then repeated the test on the sky outside without changing the settings, and got pretty much what was expected.

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So when Ali arrive with the drone at 4.30pm we just brought the portable flash pack and two heads on stands outside, already adjusted, and flew the drone in the right area of the shot working with the 16-35mm f/4 CZ zoom fitted to A7RII. The actual exposure was 1/8000s at f/5.6 and ISO 400, manually set. One small problem is that you can not judge ambient exposure unless you turn the Skyport off… because when it’s switched on, Setting Effect OFF immediately takes over and makes the sky look correctly exposed even when it will not be. I didn’t get this into the magazine report because I knew what was happening and only noticed, a few days later, someone complaining about this problem when using HSS fill-in flash on the Sony A7.

Such is the latitude of the A7RII raw file that lots of overshooting was not needed. I’m not a machine gun shooter. Even on top corporate assignments I’d often travel thousands of miles and then takes just a dozen frames of a CEO-in-office shot. I used to do whole newspaper features on a single roll of film. Digital has never changed my approach, but being able to check the shots as you take them is a great boon. It meant that with each shot, I could see how the rotor blades were aligned (the drone position was chance – slight buffeting wind kept it dodging around all over my designated shooting space). I could also check the light on Ali’s face and the drone controller. I took just nine frames before getting exactly what I wanted, and Ali was able to leave at 4.45pm.

drone-shots

Troubleshooting

The HSS mode of the Sony A7 series involves a considerable delay between pressing the shutter and getting the shot. There’s no solution to this and as a result I found timing some action shots almost impossible. I had to manage to fire about 1/2-1/4s before the subject reached the required position. Bridal portraits? Fine. Synchro-sun action? Not so!

It’s not all down the HSS either. In my review of the A99, I found the 1/50s hair-trigger response of the electronic first curtain shutter was negated by a complete AE-AF-stopdown cycle giving the camera a reaction time about the same as any regular DSLR, and a rather long overall 300ms ‘cycle’ in AF-S/continuos sequence mode, extended to 400ms in 14-bit capture AF-S single frame. The A7R was found to have an actual capture delay of up to a third of a second, and in fact the A7RII despite its option for electronic first curtain is not that much better.

If you want to get the 0.20-22s response time, with the shutter firing a mere 1/50s after you press the button, you will have to disable AF With Shutter and use manual focus or centre back AF on demand. With native Sony lenses, you must also work wide open as the aperture can take 1/15s to close down; with adapted lenses, for example on the Sigma MC-11, this can be 1/8s or more. If you use Auto exposure (A for example with a manual lens) the camera will briefly reset the sensor in a short interruption of live view and if you use A-mount or Canon EF lenses which have an instant aperture closing action, it can allow about 1/15s following this happening to recalibrate.

I don’t have the time in the world to check all the delays and complexities of A7RII timing, but when HSS flash control is added, it’s as bad as it gets (remember, HSS delays shutter release). So you can press when the subject is approaching the centre of the picture, and the flash will fire when the subject has left… so you pan a bit, and anticipate the way you might have had to do with a focal plane VN Press Camera 70 years ago.

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And, if you are lucky, your Hi-Sync daylight and flash will work and your subject will still be in shot!

Fun day, 'mini olympic' fund raising sports in Scottish town of Kelso. Tractor tyre lift.

Even a relatively slow-moving sport like turning the tractor tyre was not easy to frame up and time (no, you don’t wheel it along, this is Scotland – you lift it and turn it over repeatedly to complete the course).

I continued with experiments with the trigger and my A7 as well as my A7RII, and also using the RX10 (on Speed mode but not HSS). Actually, the RX10 offers about the fastest response and easiest daylight sync up to 1/3200s shutter speed and no need for this or any other hypersync trigger.

During tests, I found that the A7RII completely locks out HSS mode when you fit a dumb manual lens, with or without the Lens App in use to tell the camera what plain-mount, uncoupled manual lens is fitted. Put a manual lens on, with no electronic aperture control, and it won’t let you select a speed faster than 1/250s even if both flash and camera confirm HSS operation. Perhaps it may do so with some other brand or type of flash. To check, exactly the same set-ups were repeated on the A7 – this body has no such problems. You can use HSS with manual lenses.

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The 28mm f/2 OSS lens on A7RII proved a good choice above, taken at 1/1000s and f/8, but during my attempts to actually get our kitten in the frame at all this was a rare semi-success. The camera was rarely as fast as the cat.

The worst scenario proved to be that a shot could actually be captured about two-thirds of a second after your shutter press with the A7RII. This delay must be a concern to Elinchrom and should be a concern to Sony (their own firmware updates to handle the new GM lenses have slowed down the operational cycle, and their HSS defaults to allowing for a pre-flash sequence even when there is no pre-flash involved). Just a point, ADI flash is not an option on mirrorless bodies and does not apply to bounce, wireless or HSS anyway so suggestions that setting his may improve timing are not relevant. The Skyport Plus HS tells the camera it is indirect or off-camera flash, and these always use Pre-Flash TTL. Perhaps Elinchrom can cut some of the lag time out but it’s really down to Sony to provide firmware (or even hardware) which permits much faster real-time shutter actuation. Without this, all the claims for fast AF are pretty meaningless; the best AF in the world can’t allow for the distance travelled by your subject in a third of a second or more.

Despite this…

Though this EL-Skyport Plus HS is not like the tiny original Skyport, I want one now just for its proper control of the camera in routine studio work despite not one of my existing Elinchrom units (Quadra Hybrid AS, BX500ri) providing the Hi-Sync function.

Please also note that Hi-Sync does not work with the new ELC heads (gated fast durations), with Type A or S pack heads, and with pretty much anything except the ELB 400 with HS head/s, and in a surprisingly welcome drop to the lower end of the cost scale, the higher powered entry level D-Lite4RX.

It’s been a long time coming but this unit is, I think, the sign that Sony has arrived as a professional camera system. – David Kilpatrick

www.elinchrom.com/skyport.html

Photoworld and Image – complete digital 28 issue archive!

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We are able to offer, now, the complete 28-issue digital archive in page-turn format for the final eleven years of Minolta Image and Photoworld (as it became) from 2002 to 2011. For only £10, a one-off payment, you unlock the complete collection of digital versions of the printed quarterly magazine.

This collection forms a fascinating document, showing the transition from the last heyday of Minolta to the merger with Konica in 2004 and the launch of the Dynax 7D, through the takeover by Sony in 2006 and up to the launch of the NEX E-mount system in 2010 and beyond.

Click to view the full digital publication online
Read Minolta Photoworld 2002-2011
Publisher Software from YUDU

Sharp vintage glass – and subject

Twenty years ago I was operating one of the first full service digital photo studios in the world. I had already published, back in 1986, the world’s first desktop published commercial periodicals and won the UK Printing Industries Research Association inaugural DTP Awards, in 1987, for this. We’d bought the first Apple laser printer in provincial Britain and when Letraset’s ReadySetGo layout package failed to produce usable output for our first such magazine, Aldus stepped in and provide a pre-release beta of PageMaker. In 48 hours, I had to re-create the entire magazine – and it worked.

From then on we progressed, through having the first separation-capable film imagesetting in Scotland to reproducing the first magazine cover from Kodak Photo-CD and soon after the first full colour page from a Kodak DCS camera. By the beginning of 1995 we had Photon, the first major photo-mag style website, in by the end of that year we had a Leaf Lumina based studio with Scandles lighting. There’s an article about this in our repository of past articles, https://cameracraft.online/2007/08/06/the-leaf-lumina-scanning-camera-1995/

That year, Shirley had planted an entire bed of flowers specifically for drying. They make good photographic subjects. The (now relocated) university college of St Margaret’s in Edinburgh asked me to give a lecture about the new technology – and so the Leaf Lumina (a scanner on a tripod with a  Micro Nikkor up front, and an Apple Mac Powerbook on the end of a SCSI-2 cable) went along with the fluorescent studio light heads and a tray of the dried flowers. We also took our Kodak dye-sub printer, which had made hundreds of prints alongside other printers during that year, when Shirley completed her M.Sc.Colour Science and created pre-ICC colour tables to reproduce fabric colours accurately. With this carload of gear, we were able to shoot and produce a print on the spot.

The picture remained on file – a 25MB TIFF, roughly 8 megapixels, but equal to 8 megapixels in the Sigma Foveon sense as every pixel was true RGB with no Bayer filter involved. The exposures took over a minute, limiting it to still life, but the quality was not exceeded until 12 megapixel Bayer cameras like the Sony A700 appeared. And a few months later, we were producing Paterson’s catalogues and price lists and needed a cover. One list covered black and white and colour chemicals, the former mostly from Paterson and the latter from Photo Technology. Photoshop offered an easy way to take the image, and divide it accordingly. So that’s what we proposed, and what was used for the cover.

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It was intended to show the gamut from plain monochrome through toning to colour and it did look very good in print, because relatively low overall contrast combined with high detail contrast is easily handled by litho.

Now, forward two decades, and I’m looking for subjects to test out the latest Elinchrom ELB400 portable li-ion powered two head flash kit. This has LED modelling lights over twice as bright as its predecessor and they now really show how the light is falling even when using light shapers. I wanted to show texture using my optical Mini Spot attachment, which works very well with these new heads and their cool-running LEDs.

On top of a wardrobe, in a basket, were the dried flowers. They are called everlasting and apart from gathering loads of dust, they are. The most difficult job was holding each flower against the nozzle of a handheld vacuum cleaner to remove 19 years of dust.

The first shot I took was with the Sony A7II, 24 megapixels, using my Pentax SMC Macro Takumar 50mm f/4. Like the flowers, this is also everlasting. It’s not yet 50 years old even though the lens design, a simple Tessar-type corrected for magnifications from 1:2 (50%) to 1:10, is well over 100 years old. It’s also a tolerable lens for general scenes, though the extreme resolution it achieves centrally only covers the full frame when you focus close. With Pentax’s original multicoating in every way a match for the latest Zeiss T* as found on new Sony Zeiss lenses, and a deeply recessed very small optical unit, it has a contrast and colour saturation you just don’t find from lenses using hybrid or moulded aspherics or many more air to glass surfaces.

This picture appears, fairly small, in my review of the ELB40 in f2 Freelance Photographer magazine July/August 2015. When editing it, I was struck by the extreme resolution. Within the planes of sharp focus, it was exceptional.

So, I decided I’d shoot a new shot, and improve on the use of the spotlight attachment on the Quadra head to cast the shadows and create a sunlight-like effect – and this time, use the A7R with its 36 megapixel resolution. Although the A7R has no AA filter and is sharper in theory, the larger pixel count calls for a smaller aperture to secure a little more depth of field for the larger viewing scale, and this when using any macro lens always risks diffraction limits on fine detail contrast. For example, at half life size a setting of f/12.5 (between f/11 and f/16) which I found desirable for best sharpness distribution gives an actual f-stop of c.f/19 and this does cause some sharpness loss. If the lens was extended on a tube to give 1:1, a setting of f/16 as nearly always needed for depth of field is really a true f/32 for diffraction calculations and light readings alike.

Fortunately, our brains are sensitive to perceived scale, and we ‘see’ close ups as sharper than distant subjects even when they are not. The A7R and the Pentax macro lens also combine to produce an extreme level of textural detail, the information our eyes and brains use to see 3D solidness, shape and form in a flat photograph. So in practice you can shoot macro and use whatever aperture the subject depth demands, without resorting to focus stacking techniques.

And here, anyway, is the result. You can click on this image and it will take you to a pBase hosted full size, JPEG compression level 12 version (this is over 24MB of image data, and it is not compressed like Facebook or indeed a WordPress image – though it’s still not ‘virgin’ data).

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In a couple of days, I have another SMC Takumar of the same era arriving. It’s a 35mm f/3.5, which was the cheapest of the line back in 1970 when Shirley bought me my very first brand new, marque brand lens for Christmas! We were both only 18 and that represented an entire month of her basic salary working behind the counter at Dixons in Sheffield… helped by a staff discount. It was my first Super-Multi-Coated lens and I can remember still how the high contrast and bright colours could even be seen through the viewfinder – and how amazing the first box of slides looked, midwinter close-ups of fallen leaves rimmed by frost and frozen puddles.

These lenses have never lost the edge they had, if they have been looked after, but the truth is we never knew how good they really were. We can now focus them within a fraction of a millimetre. I’ll probably never compare the 50mm f/4 SMC Macro Takumar with the 55mm f/1.8 CZ (I’ve used it, but only for low light high ISO tests on the A7S) or the 35mm f/3.5 with the CZ 35mm f/2.8 because it’s unlikely I’ll ever buy the new lenses with their inflated prices and reliance, however marginal, on software correction to be ‘good’.

I know I have not written much about the A7R, or the A7II I’m using, or about any of the new lenses I can not manage to borrow from Sony and can’t afford to buy. I have an amazing set of lenses from 12mm to 500mm for full frame, including tilt-shift, wide aperture and mirror but just one single Sony FE lens for convenience (the 28-70mm FE kit lens). In contrast, my A6000 kit is all Sony plus the Samyang 12mm f/2 because it is just so good it had to have a place.

So, please do take a look at the full size file. The critical plane for focus crosses the smooth surfaces of the two poppy seed heads and it’s in this relatively low contrast zone that the quality of the lens shows up. Elsewhere in the image the defocused quality is very pleasant (there was no CA to correct and there’s no bad colour bokeh) and the plane of sharpness passes through a few other more interesting flower details.

Finally, a word for A7II users. If you use a manual macro lens, as I do, remember that when you program in the focal length for Steady Shot you should only enter the actual focal length for distant views. For my 1:2 macro Pentax, most often used in the range from quarter to half life size, I program in 70mm as the focal length because this represents the view angle. Using a macro at 1:1, you should enter double the focal length to get the correct Steady Shot compensation. Sony and Minolta macro lenses with the D chip (eight contacts) convey accurate extension information, so the auto Steady Shot works perfectly with them. But manual, or Canon lenses on adaptors which may or may or not pass the right information through, are best used with the Steady Shot focal length entered via the menu screen and adjusted to allow for the actual lens extension.

– David Kilpatrick

Check out B&H prices for all full frame lenses for the Sony FE (A7) system here

Check out B&H Secondhand Department for all ‘film camera’ manual and vintage lenses

Check out B&H Secondhand for Sony E-mount adaptors to allow you to fit your vintage/legacy lenses

Check out the huge list of new adaptors for almost every lens ever made!

Frank’s a definite Alpha Male

We shall be sending Frank Doorhof one of our original and rare Alpha Male T-shirts, in black, though I’m not sure we have anything quite large enough to fit him – which goes for his personality too. He’s a great workshop presenter, overcoming technical problems by just cracking on with whatever will work best. At Edinburgh for The Flash Centre’s full day fashion seminar with Frank on May 24th, the last thing I expected was to be using the same camera as Frank. All workshop leaders use Canon, right?

Frank now uses Sony Alpha 99, and he had a lot to say about it. Since we already know the benefits of the Alpha system and the current Sony full frame 24MP sensor with its extreme 14-bit dynamic range, most of what he said was not new, but it’s rare to hear a course leader extol the virtues of a system which not one of his delegates (apart from me) was using. He did rather talk down the value of CZ lenses (while using a 24-70mm CZ) and praised the quality of his vintage Minolta 85mm f/1.4 and 35-200mm xi, but I can’t argue with that as I’ve made similar decisions. Indeed, the 35-200mm owes much of its reputation to results we published seven years ago. I was beating him at his own game by using my SAM 28-75mm f/2.8 – cheaper by half than the CZ 24-70mm, and extremely sharp.

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We had a rare sunny clear day in a run of mixed weather, though it was cold and windy on the roof terrace of the Glasshouse Hotel in central Edinburgh. The location provided strong backgrounds and details. Simon Burfoot and Chris Whittle from The Flash Centre brought along the Ranger (battery location) and Ranger Quadra (lightweight version) flash systems with Elinchrom Skyport wireless triggers. Of course, in the past if you turned up to a workshop with an Alpha body, you were unable to use the wireless flash connection unless you also remembered to bring a standard hotshoe adaptor. With the A99 (and NEX-6, RX1 and future models) the new Alpha multi function accessory shoe works directly with triggers.

Frank put everything into using just one light source, and used no reflectors, aiming instead for dramatic lighting by underexposing the main scene but lifting his model subject Nadine by local flash. This was achieved with the 44cm rigid square softbox, newly re-introduced to the Elinchrom system (I have used the original grey one for over 20 years – you only need to buy these expensive accessories once in a lifetime). Fitted with a honeycomb but no diffusing scrim, the single lighting head with this light shaper put a tightly controlled pool of light on to his subject. Though it’s easy to use digital SLRs as a pre-test light metering and flash balancing method, Frank works with a Sekonic flash and ambient light meter able to take incident, reflected and partial spot readings. It is very similar to the discontinued classic Minolta Flashmeter IV/V, with the same 1/10th stop accuracy and display of contrast and memorised values. If I was doing this type of work, I would use my Flashmeter IV, but I would also use its calibration function to match it to specific ISO settings on the A99.

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Frank’s wife Annewiek used multiple video cameras to film the workshop, as Frank provides his on-line tutorial material through Scott Kelby’s training site. Here you can see one set-up as he explains how he’s seeing the location, addressing the used of the glass window wall, avoiding unwanted reflections, placing Nadine in the shade then adding the flash to match an underexposed daylight scene. To achieve the required settings, he used ISO 100 at apertures around f/16 to f/22, with a 1/160th shutter speed, and mechanical first curtain shutter. I also followed these settings, which are not kind to sensor dust spots. Anyone using a Nikon D600 would have been in serious trouble! Even my ‘clean’ A99 which never needs any spot removal at my regular optimum working apertures between f/8 and f/13 showed a few visible spots at f/18. I would have used ISO 50, which I consider to be an advantage of the A99, and trusted shutter speeds to 1/250th with this camera for flash sync. But Frank was dealing with photographers some of whom had cameras incapable of shooting at less than ISO 200 or synchronising with studio flash at 1/250th without a slight second curtain crop to the frame. It would not have been fair to demonstrate using the advantages of the Alpha 99…

I did have in my bag, and normally carry, a 4X ND filter. With the Alpha 99, fitting an ND filter has absolutely zero effect on the viewfinder brightness, or the quality of view in sunlight. After all, sunshine with a 4X ND is just like a cloudy day in brightness, and you have no problems on a cloudy day. You can work with an ND just as ‘transparently’ as you can use an UV filter. An alternative would have been to use a polarising filter, which can also enhance the dramatic ‘dark sky – bright subject’ mix. However, Frank wisely kept clear of this. Polarisers have some pretty horrible effects on fabrics, skin and hair. Use them on portrait or fashion shots only with great care. Digital sensors are usually able to do deep blue skies without help.

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Here’s the Elinchrom Ranger head as used. Frank asked delegates to restrict themselves to three shots per situation, a request generally ignored. I took some before the flash had recycled, to show the effect of the scene without flash, and with flash.

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This was my ‘take’ on this setup and it’s probably different from most as I used a 12-24mm Sigma HSM lens at 12mm. Now Frank did not explain to the photographers how he was using his electronic viewfinder, and I didn’t ask, but I’m sure he had it set to over-ride manual setting gain, as he was shooting on manual (M) with a degree of underexposure that would have made the finder extremely dark. I didn’t change my setting and though for all the other situations I was able to compose well enough, for this set-up my EVF showed nothing but solid black where the model was. As a result, I did not see what an ungainly shape was made by the extreme angle of the 12mm lens for a couple of poses.

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The left hand side is very much how my finder looked. I don’t like this result, but I could not tell until after it was taken. Nadine was changing poses rapidly. This is one case where the optical viewfinder of my Alpha 900 would have been a better choice.

If you have a Sony/Minolta wireless flash set-up, you can overcome this whole problem. Your remote flash would perhaps need a softbox, or more realistically a small umbrella to match Frank’s localised soft flash and also receive the control signal from the on-camera flash. You would simply set the remote flash to Manual power not TTL, set the A99 (or other EVF DSLR) to Aperture Priority (A), set f/20, and rely on the flash’s auto communication with the camera body to set 1/160th flash sync and ignore the ambient light. You can also do the same with a slave cell triggered by a small camera top unit converted to invisible IR using a gel filter or old transparency unexposed film-end. You can not do this with the sync cable (PC socket) or flash triggers, as these connections do not tell the camera there is a charged flash fitted, and set the shutter speed.

Elinchrom! We need, for Sony and other EVF or LCD screen-only cameras, a flash trigger designed to provide a signal to the pin which the camera’s own flash system uses to auto-set flash sync speed when using Aperture priority. When this is live, the viewfinder brightness is set to auto gain regardless of the exposure mode (PASM) used.

For his first set-up, Frank was actually shooting full lengths from a distance with Nadine making a small element in a large view. I liked the structure she was posing under, and prefer in general to get pictures which are not a copy of the course leader’s work. Although this was also slightly underexposed for the background, I had no problem with the EVF when the subject was in a normally lit area.

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You may say, the subject was in sunlight anyway, so why use flash? The dual lighting gives a filmic look, like a movie set lit in Californian sunshine (and Scotland’s legendary blue skies complete the illusion). This essentially sidelight from the sun, with a frontal fill you can see most clearly on the fingers of the left hand glove.

For a further set-up, Frank moved to the roof terrace view over the north of Edinburgh towards Leith and the Forth (first image on this page). He had demonstrated sets suitable for normal to wide angle lenses, using the 24-70mm, and switched to the 70-200mm f/2.8 Sony SSM G for a different relationship between the model and the background.

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This was the view without flash – not a bad set-up as it stands. When processing my images, I found that the in-camera standard JPEGs of the A99 handled the red of the dress better than almost any setting or camera profile using Adobe Camera Raw. Colours like this are a good case for trying alternative raw converters, such as DxO Optics Pro or Capture One Pro. Their camera profiles are generally closer to the in-camera conversions than Adobe’s. Frank demonstrated how to use the MacBeth ColorChecker Passport colour patch target and its camera profiling software to create an on-the-spot profile for better ACR/LR conversions.

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This is the shot with flash, again, in-camera JPEG sRGB. AdobeRGB would retain more potential detail in the red, raw conversion to 16-bit using ProPhotoRGB the maximum. But for that you also need something like a Eizo 10-bit monitor with a matching video driver, and no Apple Mac made comes with that. Build yourself a tower system and it’s just about possible to get 10-bit colour… but not using Mac OSX! My monitor is a regular old 27 inch iMac and if it’s 8-bit it’s having a good day. The colour looks lovely, but accurate it certainly is not. I don’t mind as 99% of all the screens any of my images will ever be seen on are no better, and the printed page is far inferior. Putting the above pictures into print would almost guarantee the differences you see here are lost.

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Because the Glasshouse’s rooftop function suite has a white translucent fabric roof, the overhead projector could not be used. So, Frank sat down with his laptop and the photographers. Later on in the day, the group moved to an inside room, and he demonstrated a series of processing steps in Lightroom with special attention to the use of plugins producing Clarity, pseudo-HDR and ‘image look’ and to fashion and beauty retouching.

To read more about Frank’s work, visit his own website www.frankdoorhof.com or follow him via Kelby Training. He regularly does workshop tours. I’ll be reporting on some of his views and hints for professional photographers, specifically, in the June 2013 edition of Master Photography magazine (you can subscribe here for this 10X a year magazine which we also produce).

For more information on the Elinchrom flash system, Skyport wireless triggering and battery powered Ranger/Ranger Quadra location flash, see The Flash Centre website.

– David Kilpatrick

New HVL-F43AM Alpha flash with rotating design

Sony has announced a new HVL-F43AM flashgun using the same type of rotating body design found in the top of the line HVL-F58AM, to replace the existing HVL-F42AM with its traditional bounce design. At the same time, some more Alpha system accessories have been rolled out.

HVL-F43AM ‘rotator’ flash

With a powerful output of GN43 (105mm ISO100 m), the compact yet versatile HVL-F43AM flash from Sony is optimised for superb results with all A-mount cameras.

As featured on the HVL-F58AM, the innovative Quick Shift Bounce system allows flash head position to be adjusted instantly when switching between horizontal and vertical compositions. This maintains consistent shadow positions regardless of camera orientation, allowing easy creation of natural-looking ‘bounce’ effects.

Smart flash functions open up even broader creative lightning possibilities. Wireless Ratio Control makes it easy to select light emission ratios for up to three separate flash units*. This allows quick creation of sophisticated multi-point lighting effects without the need for complex professional equipment.

Ideal for everyday shooting and more serious applications, its dust- and moisture-resistant design makes the HVL-F43AM ideal for demanding assignments, indoors or outside.

Flash power levels are switchable in 22 increments, from 1/1 through to 1/128 level in 1/3 steps. High output power is complemented by a quick 2.9 second (approx.) recycling time. Despite the flash’s extensive functions, operation is refreshingly clear and simple via the high-quality LCD screen and direction buttons.

Main specification for external flash HVL-F43AM
Guide Number – 43 (105mm, ISO100・m)
Flash Coverage – 24-105mm (15mm focal length covered with built-in wide panel)
Flash Control – Pre-flash control, manual flash control selectable, direct through-the-lens (TTL) flash metering
Bounce Flash – Click positions: up (30°/45°/60°/75°/90°/120°/150°); down (8°); right (30°/45°/60°/90°); left (30°/45°/60°/90°)
Recycling time (based on Sony measurement) – Approx. 2.9 seconds (with alkaline battery)
Battery performance (based on Sony measurement) – Approx. more than 200 flash cycles (with alkaline battery)
Power level switching – 22 levels: (1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128), 1/3 steps
Wireless Ratio Control – Available to control by 3 groups when used with DSLR-A900/A850/A700
Other features
Auto WB Adjustment with Colour Temperature Info; Auto zoom control optimised for image sensor size; High-Speed Synchro; Modelling Lighting; Test Lighting; Multi Lighting. Supports camera’s Red-eye reduction feature. Built-in wide panel and bounce sheet. High quality LCD screen.
Compatible Shoe – Auto-lock Accessory Shoe
Included items – Mini-stand, Case
Dimensions (WxHxD) – Approx. 75 x 129 x 87 mm
Weight – Approx. 340g (without batteries)
Power source – Four AA-size cells of the same type, either alkaline or Ni-MH

VCT-55LH bracket
The VCT-55LH is a versatile mounting bracket that offers space for mounting additional ISO cold shoe accessories. A useful add-on for all A-mount cameras by Sony, the bracket can also be used with E-mount cameras such as the NEX-5, NEX-3 and the Handycam® NEX-VG10E HD camcorder.

Other accessories – like a shotgun microphone – can be securely mounted while the camera’s main shoe is occupied. The VCT-55LH is ideal for use with the CLM-V55 clip-on LCD monitor that offers a clear, high-resolution view of images during video and still shooting.

Soft Carrying Case LCS-AMB
The LCS-AMB carry case protects your A-mount camera and attached standard zoom lens while you’re travelling. A special suspended partition cradles the camera securely while allowing quick access. Finished in durable black polyester material, the case can be slung over a shoulder using the supplied strap, carried by the grab handle or attached to a belt. It also features handy pockets with space for up to two extra batteries, spare memory card and lens cap. (NB: Not compatible with DSLR-A900/A850).

Lens Hood ALC-SH111
Compatible with DT 35mm F1.8 SAM and 85mm F2.8 SAM lenses, this round-profile hood shades from direct sunlight to prevent glare and lens flare.

See all accessories by Sony for the α camera system here: www.sony.co.uk/hub/dslr/accessories

The new HVL-F43AM external flash, VCT-55LH bracket, LCS-AMB soft carrying case and ALC-SH111 lens hood for α cameras by Sony are available from Spring 2011.

Nissin Di866 flashgun for Alpha

Kenro, the UK distributor for Nissin, has announced that the powerful and fully featured wireless twin-head Di866 Professional Speedlite is now available in Sony hot shoe fit.

Initially launched in September 2009 with a Canon or Nikon fit, the Di866 is specifically designed for use with digital SLR cameras and comes with many ‘world’s first’ features. This new flash unit is simple to use and can also be fired wirelessly where it can be used as a master or receiver.

Check availability and price in your camera fitting from B&H Photo Video here

With a guide number of 60m (ISO 100 @ 105mm) the Di866 features Nissin’s original ‘My TTL’ user adjustable TTL light output level and is firmware upgradable thanks to an onboard USB port.

The gun also features high speed synchronisation and a fill in sub-flash (12m100 ISO), which is activated while the main flash is bounced and also has a built-in wide angle diffuser and catch-light reflector.

The flash gun comes with an auto-rotate colour display that stays upright whichever way the unit is tilted. The display utilises user-friendly icons to enable ease of operation.

“The Di866 has been a hit with photographers and journalists alike, with one reviewer describing the flash as ‘the most powerful hotshoe flashgun available,’ and I think everyone who uses the flash will agree with that statement,” says Kenro managing director, Paul Kench. “I’m delighted we are now able to offer this unit to Sony users.”

See www.kenro.co.uk for details of your nearest stockist, or call Kenro on 01793 615836 for more detail.


New skins versus old wine – A350 or A380?

As the generation of Alpha 200, 300 and 350 reaches early retirement age it may be the time to grab bargains. The new Alpha 230, 330 and 380 have plenty of bonus points to win over new users despite the critical lack of video capture. But the older generation has some very tangible benefits.
The most obvious changes in the ‘Plus-30’ range are the use of a new smaller battery (NP-F50AM) shared with Cyber Shot consumer models, a dual MS ProHG Duo and SD card interface, substantial reduction in weight and size, improved rear LCD screen with auto brightness adjustment (only on the A330 and A380), and a radical overhaul of the graphical user interface to include sample picture tips (pioneered by Nikon).
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Sony Alpha 230, 330 and 380 update

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The new Alpha 230, 330 and 380 models are radical ergonomic redesigns of the existing 200, 300 and 350 series. There is a 15% reduction in size (volumetric) and weight, an update to the styling, and a completely revised user interface with graphic representation of setting adjustments – with a built-in ‘handbook’ to accompany the modes and options. They also have mini-HDMI image output, compatible with Bravia TVs and with interactive software inside the camera to allow the Bravia’s own remote control to change, orient and zoom into images (Bravia Sync). Twin card storage is MS ProHG Duo/SD and only one card is usable at a time, with a hardware switch to change slots. A smaller battery type (shared with the HX1 Cyber Shot) is used. A new self-timer drive mode grabs a quick burst of 3 or 5 frames, cutting the chances of spoiled portraits and groups shots when someone blinks at the wrong moment.
The new flashgun HVL-F20AM operates as a wireless flash controller for the full-frame α900. “While Sony’s flagship DSLR does not have its own integrated flash, the HVL-F20AM can be used as an inexpensive trigger for wireless remote flash heads” according to Sony UK.
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