On Tuesday 13th November a large group of predominantly female professionals from the world of Photojournalism gathered in London for the very well attended “Women In focus”, hosted by Reuters and International Center of Photographyat The Ned.
As soon as I say this I will be corrected “but I was able to do HSS with Cactus and …. ” etc etc. So let me clarify.
“At last we have a flash system for our Fuji X-Series cameras that scales easily from quick snaps with on-camera flash with TTL to a full system for location or studio with High Speed shutter Sync”
I’ve been working with the system for about 6 weeks now and I’m happy.
Firstly, the important stuff, the colour temperature of all the lights seems fairly constant. They are stated to be 5600k but I have found on the X-T2 with no tweaks this is a little orange and needs pulling back slightly. If shooting with a WB card they come out at about 5500 and a tweak…
The TTL is also, again, consistent and much in line with what the Nikon SB900 / SB800 used to offer on my old Nikon systems.
The system I have put together consists of:
- 2 x AD200
- XT-32 (manual only)
- Canon off camera TTL flash cable (I state this to clarify what is needed)
- Also the Canon XS – cable is the one you need to connect to a ProPak 960.
First things first.
I unpacked the 685, AD200 and XT-F on the same day and the first issue was firmware updates for the AD200 and AD600 to enable them to support the Fuji’s fully. This is not the easiest task with two different firmware loaders required (G1 or G2) – one to update the AD600 and another for the AD200. Another issue is the firmware uploader(s) only work on Windows based systems, which, as a Mac user made life really difficult as I could not even get the software to work on a parallels virtual machine. In the end had to resort to my partners windows laptop. Also note that the firmware(s) are very model specific – particularly the AD600 vs AD600M, these are not interchangeable as I found out!
Setting Up / Using.
As with most other systems, the control signals are sent out on one of 32 channels (1-32) so the first stage is to set all of the units (flashes and controllers) to the same channel.
- X1T-F: There is a button marked CH, press this and rotate the dial.
- AD200: Hold down the GR/CH button until the channel number flashes. Rotate the dial
- TT685: Press the Right-hand most button to enable one of the wireless modes and then one of the centre buttons is labeled CH, press this and rotate the dial.
Next are the Groups. This is a way of enabling the trigger to fire multiple flash heads at different flash values. Setting a number of flashes to the same group will ensure they fire at the same setting. Setting flashes to different groups enables them to be fired at different settings (i.e. manual power, a TL ratio or turned off). As at the moment I have 4 lights, I have set each light to a different group to allow them all to be controlled individually from the trigger.
- Group A: AD200
- Group B: AD200
- Group C: AD600
- Group D: TT685
The 2 AD200’s are on the first two groups as these are the most used off-camera units. The AD600 is on Group C as the trigger in the TT685 can only control Groups A to C (+ itself). The X1T can control groups A through E. All of my units have a letter on them to remind me of their setting.
Once set, the output value on each flash may be set on the X1T trigger.
- Use the dial control to select (underline) the group to adjust.
- Use the Mode button to cycle between the modes: TTL, Manual Power, Off (–)
- Press the GRoup button to select the group and with its value flashing, use the dial to adjust the output power (or TTL ratio). Press the GRoup button again to confirm the setting.
The day I unpacked the units I had a photocall in the evening, a BBC photocall in a hotel for the new Dr Foster series. Biting the bullet, I took an AD200 (with the fresnel head), TT685 & X1T-F (after full testing obviously). My initial setup was to use a single camera with the X1T firing both flashes (mainly because I had not tried or tested using the TT685 as a controller). Having a bit of time to spare before the talent arrived, I was able to work out using the TT685 as a controller and so ended up with the “long” camera for headshots firing only the AD200 and the “standard” camera firing the AD200 & the camera-mounted TT885 for fill in.
The really nice thing was having the AD200 fire at totally different values from one camera to another as I swapped between them (with no further input).
In anger at Frightfest.
At the end of August it was my annual trip to Frightfest in London. I have been photographing the event for the organisers for 7 years now and a few years back we added live social media from the red carpet (using the iPad workflow).
The festival runs over 5 days during during which I shot 41 separate “red carpet” photocalls. The setup was again an AD200 (this time with a standard reflector over the open bulb) with the TT685 for fill-in (and controller). The units were set to TTL (+0.7 & +0.3 to compensate for the white step & repeat board) and worked flawlessly for the many thousands of shots over the 5 days.
I altered the direction of the shadows by moving & turning the subjects – i.e. more straight on and flattering for the women, turning away from the light for harsher shadows on the men. (easier to do when you co-run the media wall and so are able to fully direct it). The battery life of the AD200 was good, lasting a full day with an overnight charge and both units kept up with the 5fps, 3 frame burst I tend to shoot.
One other thing I had not tried with the XT-2’s until this weekend was the additional sync mode’s, the flash control screen allows HSS, front curtain and rear curtain. HSS as I have mentioned before, allows better control of the ambient light whereas the two “curtain” modes control when the flash fires in relation to the shutter opening. Front curtain fires the flash as the shutter opens, freezing any action at this point and if the shutter is open long enough, leaves a trail of any moving object away FROM the frozen object. Rear curtain is the opposite, firing the flash at the end of the cycle so that the blurring leads TO the frozen object. I played with this a bit at night… using Rear curtain to capture “Frightfest Ghosts” moving through the foyer.
When writing an article like this, it is so easy to miss points out but hopefully that gives you a good idea of how capable the Godox units are when used with Fuji system. Please ask any questions below via the comments and I will do my best to answer them all.
As is my morning ritual (especially at the weekend) I headed down to the beach for 10 minutes peace before the day starts proper.
Normally I take with me an X-T camera of some description and a sketch pad – quite often I use the sketch pad and not the camera. This morning being bright and sunny I thought I would take the opportunity to see how the new Godox (On camera) TT685F would work in conjunction with PocketWizards for remote camera use at Red Carpet Events.
My PocketWizards are a set of Plus3‘s which connect into the X-T2 via the Mic-In socket. This necessitates a 3.5mm to 2.5mm lead (using Younogo’s a 2.5mm-2.5mm lead is the requirement) .When first connecting the cable into the camera it prompts you to ensure the socket is set to the correct use – Remote Control or Microphone. (Edit: To clarify – this is to trigger the camera remotely and nothing to do with the triggering of the flash unit). The next key step is to pre-focus and set the camera to manual focus as it would not fire when set to either of the AF modes (I have not noticed this before when shooting interiors, however most of the time I am bracketing & pre-focusing on manual to ensure the focus does not change between brackets for the HDR merge).
Once this was working ok I fitted the Godox to the camera and had a play. This is not a particularly flattering image but it does demonstrate why HSS (High Speed Flash Sync) is such an important tool.
The key things to remember when shooting outdoors with flash are –
- Shutter Speed only affects the ambient light (sun / surroundings)
- Aperture affects ambient & flash brightness
- ISO affects ambient & flash brightness
Therefore, shooting into bright sun I was able to balance the ambient (sun and background) by raising the shutter speed to 1/1250, setting the aperture and ISO to suit the flash output (in this case TTL output for laziness but probably near or at full output).
So.. The key is Shutter Speed! Actually no, I stand by the T-Shirt, the key IS motivation!
Have a great weekend!
With a few “long distance” jobs coming up in the next few weeks I thought it was time to purchase the XF100-400, I added the 1.4TC as the saving is reasonable and you never know when it might come in handy (as it works well with the 50-140 as my previous post proved).
As when I last used the 100-400 I did not have the converter I thought, despite the poor weather and light I would take the pair down to the beach and see what they made of the wind-farm that is sprouting off of the Sussex coast.
I took this image at the full 840mm 35mm Equivalent reach (ISO 800, 1/450th and F8 on an X-T2) because I liked the contrast between the old torn stark fisherman’s marker flags and the modern windmills softened by the atmosphere and weather. As I processed the from RAW (pushing the Velvia simulation to extreme) I noticed a dark patch in front of the windfarm.
Zooming in at 1:1 I saw this..
Im not sure how far out the Dolphin was (please don’t correct me on type / species etc, I understand I am probably wrong) but I was unable to see it by eye and although not a very technical test, given the conditions (it was blowing a gale, I was hand holding etc ) I am pretty impressed.
Ill follow up with more considered thoughts later.
I sort of stopped writing this blog a while back, the X-T2 was released and I was in a “no kit investment year” (I run my kit spending cyclicly where I have a year of investment, then a year where it all has to pay for itself before I invest again). Once the X-T2 was out I kind of realised that nobody really wanted to read about my using the older cameras so I put the blog on hold. (If thats not the case, let me know!).
Now we are into a new year, an investment year, and the first of those investments has just arrived following a good deal from Calumet‘s Jamie (and the help of a friend – Mike). I have added an X-T2 plus grip and a lovely Millican bag (that I will use for wandering with a single camera).
This morning I went for a wander, adding a 16-55/2.8 and the old 55-200/4.8. This was not really a test, more a “lets get to find out a little bit about you”. I’m a sucker for monochrome as you probably know so I set it to JPG and ACROS simulation. Heres a cross-section of images – mostly straight out of the camera, just cropped (unless I specify otherwise in the caption).
There is nothing groundbreaking in these shots but they were all testing aspects of the kit and helping me get used to the new controls layout. I used the 55-200 because I wanted to see if the new AF made this lens more useful – it does, it kept up with the birds better than my pre-coffee panning technique. I am pleased with the ACROS simulation and how it handles edits (to the hi-lights and shadows). This afternoon I will use it on a proper job but for now I can sum up my likes and dislikes:
- Focusing – the tracking is far better.
- Joystick – moving the focus points is a breeze
- Landscape / Portrait AF pattern – having different points selected in the 2 camera orientations is brilliant (Firmware 2.0)
- Speed – A far more responsive camera
- ISO adjustment on the front command dial
- Back button focussing – my Tracking / Single shot trick (see this article) no longer works, BBF is less useful
So thats overwhelmingly positive then!
Now I have current kit, I will be writing a lot more again so make sure you head back. More thoughts to follow (and you can expect posts on the 150-400 soon also). Thank you for visiting.
Last Sunday (the 12th) was my annual trip to photograph the stars arriving for the British Academy Film Awards which, this year, took place at The Royal Albert Hall. As usual I was shooting on on Fujifilm X-Series, mostly the X-T1 and 50-140 with some on the 56mm mounted on a second X-t1. The wide images are using the 14mm mounted on an X-Pro1.
One interesting fact is that despite shooting over 1700 images on the 2 X-T1’s, I only changed the battery once in each camera (and the 50-140 body shot way more than the 56 body). In very cold weather, thats not too bad
Normally I would post a series of images here but I think its just easier to pass you over to my main side and a slideshow.
Last night I was back on the red carpet for the Fifty Shades Darker UK Premiere at ODEON Leicester Square.
All shot with Fuji X-T1 mostly with the 50-140/2.8 but the wides were with the 16-55/2.8
Here is a small showcase of images: http://www.julieedwardsphotography.co.uk/fiftyshadesdarkeruk