If
you're just starting out with flash photography and you want to up your
game, the fastest and easiest way to improve your lighting is to move
your flash unit off of your camera. There are really only ways to do
this: cords, optical sync units (also called slaves, peanuts, or magic
eyes), or radio trigger. Radio triggers are the best, most flexible
option. In this article you’ll learn everything you need to know about
them, if they're right for you, and how to get started using them.
Flash Trigger Options
Softbox
front camera left. Bare flash back camera right. If you mainly use
flashes in a studio environment like this, any triggering option,
corded, optical, or radio, could work well for you.
Wired Options
Before
we get to radio triggers, let's take a quick look at the corded
options. These are generally inexpensive and reliable, but have limited
flexibility. If you are using speedlites you can use a hot shoe cord,
but that limits your flash to 3-4 feet away from your camera. You could
use a PC sync cord to any strobe unit, but again, you are limited by the
length of your cord.
Longer cords also tend to get crimped
or broken, reducing their reliability. You have to deal with having a
trip hazard on set, too, that could potentially bring your lights
crashing down. Clearly, wireless is the preferred way to go.
Optical Options
The
next option is the optical slave. An optical slave works by sensing a
spike of light, then triggering when it sees the spike. The trigger is
generally made with an on camera flash unit. There are three main
problems with using an optical slave:
You have to have line
of sight. If the second flash can't see the first flash go off, it won't
fire. If it is around a corner, it won't fire. If the sensor is facing
away from the first flash unit, it won't fire.
The trigger
works from a "spike" in light. This means that if you are in a dark
room, and a big white pop goes off, no problem. But what if you are in a
well lit room, or even outside? When the light level rises, then it
makes it that much harder for your first flash to actually create a
spike needed to trigger the second, especially if there is some distance
between them. This means inconsistency in your flash performance, if
you can even get it to work at all, in lit environments.
If
someone else takes a photo with flash, the optical slave doesn't know
you didn't take a picture, and it will fire anyway. Besides simply being
annoying by firing when you don't want it to (which will also drain the
flash battery faster), this means that someone else can trigger your
light and it might not be ready to fire again when you need it. If you
shoot concerts, weddings, or really any event, then optical slaves
create a headache by going off when you don't want them to, and not
being ready when you need them. Even if you are the sole photographer at
an event, how many people have phones with flashes?
The
sun was high in the sky, just peeking over the building top. They were
completely in shadow, so it was lit with an umbrella camera right, about
6 inches from their face, with a speedlite at full power. A different
exposure was taken without the umbrella to fill in the building behind
them. With strong sun like this, it would have been impossible to
trigger using an optical slave.
Radio Trigger Options
Radio
triggers solve every problem listed above. You do not have the hazards
of having cords, you do not have to have line of sight, and you can use
them in bright sunlight without problem. Their biggest advantage is that
there is really no disadvantage to using one.
Lit
with an umbrella camera left. Could this have been done with a cord?
Definitely not since the flash was so far away from the camera. Could
this have been done with an optical slave? The answer is maybe? Between
the bright sun and the umbrella blocking line of sight, it would have
been frustrating without radio triggers.The
biggest disadvantage of radio triggers is the hit to your bank account.
Radio triggers are vastly superior to the other forms triggering off
camera flash, and have a price tag to match. Beginner or weekend
warrior, fear not! Later in this article, we'll cover a few
budget-conscience options that make off-camera flash with radio triggers
accessible to everyone.
I have used Pocketwizards, the most
popular radio trigger, going on 4 years now (at time of writing). There
is really only one catch: radio triggers work like the radio in your
car, and have different channels they can use. If you have your
Pocketwizard set to channel one, and another photographer at your event
is also using Pocketwizards set to channel one, then if either one of
you fires, you set off both sets of lights, since they are all on the
same channel. Pocketwizards have a really easy work around. Just like
tuning the dial on your car radio, you can change to a different channel
on your radio triggers. Just like that, no more interference.
Basically,
if you decide that you need a versatile, wireless, off camera flash
trigger that works reliably in any condition, then radio triggers are
for you. Find a radio trigger that fits your budget and you're up and
running.
Working with Radio Triggers
The
basic principle behind radio triggers is that you take a photo, your
camera sends a signal to your flash, then your flash fires. To get
started, you need two compatible radio triggers, one as a transmitter
and one as a receiver. The transmitter attaches to your camera, usually
on the hotshoe. Then you put the receiver on your flash. Most brands
make transceivers: a single unit that serves both functions, so it
doesn't matter which end of the connection a particular unit goes.
Hiding flashes inside your photo is the perfect reason to use radio triggers.This
one was a bit complicated, so here's a diagram to help you out. The key
light is the softbox front camera right, which also lights the
cupboard. The softbox front camera left is set to the same power, but is
slightly darker since it is slightly farther away. There are two lights
outside. One is aimed at the model, giving her a rim light, most
visible on the arm. The other is aiming to light the background. Under
perfect conditions, we would have used simple window light, but it
didn't work out that way. Two flashes are hidden in the scene. One is
next to the model, aiming up at the back, to highlight the fruit bowl.
The final one is aimed at the back cupboards, giving the soft flare,
halo look. The light fixtures in the photo have no effect on the final
exposure.How many radio triggers do you need? You need one
for every light you plan on triggering, plus one for your camera. One
light? Two triggers. Six lights? Seven triggers.
Depending on the
model you get, your radio trigger may or may not be able to transmit TTL
information, or be able to set your flash to an automatic power. If
your model doesn't do TTL, it's honestly not much of a loss. With enough
practice, you can dial in a manual exposure that is quite accurate.
To
get started, it really is as easy as attaching one to your camera, one
to each light, turning everything on, making sure everything is running
on the same channel! Again, different brands may require specific
switches to be set, but you can refer to the manual for the brand you
choose.
Options All Budgets
Generally the
range of radio trigger options runs from $30 to $200 per unit. On the
low end are $40 units (wait until they go on sale, you can snag them for
$30-35). On the high end, you have Pocketwizards, with their Plus III
ringing in at $150, or the TTL capable FlexTT5 unit for $230. Below I
will give you the scoop on both a low and high end option I have
personally used, along with equivalent options I have not personally
used, but heard good things about. I am in no way paid to endorse
Pocketwizard. They are simply the product I use and feel works best.
Cactus - $40
When I first started in the world of off-camera flash, this was the trigger
I used. The first time I used it, it actually didn't work because there
was this tricky switch where you have to tell it whether it is supposed
to act like a transmitter or a transceiver. (I used an older model, so I
cannot say if this is the case on the latest models.) Once I figured
that out, it was like a dream come true, for about a month. There were
times where it just wouldn't fire for a few shots. I put up with it, and
during that month I learned a lot about how to use off camera flash for
the best effect. This really was a great option for the student who
couldn't afford anything better. One day the light fell over and this
guy was a goner. Then during another shoot, the other ones just stopped
working and died for good. My own frustration caused me to bite the
bullet and upgrade to the Pocketwizards.
From my personal
experience, the bottom line on the entry level triggers are that they
simply that: entry level. They are a perfect fit for students or
hobbyists. They are cheaply built and prone to temperamental flares, but
they will get the job done and leave money in the bank. If you
absolutely need 100% reliability, though, pass on the entry level
triggers.
RadioPopper - $70
I have not personally used RadioPoppers,
but recently they have been taking the industry by storm. Significantly
cheaper than Pocketwizards, and supposedly the same reliability. Like
any product, there are users on both ends of the love/hate spectrum, but
this looks like a nice balance between quality and affordability.
Pocketwizard - $100+
Welcome
to the Cadillac of radio triggers. As I mentioned, I use Pocketwizards.
Assuming you do everything correct as a user (properly seating in the
hotshoe, everything set to the same channel, etc.) they will simply not
fail you. I've crashed my Pocketwizards into the ground a fair amount of
times and they all still work like new. Above is the Plus III which runs for $150. This is a manual only trigger, so you will have to set the power levels yourself on each flash.
This is the Flex TT5,
which was designed to be used with speedlites, and has full TTL
capability. It runs $230 for Canon or $220 for Nikon. You can also get
the smaller, cheaper Mini TT1
which sits on your camera and is a transmitter only. I use these and
are very happy with their performance. It hurt the first time I had to
shell out for a set, but they have lasted many years, and I plan on
using and abusing them for many more to come.
Pocketwizard also
has triggers that are strobe specific to different manufacturers. I use
Paul C. Buff Einsteins, for which Pocketwizard makes the MC2,
which only costs $100. From my research, many of these strobe specific
units come in around $100, but you will still need another Pocketwizard
unit for your camera.
Pocketwizard is also very quick to add
firmware upgrades to new cameras. I only had my Canon 5D Mark III for
about two months before I could use the TTL units with the new firmware
update. Are they expensive? Very. But if you can afford them, I would
recommend them in a heartbeat.
So Many Choices!
Softbox camera right. Bare speedlite camera left. Shot at sunset on the side of a cliff.
Simple
to use, radio triggers are the best way to get your flash off camera
and take your photography to the next level. Do you use radio triggers?
Let me know your experience in the comments.
TDasany
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