flash brackets
Jan 9, 2015 15:43:12 #
I was just looking through some old posts that I had missed the last few weeks, and noticed someone had a link for a flash bracket buying guide.
This brought up an interesting point that I've been wanting to ask my fellow wedding shooters.
Remember the sunpack strobes that had a heavy frame and the light was up and to the side? I still use "a lighter version" of a flash bracket that holds my flash in about the same spot.
What are the advantage of the current ones that all put the flash straight above the lens? I get that the shadow will fall behind the people, but the photos look just as flat with the flash directly in their faces. I actually don't even like the one I use with it off to the side. I prefer to have an assistant hold a light stand and direct her/him, where I want the light to be.
All this flippy rotatey stuff to keep the flash absolutely square to the lens just makes me wonder how much better is that bracket, than just using a tall speedlight on the shoe?
Any takers to set me straight? I'm not saying that they are wrong, I just don't see the point of all these new fangled contraptions. If anything, I'd like to design something that could get my flash further to the side and still up.
OK, your turn. Please explain to this old dog....please?
This brought up an interesting point that I've been wanting to ask my fellow wedding shooters.
Remember the sunpack strobes that had a heavy frame and the light was up and to the side? I still use "a lighter version" of a flash bracket that holds my flash in about the same spot.
What are the advantage of the current ones that all put the flash straight above the lens? I get that the shadow will fall behind the people, but the photos look just as flat with the flash directly in their faces. I actually don't even like the one I use with it off to the side. I prefer to have an assistant hold a light stand and direct her/him, where I want the light to be.
All this flippy rotatey stuff to keep the flash absolutely square to the lens just makes me wonder how much better is that bracket, than just using a tall speedlight on the shoe?
Any takers to set me straight? I'm not saying that they are wrong, I just don't see the point of all these new fangled contraptions. If anything, I'd like to design something that could get my flash further to the side and still up.
OK, your turn. Please explain to this old dog....please?
Jan 9, 2015 16:16:28 #
I used a flip bracket to keep flash above the lens for vertical and/or horizontal flash.
Yes, flat lighting.
To me, a side shadow looked worse.
I was a one person operation.
I had two complete rigs, ready to go if needed.
And it made me look better than I was.....
Well, I thought it did......LOL!
Right or wrong, I used one.
Pat
Yes, flat lighting.
To me, a side shadow looked worse.
I was a one person operation.
I had two complete rigs, ready to go if needed.
And it made me look better than I was.....
Well, I thought it did......LOL!
Right or wrong, I used one.
Pat
Jan 10, 2015 14:06:45 #
I still use a Metz on a flip bracket. I will bounce off the ceiling or use a card. It is a little flat but looks better then a harsh direct light. For formals I took 2 or 3 White Lightnings which was a lot of work but the quality separated me from the folks with on camera flash.
Jan 10, 2015 23:05:36 #
OK! Great subject! The Bracket Racket! Well- its not really a racket- there is nothing shady, dodgy illegal about it but since the early 1960s it has turned into quite a specialized part of the photographic accessory business- its almost as important as the light modifier business. So heres a bit of history.
Ever since the advent of the flash bulb and the subsequent development of the portable on-camera electronic flash units, the flash gun, attachment, holder, strobe or whatever you wish to call it was somehow bolted to the camera by means of a specialized bracket, special accessory shoe or an ordinary L-bracket. This usually found the flash unit besides the camera, fairly close to the lens. This is what gave flash photography its bad rap as being pretty flat, harsh and known for its accompanying casting of life-size shadows on the background alongside the subject(s). Then there was our old gremlin the inverse square law of lighting which yielded some decent lighting on the subject but with grossly over-exposed foregrounds and black-hole pitch black backgrounds- yet another bad rap for flash work. The classic professional system, back in the day, used by press and wedding photographers was a big bulky 4x5 press camera (usually a Speed-Graphic) with the flash unit hanging off one of its sides.
More savvy photographers would remove the flash unit form the camera body and use it in a more creative way and off-camera lighting in hand held gun and run situations was born. It was not long that all kinds of quick release mounting brackets and coiled synchronization cords were on the market to help facilitate the time honored technique of raising the flash high over the camera to somewhat defeat the inverse square law issue by providing more depth of lighting (not depth of field), more vertical modeling (sort of a butterfly lighting effect), the possibility of a number of bounce lighting methods and even a kind of quasi portrait lighting effect by holding the flash off the camera/subject axis.
All well and good- and many photographers developed theses methodologies quite well. One problem- I used to call it the one-armed-wallpaper-hanger situation! I mean you needed to be some kind of juggler; the camera was big and heavy, the power packs were even heavier, those cameras necessitated the continual changing of film holders, everything entailed manual settings and if one did not aim the flash unit exactly on target, the lighting could be irreparably uneven across the cameras field of view- a darkroom techs nightmare. I did actually master the hand held technique- its hard to believe if you look at me now but I was a skinny/wiry young man but I also developed disproportionately bulky and muscular arms and forearms from lifting that camera every day. My gym instructor told me I must be doing something wrong in my workouts- I began to look like POPEYE the sailor man!
Sooo some pretty smart camera repair guys in New York City kinda created the first overhead flash brackets in their machine shops, The observed photographers at work, came up with some average measurements as to position of the flash over the camera and created a mean formula. Seems the average shooter liked his light about 12 inches over the lens and tilted down slightly- give or take. Some of the brackets had adjustable heights. Square format workers only needed one vertical position but 4x5 and 6x7(cm) users wanted a swinging arm that enabled both vertical and horizontal orientations. I was a do-it-yourselfer type so I made my own bracket at first.
We called theses brackets, back in the day, shadowless brackets but that is a kind misnomer in that where there is light there is always shadow- the idea, however, was to place the light in such a manner that the camera did not see the shadow, in this case, on the wall or background behind the subject(s). In the 12 inch height this was the result with one light bracketed over the camera: There was slightly more modeling, the depth of lighting was somewhat improved (especially in the height could be extended beyond 12 inches) and if the subjects were placed somewhat further from the background or wall, the big looming shadow was eliminated (well kinda)! If the subject was too close to the wall a shadow, from the head, will appear just above the shoulder line and everyone look as if they had a pageboy or an early Beatles hairdo. All of theses effects and affects are still true.
Now- heres another twist: In my own case, I just about never shoot a wedding with a single on camera light- I use a bare minimum 2 units. My on camera overhead light, whether it is head on, bare bulb, modified, or bounced is my FILL LIGHT! My exposure and lighting pattern, in most cases, are based on the off camera light and if the on camera light is a bit flat- thats even better! I can control my lighting ratio by varying my fill light output, using bare bulb or bounce configurations or by simply placing my hand over the on-camera lights reflector and just letting a bit of light out through my fingers- works like a charm for dramatic dance shots etc.
I still like to putter around in my workshop but nowadays, I buy my brackets.
My favorites are made by Strobframe - they are light in weight and well balanced and built. If the Jones brackets are still being manufactured; those are kinda made of iron- well heavy duty aluminum and will outlast many old wedding shooters like me. I am sure there are all kinds of then on the market and you will find one that fits your gear and is ergonomically suited for your hands. Just stay with the metal ones and dont buy the plastic versions. They are certainly worth having and can make life easier on those long gigs. I know we are not into 4x5 or heavy medium format film cameras anymore but I can tell you that my Canon Mark II with the battery at the bottom and a big lens and a big lamp head aboard is probably as heavy as a Speed Graphic, either that or I am getting too old and feeble to drag that stuff around without a well balanced bracket and a good grip arrangement. Oh- For speedlight users there are all kinds of bracket adapters and special wiring devises to connect with the hot shoe or PC outlet on the camera.
I hope this helps! Ed. Any more questions or remarks are appreciated!
Ever since the advent of the flash bulb and the subsequent development of the portable on-camera electronic flash units, the flash gun, attachment, holder, strobe or whatever you wish to call it was somehow bolted to the camera by means of a specialized bracket, special accessory shoe or an ordinary L-bracket. This usually found the flash unit besides the camera, fairly close to the lens. This is what gave flash photography its bad rap as being pretty flat, harsh and known for its accompanying casting of life-size shadows on the background alongside the subject(s). Then there was our old gremlin the inverse square law of lighting which yielded some decent lighting on the subject but with grossly over-exposed foregrounds and black-hole pitch black backgrounds- yet another bad rap for flash work. The classic professional system, back in the day, used by press and wedding photographers was a big bulky 4x5 press camera (usually a Speed-Graphic) with the flash unit hanging off one of its sides.
More savvy photographers would remove the flash unit form the camera body and use it in a more creative way and off-camera lighting in hand held gun and run situations was born. It was not long that all kinds of quick release mounting brackets and coiled synchronization cords were on the market to help facilitate the time honored technique of raising the flash high over the camera to somewhat defeat the inverse square law issue by providing more depth of lighting (not depth of field), more vertical modeling (sort of a butterfly lighting effect), the possibility of a number of bounce lighting methods and even a kind of quasi portrait lighting effect by holding the flash off the camera/subject axis.
All well and good- and many photographers developed theses methodologies quite well. One problem- I used to call it the one-armed-wallpaper-hanger situation! I mean you needed to be some kind of juggler; the camera was big and heavy, the power packs were even heavier, those cameras necessitated the continual changing of film holders, everything entailed manual settings and if one did not aim the flash unit exactly on target, the lighting could be irreparably uneven across the cameras field of view- a darkroom techs nightmare. I did actually master the hand held technique- its hard to believe if you look at me now but I was a skinny/wiry young man but I also developed disproportionately bulky and muscular arms and forearms from lifting that camera every day. My gym instructor told me I must be doing something wrong in my workouts- I began to look like POPEYE the sailor man!
Sooo some pretty smart camera repair guys in New York City kinda created the first overhead flash brackets in their machine shops, The observed photographers at work, came up with some average measurements as to position of the flash over the camera and created a mean formula. Seems the average shooter liked his light about 12 inches over the lens and tilted down slightly- give or take. Some of the brackets had adjustable heights. Square format workers only needed one vertical position but 4x5 and 6x7(cm) users wanted a swinging arm that enabled both vertical and horizontal orientations. I was a do-it-yourselfer type so I made my own bracket at first.
We called theses brackets, back in the day, shadowless brackets but that is a kind misnomer in that where there is light there is always shadow- the idea, however, was to place the light in such a manner that the camera did not see the shadow, in this case, on the wall or background behind the subject(s). In the 12 inch height this was the result with one light bracketed over the camera: There was slightly more modeling, the depth of lighting was somewhat improved (especially in the height could be extended beyond 12 inches) and if the subjects were placed somewhat further from the background or wall, the big looming shadow was eliminated (well kinda)! If the subject was too close to the wall a shadow, from the head, will appear just above the shoulder line and everyone look as if they had a pageboy or an early Beatles hairdo. All of theses effects and affects are still true.
Now- heres another twist: In my own case, I just about never shoot a wedding with a single on camera light- I use a bare minimum 2 units. My on camera overhead light, whether it is head on, bare bulb, modified, or bounced is my FILL LIGHT! My exposure and lighting pattern, in most cases, are based on the off camera light and if the on camera light is a bit flat- thats even better! I can control my lighting ratio by varying my fill light output, using bare bulb or bounce configurations or by simply placing my hand over the on-camera lights reflector and just letting a bit of light out through my fingers- works like a charm for dramatic dance shots etc.
I still like to putter around in my workshop but nowadays, I buy my brackets.
My favorites are made by Strobframe - they are light in weight and well balanced and built. If the Jones brackets are still being manufactured; those are kinda made of iron- well heavy duty aluminum and will outlast many old wedding shooters like me. I am sure there are all kinds of then on the market and you will find one that fits your gear and is ergonomically suited for your hands. Just stay with the metal ones and dont buy the plastic versions. They are certainly worth having and can make life easier on those long gigs. I know we are not into 4x5 or heavy medium format film cameras anymore but I can tell you that my Canon Mark II with the battery at the bottom and a big lens and a big lamp head aboard is probably as heavy as a Speed Graphic, either that or I am getting too old and feeble to drag that stuff around without a well balanced bracket and a good grip arrangement. Oh- For speedlight users there are all kinds of bracket adapters and special wiring devises to connect with the hot shoe or PC outlet on the camera.
I hope this helps! Ed. Any more questions or remarks are appreciated!
Jan 11, 2015 09:56:02 #
When I use a bracket, I have a Custom Bracket (QRS-35-H). Since I have upgraded to Canon 600 flashes and the transmitter on my camera, I find myself more and more just holding the flash (wirelessly) in my hand and foregoing the bracket altogether. But it does have it's place, as it's better than mounting the flash onto the hotshoe. A quick flip from horizontal to vertical keeping your flash at least on axis and above the camera is better than nothing.
Having said that there are light modifiers designed for your flash that allow you to keep it mounted to the hotshoe eliminating the need for a bracket whether shooting vert. or horizon. LightScoop comes to mind for one.
So many gizmos, so little money :)
Having said that there are light modifiers designed for your flash that allow you to keep it mounted to the hotshoe eliminating the need for a bracket whether shooting vert. or horizon. LightScoop comes to mind for one.
So many gizmos, so little money :)
Jan 11, 2015 10:58:43 #
In Ed's last image, the Camera flip (marked, Value Leader) is the flip bracket I used. Stroboframe is the brand name. If anyone buys this one, I strongly, recommend getting the Anti Twist Plate. Did I say STRONGLY??!!
The anti twist plate has a metal lip that goes to the back side of the flip bracket. One uses the anti twist plate by mounting the camera against the back lip. My film cameras and the 20D fit perfectly, The 30D, I had to file off part of the lip. My 7D "looks" like it will fit as well.
The use if this will stop the camera from twisting down when the camera is in the vertical position.
I hope this makes sense.
Pat
Edit: The cork material should come uninstalled (sticky underneath.
Mount the anti twist plate first. Then, mount the cork material on top of the anti twist plate.
The anti twist plate has a metal lip that goes to the back side of the flip bracket. One uses the anti twist plate by mounting the camera against the back lip. My film cameras and the 20D fit perfectly, The 30D, I had to file off part of the lip. My 7D "looks" like it will fit as well.
The use if this will stop the camera from twisting down when the camera is in the vertical position.
I hope this makes sense.
Pat
Edit: The cork material should come uninstalled (sticky underneath.
Mount the anti twist plate first. Then, mount the cork material on top of the anti twist plate.
Jan 11, 2015 11:12:30 #
Great read Ed ................ thanks
I use 2 Canon 600RT speed lights. One off camera as my main mounted high usually out of the way. I set my exposure based on this light. I use an on-camera modifier, a Super Scoop which is for fill only and I use it conservatively. Main light is usually set to manual and exposure is averaged out in a 15 foot radius of the middle if the dance floor. On-camera unit is set the ETTL and I adjust as needed.
Ed, I respect your years, so please feel free to critique this methodology ......... I'm all ears 8-)
I use 2 Canon 600RT speed lights. One off camera as my main mounted high usually out of the way. I set my exposure based on this light. I use an on-camera modifier, a Super Scoop which is for fill only and I use it conservatively. Main light is usually set to manual and exposure is averaged out in a 15 foot radius of the middle if the dance floor. On-camera unit is set the ETTL and I adjust as needed.
Ed, I respect your years, so please feel free to critique this methodology ......... I'm all ears 8-)
Jan 12, 2015 08:39:46 #
Thanks Ed.
We're among friends here, so I can share this :-) When I don't have an assistant, I would do the one handed thing. I really just don't like brackets. Unfortunately, I found myself unable to successfully hold my camera with a 70-200 2.8 with one hand. It is times like this, that I feel really old. I started looking at flash brackets again to help with this situation. (I would say that I only shoot without an assistant once or twice a year, but I still want to give the best product to my couples) I'm going to look closer at setting up like you describe. I did attempt to just use a flash on a stand last year, and have fill on my camera, but the stand got knocked over, so it made me gun shy. Of course, the wedding was a bad example. It digressed into a huge drunken binge. I really should have left before then.
As always, I really appreciate your input here. You are a wonderful teacher.
We're among friends here, so I can share this :-) When I don't have an assistant, I would do the one handed thing. I really just don't like brackets. Unfortunately, I found myself unable to successfully hold my camera with a 70-200 2.8 with one hand. It is times like this, that I feel really old. I started looking at flash brackets again to help with this situation. (I would say that I only shoot without an assistant once or twice a year, but I still want to give the best product to my couples) I'm going to look closer at setting up like you describe. I did attempt to just use a flash on a stand last year, and have fill on my camera, but the stand got knocked over, so it made me gun shy. Of course, the wedding was a bad example. It digressed into a huge drunken binge. I really should have left before then.
As always, I really appreciate your input here. You are a wonderful teacher.
Jan 12, 2015 09:35:12 #
greg vescuso
Loc: Ozark,Mo.
Beercat wrote:
Great read Ed ................ thanks br br I use... (show quote)
I don't have or ever used a flash bracket, But I do have 2 ex600rt flashes and a St-Et-Rt transmitter and would like to incorporate using this set up, but have not tried it yet at a wedding for anything other than the posed shots. I haven't got into using the ETTL system with the 600rt off the camera yet, still using manual but can see a great advantage to doing this.
Feb 2, 2015 08:52:28 #
I use a Boomerang. I also only use QFlashs. The combo gives good results. When I am not running backwards, climbing up rigs or laying on the floor taking pictures I do go to off camera and the QFlash radio works reliable. The Boomerang gets the flash up and removes the red eye and keeps the flash in line with the lens. I have shot with the flash on the side and I agree with someone else here. I did not like the photos.
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