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I've used Paul Buff in studio for years, with a wireless Cyber Commander controller that allows me to adjust individual lights. Each light has the option to synch the modeling light to the flash power setting. In other words, as you increase the power the modeling light increases conversely as you decrease the power the modeling light intensity decreases. Typically that sync intensity on the modeling light gives me pupils of about the right ratio of pupil to iris.I'm confused, you said constant light constricts the pupils to pinpoints. Isn't a modelling lamp a constant light?
Another option to HSS is to keep your shutter speed at the maximum sync before it goes into HSS, say 1/250 and use the minimum amount of power from your flash to freeze the action. Effectively, it is the flash burst that acts as the shutter providing 1/250 at your ISO and f-stop doesn't let in any ambient light. FWIW, my AD200 at 1/128 power fires at 1/13,333 of a second. The caveat with HSS is, the higher your shutter speed goes the lower the output of your flash as it negotiates the number of flash pulses to cover the sensor at that given shutter speed. This is one of the reasons outdoor portrait shooters use ND filters on their lens when shooting lower f-stops and flash so they don't have to go into HSS.Interesting conversation.
I have to disagree that LED panels are a practical light source "In Many Situations" .
Do you think my cat would have waited for me to get another tripod out and setup the LED panel ???
It is just not practical for me to use LED panels in 95% of the photography I do. If I am walking around a nature reserve or a quick trip up to a local park why would I want to lug another tripod + LED panel ??
I use my flashes a lot on pretty much everything I photograph. GODOX V1 + 2 x MF-12 + X-PRO Wireless trigger gives me a huge range of options that cannot be achieved with LED panel:
- Off camera flash for those difficult to reach places
- Pin point placement of extra light
- Combined the three flashes synced can produce a black background on a sunny beach at midday (Inverse Square Law)
- Background or hair lighting with the small flashes gives depth to an image that is just not possible with a single LED panel and is difficult to achieve with several.
I could go on and on and on. The bottom line is that I own 3 flash units + multiple diffusers and zero LED panels.
At some point my attention will turn to video and I will look at continuous lighting.
CHEERS
JBO
Another option to HSS is to keep your shutter speed at the maximum sync before it goes into HSS, say 1/250 and use the minimum amount of power from your flash to freeze the action
This is one of the reasons outdoor portrait shooters use ND filters on their lens when shooting lower f-stops and flash so they don't have to go into HSS.
Again ND filters are global - highlights, midtones, shadows are all affected equally. In the example I posted above, it was shot mid day sun. An ND will not allow the same degree of separation that HSS did, making the subject more prominent (pop) against the background.Not sure what you mean by "pop" specific to HSS since preferred exposure can be achieved in either way, ND or HSS
I think you missing an important component when using an ND, you get to open the aperture the same number of stops of the ND essentially achieving the same results as HSS.Again ND filters are global - highlights, midtones, shadows are all affected equally. In the example I posted above, it was shot mid day sun. An ND will not allow the same degree of separation that HSS did, making the subject more prominent (pop) against the background.
I've used both NDs and HSS as stated earlier I find each has their place. Use what fits your needs
I think you missing an important component when using an ND, you get to open the aperture the same number of stops of the ND essentially achieving the same results as HSS.
You are mentally picturing studio panels on stands. I was referring to the camera mounted panels, about the size of a large speedlight.Interesting conversation.
I have to disagree that LED panels are a practical light source "In Many Situations" .
Do you think my cat would have waited for me to get another tripod out and setup the LED panel ???
It is just not practical for me to use LED panels in 95% of the photography I do. If I am walking around a nature reserve or a quick trip up to a local park why would I want to lug another tripod + LED panel ??
I use my flashes a lot on pretty much everything I photograph. GODOX V1 + 2 x MF-12 + X-PRO Wireless trigger gives me a huge range of options that cannot be achieved with LED panel:
- Off camera flash for those difficult to reach places
- Pin point placement of extra light
- Combined the three flashes synced can produce a black background on a sunny beach at midday (Inverse Square Law)
- Background or hair lighting with the small flashes gives depth to an image that is just not possible with a single LED panel and is difficult to achieve with several.
I could go on and on and on. The bottom line is that I own 3 flash units + multiple diffusers and zero LED panels.
At some point my attention will turn to video and I will look at continuous lighting.
CHEERS
JBO
If speedlights cannot mimic continuous illumination (via extemely fast "strobing") then you cannot explain how HSS worked with film.I never used it with film, but it works the same way, although not many film cameras support it (some Nikons and Minoltas, from what I'm reading.) The camera and flash both have to support it, and they communicate with each other to pulse the strobe. It is NOT continuous light, or even "effectively" continuous light. Flash power is limited because of the energy required for multiple strobes per exposure, and speedlights are not capable of continuous light. You have a serious misunderstanding of what is happening with high-speed sync if you think it's continuous light.
If you do have continuous lighting (like your LED panels,) then you can shoot at whatever speed you like, film or digital, but it's not high-speed sync. It's not even sync.
I did explain it, giving the exact same process it uses for digital cameras. There are simply very few film cameras that support HSS. All I said was that I never used it with film, because I never had a film camera or flash unit that supported it. That's not an inability to explain it, and your question of "how does it work with film if it's not continuous" is irrelevant.If speedlights cannot mimic continuous illumination (via extemely fast "strobing") then you cannot explain how HSS worked with film.
The link you provided confirms my point that HSS is continuous light.I did explain it, giving the exact same process it uses for digital cameras. There are simply very few film cameras that support HSS. All I said was that I never used it with film, because I never had a film camera or flash unit that supported it. That's not an inability to explain it, and your question of "how does it work with film if it's not continuous" is irrelevant.
Read my lips: IT WORKS EXACTLY THE SAME WAY!
Film or digital DOES NOT MATTER. HSS pulses the flash in sync with the shutter travel so that even though the entire sensor is never exposed while the shutter is travelling, every area of the sensor receives flash. Your insistence on calling it continuous light is simply ignorant, especially since the process has been explained in detail several times in this thread.
Maybe this will help... Follow this link and scroll down to section 3 "How high-speed sync works."