The Slowest Light In The World

We are told that light goes at 299,792,458 metres per second. That may be so when there is company present but I can assure you that when you are using a pinhole camera the stuff travels considerably slower. While you might get your ordinary photography with a digital camera in half a second the pinhole camera will require most of the day.

The reason for this is simple: the digital camera opens up to a maximum aperture of f:1.8 and uses an ISO of 6400 - the pinhole camera opens up to f: 248 and uses an ISO of 100. If you opt for the paper negative you have an ISO of 0.6 and if you put a yellow filter in front of the thing you have an ISO of peanut butter. As far as making pictures, choose smooth or crunchy...

Okay, this is not as bad as it seems. The Ilford Obscura camera will not take racing-car pictures at Wanneroo while the cars are circling the track, but it will take pictures of them while they are in the pits. And with a bit of management the pit pictures will be free of human interference. The camera system will also be suited for landscape shots on cloudless days, dreamy sea pictures, and interior views...as long as you can stay inside for an hour.

The calcu-later* kit that comes in the pack enables you to see what the equivalent shoot time will be for the Obscura compared to the results from a standard light meter. Those people who do not have an old hand-held meter can always use the screen readout from their digital camera to tell them what the standard exposure for a scene is - and then you can dial it onto the converter. But be aware that the converter dials are not corrected for reciprocity failure.

This is a phenomenon that occurs when you are using really long exposures - the recording medium gets less sensitive the longer the time is extended. A rough rule of thumb for the really long ones will be to double what the calcu-later says. Most pinhole shots benefit from longer exposure.

Of course the whole business happens on a tripod. In the case of the Obscura, though, as it has a flat bottom, it can be placed on any solid surface for the duration of that exposure. You set it, open the shutter, and read a book until the time comes to close it. In case of a dull day, I recommend you start on " War and Peace " and go on to reading a comic if you finish before the camera is ready.

You might laugh at this ( and you might laugh now, thank you...) but even with f:16 lenses and 400 ISO films in medium format cameras I remember leaving shutters open for 20 minutes to record projected images on a screen in a darkened studio. Literally set and forget.

A question from the readers; " What exposure times do you use  if you are using studio flash? ". I don't know, but as I have a studio flash outfit and tabletop models that will not move, I intend to find out. The trick will be to use multiple pops of the strobe system to lay more and more light onto the emulsion. I intend to use a digital setup to tell me what would be successful with a standard lens and then convert it with the calcu-later. I'll bet that will also need double the number of pops...

* Pun, John, pun...

Western Power Meets Eastern Power - The Fujifilm EF-X-500 Stun Gun

Those of you who know me as an old cynic may wonder where that character trait began...I can tell you frankly. I was a trusting and kindly soul until the day I took up flash photography - once I read my first advertisements for electronic flashes the world turned dark.

It was not always thus. I had been shooting flash bulbs up until the late 1960's and they seemed to have a pretty predictable light output. The backs of the cardboard cartons containing M3, Press 25 or AG1 bulbs had charts that listed distances and apertures and the only thing you had to note was the size of the reflector in the flash gun. You fired them off and got what you expected - and occasionally you got a surprise as one went off in your parka pocket.

The first Honeywell, Braun, and Vivitar electronic flash lights all had exposure charts or calculating dials on their outer cases with guide numbers for the various films...and they were all inflated. You did well to open up anywhere from half to one-and-a-half stops from the chart. If the film you were using was rated in a similarly optimistic fashion ( Looking at you, Fujifilm...) you were better off setting a brush fire and photographing by the light of the dancing flames.

Sooooo...

Have things improved? Is the new EF X-500 flash more powerful than the EF 42? Is it powerful enough? How does it stack up against a studio strobe unit measured in watt/seconds? Or joules?
And why do they all have different measurements when they talk about their flashes? Is it the old pea and shell game like the hifi industry advertisements during the Wattage Wars?

These questions should yield to science...and I am a graduate of the Suckitansee Technical School. I own studio flashes, several EF 42's, and a bran-new EF X-500. I can also rustle up a Minolta Flash meter and a studio assistant at short notice.

The basic test rig was a dark section of the studio back yard - open ground so that the pattern of light from the various flash tubes was minimally affected by surface reflections. Of course there were different reflectors around the tubes - these are noted in the results. The flashes were fired directly downrange and the results noted on the Minolta - it was not affected by ambient light.
The neighbours were probably ropable at all the flashing, but after the lightning storms of a few weeks ago they should be used to it. I have done worse things in that back yard.

Here's the digested results. The range was 10 metres, the ISO set on the Minolta at 200 ( basic sensitivity for an X-Trans sensor ) and we fired enough times in each division to get a consistent result.

The units of measurement are in metric gerbils ( MG ). As none of the other tech sources could agree a standard I made my own - they give as good a comparison as anything.

a. Elinchrom EL250 run flat chat

    bare tube                      40 MG

    18cm reflector              57 MG

     21cm reflector             80 MG

b. Elinchrom EL500 run flat chat

    bare tube                       57 MG
   
    18cm reflector               80 MG

    21cm reflector              113 MG

c. Fujifilm EF42 1/1 manual

    bare tube                         40 MG

    W/A panel                       28 MG

     Mag Mod Scoop            20 MG

     Mag Mod Dome            30 MG

d. Fujifilm EF X-500

    bare tube                          40 MG

    W/A panel                        28 MG

     box diffuser                     28 MG

As you can see, there is not a great deal more power being ultimately pumped out of the EF X-500 compared to the EF 42, but it is coming out with a lot more options for control, and with a lot better recycling time. I would be willing to bet on a similar battery consumption for both.

The other interesting measurement concerns the mag Mod accessories. They are essentially for use in a reflective environment - where they do extremely well, I might add. Wasting their output in open air is pointless, apart from the slight broadening of the illuminated surface.

In summary, if you can do the job you envisage with an Elinchrom 250, you can do it with the EF X-500. If you need more grunt, you need the EL500 or modern equivalent.

And no, I did not dig out my box of flashbulbs with the Edison bases and fire one off. But I will one day, and we'll see how many metric gerbils it puts out.

Grateful thanks to Igor, my faithful assistant, who coped with the humidity, darkness, and dodgy science.          

Fill Up At the Fujifilm Pixel Pump Today...

Well, that's what the images of the new Fujifilm EF X-500 flash reminded me of after I took their pictures for this column. I kept feeling around the left hand side for the filler hose...

The real reason is I wanted to show you the easy menu system of the flash. The menu of the previous flash was only a two-button affair, but that meant that you were condemned to following through a whole series of things that you did not want before coming to the bit you needed. The new flash uses more buttons and a control dial but lets you in and out far quicker - and it lets you do far more things.

a. Standard - 91 octane - you set to set your own level from full blast to 1/512  of the power. Or you can just leave it on TTL and see what you get. The oblong lighted button under the Mode sign opens the page and you whizz the control wheel round to whatever you want. Then punch either the page button or the central wheel button to set it in place. No waiting ten seconds while the computer thinks about it.

b. Ethyl - 95 octane - the next push on the page button sets up the zoom for the flash tube - you can run it from a 24mm wide angle to a 105mm portrait length. Again there is the Auto zoom option if you are changing gears frequently.

c. High Test - 98 octane - the page button will also take you to the LED light. This light glows just under the main flash head and can be operated separately or together with the flash. It acts as a quasi-modelling light or can be run up to quite a fair power as a video light. Again there is an intensity control and arrangements for this light to assist with illumination for auto focusing.

d. Oh, I almost forgot...how do you know when the flash is receptive to change and when it is locked? The part of the screen that contains what you are trying to adjust - in this case the power of the manual flash - is rendered black when it is active. Once you hit the page button or the central wheel button it is locked in and turns white.

e. Aviation Petrol - 100 octane - now it gets fun. See the thing that says Multi? That means the flash is going to fire like a stroboscope while the shutter curtains are open and you are going to get multiple images recorded on one frame. It is either going to be art or science.

You get to choose how many times the flash goes off and how it is spaced out - the Northeast corner of the green panel contains two figures; the left one is how many times it fires, the right one is how often. You can set the power level as per usual on the scale below these. This is a manual operation - not TTL.

f. Diesel - this is the setting for the flash when it is going to serve as a slave in a flash group. The amber colour is a distinct warning that you have clicked the switch on to the next segment. You'll see that it shows as Manual but you can also switch it to TTL. I am in several minds about this - the times I have tried to run systems where they had a degree of autonomy have always seemed to contain the most out-of-control light levels. 

I have decided that I know what ratios I want and am prepared to dial them into the various group flash guns. The number of times that I have had to deviate from the plan are minimal, provided I have had time to test out the shots before the actual action start`s.

g. Cognac - when you have finally decided to be the boss. This is the master position for the flash - it can run up to three other groups of flashes, with multiple flashes in each group. As you can see, there is TTL, or otherwise. The degree of control may be far more than you can sensibly manage in any one shooting session, but if you find the combination that works, you can lock it in for future reference. The flash gun will return to previous settings after it is turned off and on.

PS: You don't get discount pixels at Camera Electronic but the restrooms are clean...

The Nano-State

Not the nanny state - that's a different ketle of fish. We're talking about minor equipmant and accessories that we can use for major photography.

Light stands, like porridge,  come in three sizes; too big, too small, and Goldilocks. Errr...I mean just right.

The too big ones look great in the catalogs and in cavernous studios but you are in real trouble when you try to shift them...and as for trying to get them from one job to another in the hatchback - forget it.

The too little ones look cute and portable but the only thing they ever light up is your knee.Plus they fall over at the touch of a feather.

The just right ones are somewhere in between and, like this Manfrotto Nano Tripod, they get used in all sorts of situations. While the term nano suggests smallness and lightness, this stand can take standard-sized studio heads with ease. It has positive screw locks for the sections and can easily rise up far enough to do standing portraits.

It also has two special features; it has a sliding rider on one of the tripod legs to allow you to adjust it for uneven floors, and it hs a detachable centre column.The legs can be induced to fold back against  the column to reduce the packed length for transport.

I should think that three of them could fit into a medium-sized suitcase for air transport.They would be the ideal support structure for speedlights and strobist lighting setups. And as they are Manfrotto, they carry a good warranty and a great deal of red and black Italian style.

The detached centre column also suggests using it as a hand-held light pole.

You Know, You're Soaking In it?

Geeze, Narelle, You coulda told me...

For those of you who have come into the lounge room late, the cultural reference you have just read is a Robina Beard advertisement for Palmolive washing-up detergent  from the black and white era of Australian television. The product I am spruiking today is a camera accessory from about the same darned time. Trust Camera Electronic to have a steady supply of them...

Well, stop laughing. The Premier AC Mini Slave is one of those products that are older than dirt but exactly the right solution for any number of photographic needs. If you're not a studio shooter you can go boil the kettle but if you do any work that involves fixed flash draw nigh and give heed.

The Premier product is the latest name for something that I have seen as far back as 1964.  I'll bet it is older...It is a self-contained electronic flash that screws into an standard E 27 Edison screw socket for 240 volts and then converts this to a self-firing strobe flash. There's a magic eye inside it that sees when another flash has gone off in the vicinity and then fires the slave in synch with it. Some of the models have open flash buttons and some have little synch sockets but some just fire in sympathy and that's that.

The power level is about what your'd get from an old Metz 45 unit - or a Canon 430 EX or a Nikon SB 700. Not inconsiderable power. The real advantage if the fact that it is screwed into the normal AC current so it charges instantly and for free. When you need a fixed flash, this is the cheapest way to get it.

I use it under my product table. A standard Arlec outdoor floodlight fitting takes the Premier flash and sits on the floor facing upwards. When the main flash above the table fires, the slave fires as well, and whites out the paper under the subject. Do a little measuring and fiddling and you never have to touch it again.

See. It works a treat. 

There is a domed cover that diffuses the light, though not all that much. If you needed less power I'd pack it with something sophisticated, like a Kleenex...

You can also tape bits of gel over the light inside for colourful effects. I used to make artificial footlight effects for dancers this way. Three Premier lights on the floor didn't overpower the rest of the studio set-up but filled in nicely underneath.

I suspect that these humble accessories have been the starting point for a lot of budding studio shooters and they would probably be equally at home in photobooths. Or police lineup shots.

Less than a hundred bucks and they last forever - I love 'em.

The Shadow Of Things To Come

Sounds like a takeoff on an Alexander Korda pre-war movie, doesn't it? And if you've no idea what I am talking about you can google Things To Come. It is worth watching on Netflix.

This weblog column is brought to you by the second button from he left on the are Nikon SB5000 - a

button I never saw before on a Nikon speed light. It's the one that looks like a a little human figure with a shadow tapering off behind it. It's one of the final reasons to use this speed light in place of a studio strobe light.

Don't get me wrong - a studio strobe light is a wonderful thing. I know, I own five of them and they mostly do what I mostly want most of the time. They have the distinct advantage of taking big light modifiers and pumping out lots of light. Speed lights, on the other hand, largely don't, and have the further disadvantage in not letting us see what they are going to do before they do it. Studio strobes all have modelling lamps screwed into the reflector area and you can play with the light up and down as if it were a hosepipe. You may not get what you see exactly but you can get mighty close.

The disadvantage of the studio strobe is that it needs the 240vAC power line all the time.

Well, now you can have a powerful GN of 34...similar to the SB 700...various TTL and slave or commander modes, advanced wireless shooting AND a modelling light.

It is not intended to stay on forever - you trigger it with that second button and it sends out a pulsed strolling light from the tube. You can see the effect of the light on your subject in a sort of a blue-white light. It is not subtle - it's a blast - but it is particularly good for visualising where the shadow you create will go.

Sometimes, as in the case of ROBOR, the shadow is as important as the subject.

Yes, it will use up battery power. Yes, it will get a squawk of protest from the delicate and camera shy. But it may save you from making a monster out of a Mother-in-law...

See the Nikon SB-5000 Speedlight on the Camera Electronic website here

The Product Table Or How I Learned To Love Under-Lighting

There are very few occasions when you see light coming up from under a subject in real life; some discotheques in the 80's had light panel floors, you can see it in the classical footlights at the burlesque theatre, and when you open the hatch of hell there is a sort of a lurid glow that comes up. The effect can be quite unsettling.

It is stock in trade for Disney artists and illustrators of fantasy and science fiction when they want to make a subject look evil.

But it is also a very valid technique when you are trying to illustrate products for advertisements. In many cases the art director wants the viewer to see all parts of the subject evenly lit for either sales appeal or technical illustration. In some instances this is difficult to achieve with the classic hard/soft light or even with a light tent. No matter where you place the lights, the thing always has a shadow around the bottom bits.

Enter the light table. A support for the subject that is sturdy enough to bear the weight, but either transparent or translucent to allow light to flood up from underneath. There are several ways of doing this for small subjects:

1. The Lastolite company makes a plastic light cubicle that erects with metal rods and provides a space above and a space for a studio strobe below to flash up through the floor of the photo tent. It is big and cumbersome enough to set up to make it a semi-permanent installation, but it really does do what it purports to. I would equip it with three mono-block lights to tackle any catalog item that you could fit in the cube.

2. The dear old film light table. These are made by Metrolux in Melbourne and you can get them in A4 and A3 size. The acrylic plastic surface is about 3mm thick and will hold a considerable weight. The boxes contain a circular fluorescent light that can do an even job of illuminating the underside of the subject, but you've got to accommodate the colour temperature of this to whatever you are illuminating the top bit with. Fluorescent can be tricky...

3. The Bunnings Steel Shelf solution. Bunnings sell any number of cheap modular steel shelving systems. Think $16 per upright and $ 12 per crossbeam and you can make a good product table for $ 64. Add on either glass or acrylic for the top and you are ready to rock. You don't get the light tent or cube up the top but you can get these from our shop  - Promaster and Glanz make them all the way from 40 cm sq to 120 cm sq. Not having a light cube also allows more contrasty lighting.

It is simple to put a mono-block flash down below the table on a small Manfrotto floor stand pointing straight up. I mount an Elinchrom light there and pop a Minisoft 44 beauty dish on it. Then a bit of trial and error...or in my case trial, error, bad language, and more trial...and you are there.

The series of pictures of the 1957 Ford Skyline show the progression from no under-lighting to full effect. The last picture also shows the look of holding a fill card near the subject to throw a bit of the under-light back. In all cases there is only one other Elinchrom light with a wide reflector doing the main lighting. In other words, this is a technique that even enthusiasts with a two-light Elinchrom D-lite kit could use.

For the people who want to make catalog illustrations, this technique goes one eye-catching step above the standard light cube - those who deal in glassware and jewellery will find it particularly useful. Catch an eye - sell a product.*

Remember, Manfrotto, Elinchrom, Glanz, Promaster, Metrolux, and Lastolite products are all stocked by Camera Electronic - and you can get them through our online shop as well.

* or catch an eye and give it to the cat to play with...

PS. The model in the green light is not evil. She is a very nice person. So is the Ford Skyline.

Mousetrap

I called into the shop yesterday to place mousetraps on the toilet seats and as I was waiting for the ladies loo to be vacated, I got to chatting with one of the professional photographers who was standing at the rental counter. I noticed he was taking out a set of studio mono lights - a very good quality item.

The odd thing for me was I remember him taking out these same mono lights with various light modifiers all last year, and, I think, the year before. Weekday rentals mostly and some weekend rentals. Lotsa rentals...

At this stage of the game I am not at all certain whether or not his rental charges have equalled or surpassed the price of the lights when new. If so, I think he has sort of shot himself in the foot.

Rental of professional equipment is a wise move for many reasons - not all of them financial.

a. If you cannot afford the gear to do the job, but have enough money to rent it for a day or so, do so.

b. If someone else is paying the tab...ie. an actual client...go for it. The cost of doing it is buried in the fee you charge.

c. The gear is sound, and working, and you have the guarantee of the shop on this.

d. The gear is up to date - clients who base their buying decisions on your gear will look more favourably on you.

e. If the gear breaks down and it is not your fault, you are free of the worry of repair costs.

f. You can rent exotic stuff that you'll never need more than once in your career. No storing junk in the studio shelves.

But the whole system breaks down if you have spent more on getting it out than you get back for the job or if you find that at the end of the day you have spent far more renting than buying. Plus each rental and return is two trips into the shop from your working location - time is money. Rental is also  bond and insurance money paid out. You have to have that money tied up at each rental. And you can't take the rental stuff out of the state, either.

Now I've rented a lens or two in my time, for specific jobs. It was good, but I must say I was glad to give it back. It showed me that I did not want to buy it...and that negative was a good positive from a business angle.

So where this post is going... is to drive you to the rental counter for certain, but to get you to do some figuring...if you really like the stuff you rent, consider buying it. In some cases you might get some of the rent back in the purchase price.

Flash News - Day Four Of the Madness

If you are studio flashing it or speed-lighting it it out at an Easter party, drop by the shop today for bargains up to 78% off of selected lighting sets and accessories.

Theres some quirky bits on offer, as well as some standard flash units. Heavy-duty professional stuff, light shapers, portable continuous lighting, speed lights, etc. Even the video people are catered for.

In store goods, one sale one day...today's the day.

Never mind the chocolate eggs - stock up on lighting now. Surprise the bunny.

The Cleverer Speed Light Kit - Nissin's Air + Di700A - Tempted?

Progress for the Strobist - power for the Pro.

Nissin has just supplied a very good idea that will please Sony, Nikon, and Canon shooters:

Their new Di700A flash is packaged with a dedicated Air 1 wireless transmitter that does TTL as well as full manual control.

For dedicated speed-light users the two turning points are the TTL and the radio transmission mode. These make it possible to have a truly portable studio flash system that is not in a studio...for times when you are not in a studio.

The Nissin Di700A may seem to be fairly similar to medium-power flashes from other manufacturers - GN of 48-54 at ISO 100 for various focal lengths. The flash zooms for 24mm to 200mm coverage. It has full auto, TTL and manual setting.

The Air 1 command panel on the transmitter shows three groups that can be controlled and the ability to fire off -2 to +2 stops in any of them. If you employ three flashes as a main, fill, and hair light you can change them from the camera position very easily. And the fact that the signal is being borne by radio waves instead of IR pulses means you are going to be able to control more surely in bright conditions or in areas around corners.

The body of the flash has two other important little features hidden under rubber flaps at either side - on one side a PC socket for wired control in difficult transmission areas, and on the other an input socket for external power. This is a flash that can fasten upon a light stand and take power from an external adapter just like a studio monoblock. Tempting?

The really tempting thing about this is the price - the box in front of me says $399 for the Nikon version with the flash and the transmitter in the packet. Click here to purchase one from our online shop.
I daresay you can also get the flash on its own, letting you build further on that strobist studio set.

Tempting? Nissin make some great flashes for DSLR and for the mirror-less systems as well. If this air idea goes ahead we might see the transmitters for those as well.

Well....I'm tempted

What? This Old Thing? I Just Threw It On...

I have been old friends with this bit of equipment since I started work at Camera Electronic. It was made by Tamrac and a half dozen of them sat in the storage shelves upstairs for YEARS. I suspect it was because no-one knew what they actually were. I must admit I puzzled about them myself for a long time.

During this time I built up my own studio:

I added gear from all sorts of manufacturers  - Manfrotto, Superior, Redwing, Promaster, etc. but often had no system for storage of the accessories. The clamps, knives, scissors, spigots, and whatever went from an overcrowded bureau drawer to IKEA cardboard boxes to an untidy pile on the studio product table. It was even worse when I took my studio on the road - nothing was where I needed it and quite a few little bits got lost.

Well that is exactly the sort of disorder that this thing was made to cure. It is a hanging studio organiser.

Made in three panels of tough nylon fabric, there are cross straps sewn at regular intervals into which  you can hook most anything. The whole lot then dangles from a light stand, cross bar, or, with a little finagling, you can take the foot off an Autopole, slip the triangular tube up the pole, and then replace the foot. Your junk is right there beside you as you set up a shot.

There's still four of them left at the back of the shop amongst the light stands. Give 'em honourable employment - they're only $ 20 each & feel welcome to browse our studio lighting range via our online shop by clicking here.

Your Christmas Present Was A Speed Light - Here's The Rest Of It

If you are new to photography we want to let you into a secret - there is always more. If you thought that one purchase would equip you for a lifetime of pleasure you are either going to have thin pleasure or a short lifetime. To keep achieving, you're going to need to add more stuff.

Don't feel bad. We've all had to buy more accessories for what we use and in most cases it has actually expanded our minds and our abilities. Sometimes the extras turn out to be so simple...

For the person who has just bought or got a speed light flash for the top of their camera - hopefully from us - we say " Go out and go mad.". Take as many flash shots in all sorts of lighting conditions and of all sorts of subjects. It is the only way to find out what an electronic flash can actually do. Sometimes it does not do quite what you thought it was going to do, but with the TTL controls on most cameras it will at least do something recognisable. Keep doing this until you can be sure what will happen.

Then - think how your pictures may differ from those of the professionals in photo books and a magazines. The differences are not generally in the cameras that take the picture - they are in the light that plays round the subjects. Here is where some accessories can put you closer to that pro look.

Hahnel - famous for their chargers and flash sets - have an accessory set for all speed lights.

The various bits fit on different maker's flashes by means of an elastic band around the heads. This has one part of a velcro pad - the accessories have the other part. You can literally stick the whole thing together.

Some of the accessories spread the light - like the collapsible soft box or the diffusion card.

Some concentrate it. Just like the honeycomb grids that go on the front of studio strobes this little fellow doesn't allow any light to ride out to the side.

Do you need to jazz it up with colour? These gells fit over the front of the tube and it is all Las Vegas after that.

You also get a mounting block that can help you use your speed light on a studio stand or tripod as an umbrella holder- a surprisingly sophisticated studio technique you can use anywhere.

Best of all is the price - the whole set goes for $ 79.

Don't limit yourselves - get a set and start experimenting.

Spotlight On Value - Elinchrom

Oyez Oyez Oyez. All ye who have Elinchrom studio strobe kits draw night and give heed.

Sometimes you need to draw attention to a studio subject in no uncertain terms. Painting them with fluoro orange and suspending them from the ceiling can do it but required more of a supporting structure than you may be able to manage - at least in the average living room. Bedroom, maybe, but...

A better ruse is to spotlight the subject - and the spotlight is something of a rarity these days. You can still get the hot light variety - go google up Mole-Richardson and marvel at the 20th century appearance of the light unit and the 22nd century appearance of the price. Hollywood might have been cheap but it was never inexpensive.

For those using Elinchrom studio lights there is a better way - the Mini Spot Lite attachment. It bayonets right on there like all the other light modifiers do. And then you get to play a lot more with it than you do with the standard bowl reflectors or grids. The Mini Spot Lite has an optical system built in.

The central tube of the Mini Spot has a focussing lens  - it is slid back and forth manually but can be locked into place with a thumb screw. It literally focuses the light of the flash to a certain plane out in front of the strobe - the same way a slide projector focuses upon a screen. It can focus plain light for a small round spot, or...

Or you can interpose a diaphragm in the correct optical point in the light path and have the Mini Spot project an image of that diaphragm. The gate is loaded with a two-part filter holder that sandwiches a circular plate in position. Elinchrom provide metal plates with some fun patterns laser-cut into them. There are two window patterns, a tree pattern, and a plain spot. You can easily cut additional diaphragms in whatever pattern you require - I made stars, crescents, and reverse spots myself. Your limited only by your imagination.

If you project the spot onto a backdrop you can give  a Hollywood feel to a set. You can project pattens on people. You can put moons and suns in the sky. If Hurrell could do it...you can.

Lights. Camera. Action.

Closing The Barn Doors Before The Lightning Bolts - Elinchrom

Users of Elinchrom studio flash units please draw up a chair and sit down - this one is for you. Visitors who use other systems may sit in and pick as much out of it as they can.

I used to use as much light in a studio to take picture as I possibly could. Pushing the sliders up to the top on the Elinchrm EL 500  and 250 units was common and when they went off it looked like Alamagordo. I got up to 5 Elinchrom heads and had to start wearing a Royal Navy flash hood and gloves before pressing the trigger. Floor tiles were buckling from the heat...

This was in the days of trying to shoot time-expired X-ray film as sheet film with f stops in the 128 region. Please don't ask me why in case I figure out an answer...

Nowadays with the Fujifilm cameras and their ability to do jpegs to order, I rarely even use two of the 250 w/s. heads, and when I do I am very economical with the light. It passes through a number of mazes before it gets to the model and after that I do my best to scoop it up again and feed it back into the electricity grid.

The standard 21 cm reflector is the one that lets me employ the barn doors. Elinchrom have made the barn door holder into a dual-use device. You can put on barn doors of various types - and you can put them on all four sided of the holder if you want to - and you can utilise the holder as a way of adding honeycomb grids or gels to the light at the same time.

I reserve the honeycombs for the 18cm reflectors but have made up a varied set of gels from Lee filter material - the heat resistant variety - to add spice to the glamour girl pictures. The same sliding rails that support my home-made gel holders are the place where the Elinchrom-made honeycombs slide in.

Do the barn doors completely trap the light? No - they never do, no matter which brand you get. there always has to be a place with standard barn doors where the two elements meet and it is never light-tight. However, , when you need to shield the backdrop or other elements of the scene from the blast of the strobe it is certainly possible to flag off the light with Foam Core board or matt board attached to the metal barn doors. I have a box full of varied terry clips to do this and as long as the flag does not need to be too big it works a treat. If you need a full size board as a flag you are better off using a Manfrotto grip designed for the purpose and positioning it with a separate light stand.

And occasionally you need an assistant standing on one foot with both arms in the air and a strained look on their face to absorb the light. Disregard their language as they are under stress...