If you haven’t explored the wonders of HyperSync™, here’s a great blog post with some numbers a photographer was able to get.
Impressed by previously mentioned photographers’ results (see below) with PocketWizard’s HyperSync technology, Laurence J. took to the beach with his Canon EOS 7D to see what he could get.
After calibrating, he was able to push his 7D to a sync speed of 1/1250th, far above the camera’s typical sync speed of 1/250th.
This piece opens eyes to the ability of HyperSync, and educates shooters to the types of shots possible with speeds you can get using PocketWizard MiniTT1 radio triggers.
Read the full review and take a look at some of Laurence’s work.
Further reading on HyperSync:
Tom Bol and High Speed Sync
Dave Black Shooting His Dreams
Chris O’Connell Stops Time
Photographer Chris Garrison has shared his thoughts on HyperSync technology with us. You can learn more about Chris and his work by visiting his site and his blog.
1/800th at f/7.1.
HyperSync(TM) is the single largest game changer for photographers using studio-type flashes. As photographers, we are once again taking part in another evolution of our industry. I consider the introduction of HyperSync technology by PocketWizard to be as large as the digital format transition. We are no longer just freezing motion with shutter speed or light, we are actually painting light onto the frozen motion.
Dom Romney may very well have been born in the wrong country. A native of the United Kingdom, Romney currently lives in Stansted, north of London, and is huge fan of American racing cars of all types. Heavily influenced by his father’s car collection and love of hot-rodding, the younger Romney grew up with it in his blood. Since then, experimental built-for-speed vehicles, classic muscle cars, nitro-based fire-breathing monsters, vintage restorations, and plethora of drag races involving almost anything resting on four wheels have all been photographed by Romney.
What happens when you take 16 working pro photographers, a ton of lighting gear, one location lighting expert, and stuff them all into the biggest barn you’ve ever seen? The place really lights up.
LPA recently sponsored and hosted a location lighting workshop for members of ASMP New England with Boston-based photographer Rick Friedman. Rick’s got the energy dial set to maximum pretty much all the time which is definitely part of his success as both a photojournalist and photo educator. He’s also got a bag full of PocketWizard radios which he puts to work in all his lighting work – both with speedlights as well as with studio lights.
ASMP NE and LPA Design's presentation of Rick Friedman's Location Lighting Workshop at the Breeding Barn at Shelburne Farms in Shelburne, VT. ©Chris Rakoczy
Daniel Milchev flirted with photography as a child in Bulgaria. Now living in Vail, Colorado, Milchev has been a professional photographer for the past four years, focusing primarily on action sports.
Vail, and the Vail-area athletes, remain the big draw for Milchev. “There’s a lot of good skiers and snowboarders and bikers,” he says. Apart from covering the X Games, he feels he rarely needs to leave Colorado due to the abundance of extreme sports practiced throughout the state.
Photographer Kevin Kubota has posted an account of a very cool photo shoot he recently completed.
First off, Kubota stresses the good things which can happen when you shoot with a photography buddy. In this case, it’s his friend Benjamin Edwards. He details how the two shooters collaborated by taking turns setting up shots of the bride and groom, Jenah and Matt. Mutual feedback was critical to getting the best shots, and a great lesson can be learned from this paragraph of Kubota’s post alone.
The theme for this photo shoot was fairly easy to arrive at. Jenah, it turns out, is “a national team boxer.” What better idea than to put her in a ring, wearing a bridal gown, and have her knocking out her groom? Awesome concept, and great execution, guys.
Photographer and educator Tom Bol has a great post on his blog regarding syncing his Elinchrom Quadra at 1/2500. Bol used PocketWizard FlexTT5 and MiniTT1 radio triggers with a Quadra head, shooting a Nikon D300S with a 14-24mm f/2.8 lens.
This highly informative post is not to be missed, particularly if you’re an Elinchrom user. Bol goes into detail not only how he achieved his sample shots, but the science of what’s going on, and how to avoid unwanted results. He also details the handiness of using the PocketWizard AC3 Zone Controller to set the output on an Elinchrom Ranger.
Be sure you don’t miss this informative post if you’re interested in high speed sync without clipping. Don’t forget to check out the great imagery Bol is capturing when not educating shooters on how to do the same by visiting his site.
In 1980, Dave Black began photographing sports by working the Olympics that year. Since then, he’s covered 12 Olympic games and countless world championships, international competitions, and national sports championships in the United States and other countries. He’s also covered professional football, baseball, basketball, motorsports, and others. Tennis, golf, and college sports have also graced his portfolio. He worked for Golf Digest for five years, and has had long relationships with Newsweek, TIME, and Sports Illustrated. With thirty years of experience, there’s not many sports Black hasn’t covered.
We first profiled Chris Garrison and his amazing photography in November. Since then, he’s continued his amazing photography of athletes in snow and water, or rather, typically flying above snow and water, while pushing the limits of PocketWizard Hypersync technology.
Chris offered to participate in our Five Photography Tips ongoing feature. Here’s the points he felt are important enough to share with other shooters.
Tom Bol has published a story at ProPhoto Coalition on syncing an Elinchrom Ranger with a PocketWizard MiniTT1 or FlexTT5 and the PocketWizard PowerST4. Using this setup enabled him to shoot synced flash shots as speeds from 1/2500 to 1/8000 of a second. Those kinds of speeds enable you to completely freeze any motion you’re likely to encounter at a sporting event.
Bol recommends using the slower “S” head instead of the faster “A” head, stating the slower head with longer flash duration allows faster sync speeds. He shot the above photo with a Nikon D300s at 1/2500, f/7.1 at ISO 200. Here’s a handy chart breaking down the compatibility of the PowerST4 and Elinchrom flash units.
Be sure to check out Bol’s full article for complete details. It’s a great read and promises more dramatic photos to come using this marriage of gear.