Alley in Pisa, Italy

by Lars Kotthoff

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3

The difference the diffuser shape makes is mainly the shape of the catchlights. I.e - shoot a person with a square diffuser, you'll get a square catchlight in their eye. Shoot them with something round, the catchlight will be round, which arguably may look more natural. On the other hand, square catchlight can look like a window, which is also neat. ...


0

The primary difference in diffuser shapes is in the shape of any specular reflections in the image, for example the catchlights in the subjects eyes. Octagonal diffusers produce highlights which look more rounded and therefore more natural and less obtrusive. However, in some cases hard edged highlights are required for a certain look, you see this a lot ...


1

The point of a diffuser is to create light that comes from a larger area and is more spread out than what the bare flash produces. Theoretically, its shape influences the distribution of the light as well, but due to the spreading-out effect, light basically goes from every point on the diffuser's surface in all directions. Which means that in practice, a ...


0

There are two different situations. Bright ambient light: Turn on high speed sync on the flash. Lower the ISO Low ambient light: Select higher ISO until the shutter time is acceptable


2

Yes, the Canon 430EX II is fully compatible with the Canon EOS 6D and should be able to do all of the functions for which it is designed. If you are having problems using your 430EX II with your EOS 6D, here are a few things you should check: Batteries Be sure the batteries for both the flash and the camera are properly charged. Connection Be sure the ...


4

At 1/250, you are trying to exceed the x-sync speed of the 6D (which is 1/180, as you have found), which explains the black bar. Don't forget that on the 450D, as a crop-sensor camera, the shutter has less distance to travel, so doesn't need to move as fast to give the same exposure time, which explains why some full frame cameras have a slower x-sync speed ...


5

Unfortunately, your flashes won't be able to do the job. It's not that the DLites are altogether useless (they're really rather nice units), but the way they work — the way a lot of studio flashes work, and not just at the lower end — means that the flash duration at t 0.1 (the time when at the flash is firing at more than 10% intensity) is as short as it's ...


0

What I don't understand is how TTL and preflash work when there are 3 flashes firing at the same time. The answer may be somewhat dependent on the system that you're using. In Canon's system, and probably others, each flash group emits a separate preflash. The camera can then determine power levels for each group based on the total light needed for ...


0

Since all flashes fire at the same time (triggered by a pre-flash or radio signal) the camera does the exact same exposure check it does without flash. TTL means through the lens, so it just looks at how much light hits the sensor. There are different exposure measurements, like e. g. "global metering" (as I'll simply call it), which uses complicated ...


0

I think you're out of luck at the moment...unless you read Chinese (all the listings say that the English manual is "coming soon" and the flash was only released in late May 2014). Flash Havoc reports that the flash still requires considerable "refinement" (read: needs fixes), and that they don't recommend purchasing it yet. There are reasons not to cheap ...


1

While the specifics are somewhat brand-dependent, this question has essentially been answered already in one of your follow-up questions. Start with the following assumptions: There is no magic involved; everything that happens will be as simple as it possibly can be and still work; The system is not and cannot be foolproof; any sufficiently advanced fool ...


10

Editing out the eyes removes a metric tonne of information that might have been helpful in answering your question — please don't do that if you're asking about studio lighting problems — but there is still something to be seen in the photos you have posted. Apart from the makeup and post-processing that have already been mentioned in the comments, it's ...


0

Pixel and Phottix radio flash triggers have Sony/Minolta hotshoe versions, but you can just use hotshoe adapters with any manual radio triggers, since TTL communication doesn't matter. If you need TTL over radio the Pixel Kings and Phottix Odins both have Sony/Minolta hotshoe versions (but they obviously don't support the newer Sony iso-compliant hotshoe ...


1

Get a smaller, lighter external flash unit. They come in more than one size and you should be able to find one that fits your needs. As an added bonus, it will still probably work better than your original built in flash.


1

I just took a few test shots with YN-622C triggers and my YN-568EX (I usually use them in M, so hadn't thought to test eTTL function), and with the single speedlight, if I had wireless and groups on, I was getting consistent underexposure. If I turned wireless off, eTTL exposure was spot-on. I did NOT get inconsistent exposure or missed fires. I also tested ...


1

There are a few new systems appearing on the horizon that look like they will allow power control from any iso-compatible hotshoe, including those of mirrorless cameras like mft and Fuji X. But they're typically flash-and-trigger combination specific and are likely to be manual-flash-only on mirrorless. AFAIK, there are no full-function-TTL-capable radio ...


3

Bad news: the botzilla table of sync voltages reports that the sync voltage of the 260T is 220V. The Fuji X hotshoe, as far as is known, has a limit of 50V. Hopefully the flash simply doesn't work, and you haven't fried your Fuji X's hotshoe. If you have to use this flash, I'd suggest getting a Wein SafeSync. It would probably be better to get a modern ...


2

It only requires two values to figure out. Before the pre-flash it knows how much light is ambient. For the pre-flash it knows how much light the scene gets from the flash at a fixed power. It knows how much more or less light is needed for a standard exposure and simply sets the flash power accordingly since it knows exactly how effective the flash is ...


2

The metering flash is almost always relatively low powered. The camera compares the amount of light the metering flash produced to the amount of the pre-flash light that is reflected back to the camera by the subject. It then computes what percentage of light was returned from the metering flash, assumes the same proportion of light will be returned at any ...


4

There isn't nearly as much to figure out as you seem to think. Let's say that you have a scene in front of you that is nicely illuminated and doesn't really need flash at all, and you meter for, and set a manual exposure for, an ambient exposure that would have been absolutely perfect. Then, for some inexplicable reason, you decide to add manual flash ...



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