#Contax g2 with radio trigger portable#
#Contax g2 with radio trigger pro#

The downside, however, is that these are substantially more expensive than the two previous options. The upside of using these radio slaves is that they resolve just about every problem the other two techniques produce. Radio slaves have been growing in popularity for quite some time, and I find them incredibly convenient. I personally like to use radio slaves to sync up my camera to strobes. These are great inside, but they donвЂ™t work well outside. The cons, however, are that the camera strobe will affect the lighting in the room, and that you canвЂ™t use this technique in a bright setting, such as outdoors in sunlight.

#Contax g2 with radio trigger pro#

The pro of using this method of syncing is that you can move your camera as far away from your set as you want. The camera strobe is only designed to trigger the others. Remember that the goal here is to have the other strobes in the room act as your lighting. The camera mounted strobe is going to be used to initiate the flashing of the other strobes. You can fix this by adding a strobe to the top of your camera. The first strobe, however, is still connected to the camera with that sync, which still leaves a possible tripping hazard. So when the first strobe flashes, the slaves pick up on the flash and then trigger a flash in the strobe units they are connected to. These electronic slaves work by collecting light and responding to a flash trigger. All you need to do to set it up is turn the dial to the slave function while keeping the sync cable from one of the strobes connected to the camera. The second, and infinitely better, option would be to use the electronic slaves that are usually mounted to every strobe. 2: Use the Slaves that Come With Your Strobes So while this is probably the simplest and easiest setup, I wouldnвЂ™t recommend it. You can also only fire one strobe at a time using this method. Second, you then have a cable lying on the ground just asking someone to trip on it. First, it limits the distance you can have between the strobe and the camera to the length of the cable. While this is the easiest option, it does come with some disadvantages. The cable plugs into the camera on one end and the strobe on the other. The easiest and most effective way to sync strobes is to use the sync cable that comes with the strobes. Today I am looking at the three simplest and most practical ways to sync strobes. There are many different ways to sync strobes to your camera.

#Contax g2 with radio trigger portable#

Yashica T4, 35mm f/3.5 Carl Zeiss lens, some cheapo print filmДЄlways Carry a Portable Background: You know how portrait photographers always have those fabric backgrounds? Darn things can come in pretty handy! This picnic could be in downtown Gary, Indiana and you'd never know it with that background! Geneva taking tea at Nerdstrand Big Woods State Park, October 2002, Mamiya 6, 75mm f/3.Today on The Slanted Lens we are looking at 3 different ways to sync strobes with your camera, so check out which way works best for you! Try some different angles: Henry and I went flying in November down in Como Park while the rest of the Twin Cities watched the Vikings/Packers game. I'll be posting some of my KAP photos separately. It is a really cool perspective, and while out there I built my first rig from one of Brooks Leffler's Basic Radio Rig kits. This is yet another funny corner of photography where you fly a kite and hang a camera from it to take pictures from the air. The highlight of the year was probably when I went to KAPiCA 02 in California to learn to do Kite Aerial Photography (KAP). Contax G2, 28mm f/2.8, 2 seconds f/2.8, Kodak E100SWДЄ quiet year photographically. I took three of these and two had lightning in them, not a bad hit ratio. It was pretty dusky, but the lightning trigger with my Contax caught this lightning bolt. Take Shelter in Bad Weather: My occasional attempts to get daylight lightning photos finally paid off, sort of. The History of Photography - 2002 The History of Photography: 2002by Matthew Cole