flash for RZ67 pro ii

[k.hendrik]

Hi there,

I'm looking for advise about purchasing a flash for my RZ67 Proii, mostly for portrait.
thanks

k.hendrik

 

[EASmithV]

go with monolights

 

[polyglot]

Any flash will work, as long as it has either a PC-sync or hotshoe connection. Probably best not to buy one with a high sync voltage though, I'm not sure if the -II has an electronic flash connection that could be fried.

In the field, you can get away with a large hotshoe flash (I use a Minolta 5600; an SB-800 or similar would be as good - anything that can do about 80Ws to 100Ws) and a mini (60cm) softbox. Indoors though, a nice big monolight or three is nice to have - 300Ws each at absolute minimum, optimally more like 1000Ws if you like shooting on slow film and/or using heavy filters.

There are also intermediate systems: portable, powerful (500Ws) and with large Li-Ion or Pb batteries. Not cheap.

My personal experience with the cheaper Chinese flashes is that they catch fire when powered up for the first time - that was a buying mistake that cost me $800. Cheap chinese radio triggers are excellent value for money though.

 

[k.hendrik]

Thanks for the reply.
Maybe you're right about monolight
I'm now using 1 and 2 construction (adjustable)halogen lights each 300w, but I think this is not enough.

 

[polyglot]

Construction lights are mostly heaters. Most films (everything except extended-red stuff like SFX200 and aerial surveillance films) don't respond well to light that red, they're a fire risk (especially near diffusion material for softening) and they're unbearable for portrait subjects in warm climates.

If you want to start out cheap, get a big old manual hotshoe flash. You'll still find it useful as a secondary light later on when you buy a proper monolight, e.g. for use as a hair light, background spot or fill.

 

[andrewf]

I've used yonguo flashes (http://www.hkyongnuo.com/e-detail.php?ID=236) and triggers (http://www.hkyongnuo.com/e-detail.php?ID=255) successfully on an RZ67. Those models have both been superseded now but if you're on a budget, they go OK in a small space.

I don't have enough room for dedicated studio lights but given the opportunity, I'd get some. The yongnuo stuff is very portable too though. Combined with a nice modifier and a flash meter, you're sorted.

 

[polyglot]

If I was in the USA (your profile doesn't specify), I'd look very seriously at a Buff Einstein (640Ws) with the option of a Vagabond Mini to power it outdoors.

 

[mesantacruz]

i second andrew f... and if you have a nikon or canon (digital or more modern film camera) the yongnuo will be able to connect as a regular flash (although ttle is possible with them now, they are a bit more expensive)... Also for the price of a nikon sb-900 at the time i bought a whole lighting set up including 3 yongnuo flashes, stands, brackets, umbrellas, wireless triggers, which i can use with most any film camera equipped with a pc sync cord to one flash (and optical slave triggering on the remaining 2).

If you do go this route, i recommend buying from amazon, given they're overly generous return policies, and therefore (i believe) better quality control of yongnuo products bought through them.

 

[John Koehrer]

You're not going to get equivalent exposure with flash that you do with hot lights.
300/600W that you're using don't have a direct equivalent for exposure.

 

[polyglot]

You're not going to get equivalent exposure with flash that you do with hot lights.
300/600W that you're using don't have a direct equivalent for exposure.

There is an equivalence, but it involves exposure time and the differing efficiencies of the two technologies. Their spectra differs too; films respond poorly to the red-heavy light from tungstens.

If they had the same efficiency, a 500W-s (that's watt-seconds, i.e. Joules) flash would give the same amount of light as a 500W light for 1s, or a 2000W light for 1/4s. Flashes have far higher efficiency (about 2x to 3x depending on the power levels) though so you get as much light from a single pop from a 500W-s flash as you do from many seconds from a 500W worklight. Flashes are far easier for photography (short exposures! no cooked models!) when there are people involved, except they're harder to preview the penumbra, hence the presence of modeling lights on large strobes.

See Luminous Efficacy for approximate values on the differing efficiencies.

 

[Mainecoonmaniac]

Take a look here.

http://www.strobist.blogspot.com

 

[k.hendrik]

Take a look here.

http://www.strobist.blogspot.com

Thanks, lot of news in here!

 

[Rudeofus]

The strobist blog is very informative and highly recommended reading for many reasons, but please note that it won't translate directly into what you will likely do with your RZ67 and ISO100 film. If you want decent depth of field, you need F/11 or F/16 on your RZ67, and small strobes will give you F/4 and F/5.6 whenever you fire them indirectly or through an umbrella. I stubbornly resisted studio flashes for a few years but finally gave up last winter and got a D-Lite 4, and the difference in the pics is like night and day.

 

[Alan Gales]

I bought a set of old Novatrons off ebay for dirt cheap. The set-up came with a power block, strobes, umbrellas, stands and a nice case. All I had to buy extra was a flash meter. There is plenty of used stuff (barn doors, snoots, etc.) for them on ebay and the company is still in business in Texas if you want new.

If you are interested check out Ken Rockwell's site for plenty of info on Novatrons. He uses them for his website photos of cameras and lenses.

 

[polyglot]

While it's certainly true that hot shoe flashes are underpowered for 6x7, I can get f/16 at 1m from the mini softbox. So it's quite usable in a pinch, especially at ISO400. The fact that you can sync the flash all the way up to 1/400 really helps when you're out with strong ambient.

For example, at 2.5m, balanced light , at 1.5m, over powering the sun.

 

[wiedzmin]

While it's certainly true that hot shoe flashes are underpowered for 6x7, I can get f/16 at 1m from the mini softbox. So it's quite usable in a pinch, especially at ISO400. The fact that you can sync the flash all the way up to 1/400 really helps when you're out with strong ambient.

For example, at 2.5m, balanced light , at 1.5m, over powering the sun.

You were able to blend flash and ambient light nicely, what was your method to set flash power to match the ambient?

 

[polyglot]

I used a flash meter.

 

[Gadfly_71]

You might look into a used set of Speedotron Brownlines as well. They can be had used for little money and they're still supported (new flash tubes are available as well modifiers) and manufactured. The only drawback is that they don't offer a lot of adjustment (full, half, and quarter).

 

[StoneNYC]

Hey guys, before you throw out different lighting systems, perhaps we should find out what kind of budget the OP is looking for?

There's a huge difference between the cheepy Speedos (Speedotron) and the professional Broncolor gear, and the top of the line Profoto gear. Both in functionality, light quality, and of course PRICE.

So, what's your budget? Personally I'm stubborn and only go for the best stuff if possible (So I use Profoto only) but Broncolor are really nice if you can fit it in your budget.

I really don't like monolights, they aren't upgradeable unlike other systems with a pack so when you upgrade your gear you can still use the old heads with the new gear.

So OP what's your budget?

 

[Mainecoonmaniac]

I want and recommend this flash unit.

http://www.youtube.com/watch?feature=player_embedded&v=S7FmznnVTvQ

 

[StoneNYC]

I want and recommend this flash unit.

http://www.youtube.com/watch?feature=player_embedded&v=S7FmznnVTvQ

Haha yea but did he get the shot??? Really, they didn't show the photo with lightning in it??


~Stone | Sent w/ iPhone using Tapatalk

 

[Mainecoonmaniac]

Avoid Normans

There's a huge difference between the cheepy Speedos (Speedotron) and the professional Broncolor gear, and the top of the line Profoto gear. Both in functionality, light quality, and of course PRICE.

Speedotrons aren't that bad. I've assisted shoots with the Brown line and Black line Speedotrons. They're bluish compared to Broncolors.

The worst are Normans. They're just plain dangerous. I've seen their packs blow up and arched some plugs. I'm lucky while assisting photogs using them that I didn't shart my pants.

 

[brucemuir]

The worst are Normans. They're just plain dangerous. I've seen their packs blow up and arched some plugs. I'm lucky while assisting photogs using them that I didn't shart my pants.

Not if you use correct procedures. I'll admit the older 900 series may not have as many safety features built in but I have a wide range of packs and the smaller DC/portables. (newer models are much better)

Cables will arc if you dont follow the correct sequence or try to adjust power settings at the wrong times :devil:

I have heard they referred to as "the widow maker"

 

[Mainecoonmaniac]

Not if you use correct procedures. I'll admit the older 900 series may not have as many safety features built in but I have a wide range of packs and the smaller DC/portables. (newer models are much better)

Cables will arc if you dont follow the correct sequence or try to adjust power settings at the wrong times :devil:

I have heard they referred to as "the widow maker"

I prefer to call them underwear stainers

 

[brucemuir]

They can sound like a canon going off at times

Can't recall a speedo blackline arcing like that but wouldn't be surprised.