Flash Facts – Controlling Flash Exposure.

When using flash your aperture is going to control how much light from the flash enters the camera. The shutter speed is going to control how much ambient light enters the camera.


Once you have a feel for how these two variables are going to affect your shot you will then be able to make adjustments from the camera to control your flash and ambient light exposure.


Making adjustments to the aperture to control how much of the flash light enters the camera is also going to affect your depth of field. If you are not too concerned with your depth of filed then you can make adjustments solely for your flash. However if you do care about your depth of field, as you really should, making adjustments via the aperture is not gong to be the best option for you.


When you have to keep a specific depth of field for your shot you will need to work more with the power level of the flash or the distance of flash to subject. Using these variables for adjustment will keep your depth of field wherever you had it set.


Try setting up a static shot of just about anything around the house and throw a flash on it. Walk your aperture up and down and see how you can control both your flash exposure and your depth of field.

Flash Facts – Controlling Flash Exposure.

When using flash your aperture is going to control how much light from the flash enters the camera. The shutter speed is going to control how much ambient light enters the camera.


Once you have a feel for how these two variables are going to affect your shot you will then be able to make adjustments from the camera to control your flash and ambient light exposure.


Making adjustments to the aperture to control how much of the flash light enters the camera is also going to affect your depth of field. If you are not too concerned with your depth of filed then you can make adjustments solely for your flash. However if you do care about your depth of field, as you really should, making adjustments via the aperture is not gong to be the best option for you.


When you have to keep a specific depth of field for your shot you will need to work more with the power level of the flash or the distance of flash to subject. Using these variables for adjustment will keep your depth of field wherever you had it set.


Try setting up a static shot of just about anything around the house and throw a flash on it. Walk your aperture up and down and see how you can control both your flash exposure and your depth of field.

Ojec-co H550 Transceiver

The H550 from Ojec-co is a new entry to the flash trigger market. The unit is a transceiver so that it can function both as a transmitter or a receiver. It operates on the 2.4Ghz frequency, and supports many functions like TTL pass through, wireless or wired shutter triggering, and high speed sync triggering. For power the H550 uses AAA batteries.



These units are offered as a set of two or as singles. The H550s ship with a stand that looks just like the one that ships with a Nikon SU900, a flash sync cable, a 3.5mm to 6.5mm adapter, and a set of AAA batteries. I am not sure what the main production line is going to ship with, but it will more than likely be along the same lines.




On the top of the unit you have the shoe mount, a set of four dip switches, trigger button, high speed sync status indicator, group indicator lights, group selection button and the status indicator light.



The left side of the transceiver has the power/function switch, camera shutter socket, flash socket, and a hole for a strap.



On the right side you are able to see the group indicator lights, the high speed sync status light and you have the High speed sync dial.

I have received a set of the Nikon transceivers and a single Canon transceiver from the first production run. Normally the first production run have some sort of issues. That is not from a design flaw but normally from the idiosyncrasies of manufacturing.



There are two different H550 units: Nikon and Canon. One great feature is the fact that you can use either model to trigger one another. The only difference between the Nikon and Canon units are the terminal connection on the shoes. If you are using them as just simple dumb triggers then it does not matter which units you have, they are interchangeable in this fashion. I think that is a pretty good feature.

Here is a list of the H550's specifications.

Radio frequency: 2.4GHZ
Signalling: Frequency Shift Keying (FSK)
Antenna: Built-in PCB Antenna
Controlling Distance: 150m
Channels: 16
Flash groups: 3 groups, 7 different group combinations
Normal triggering sync-speed: 1/250 second
High sync-speed: Up to highest shutter speed of camera - 1/8000 second
Continuous trigger frequency: >20 frames / second
Battery type: 2x AAA (2.4V~-3.2V)
Standby time: 200 hours
Camera shutter interface: Ø2.5mm
Studio flash interface: Ø 2.5mm
Lets look at the functions of the H550. As a trigger they work fantastic. I have not had a single misfire when I use them. The distance is rated at 150 meters. I have not gone out for an official test, but I have not had any issues with the function over distance.



The sixteen channels to choose from are more than enough to shoot in a large group of other photographers and not have any channel crossing problems.

There are three groups with seven different combinations to choose from. I do not shoot using groups so this function is lost on me.

In continuous shooting mode I found the receivers on my flash units to keep up with out any lag time.

One of the features that I like having is the ability to wake up sleeping flashes without it taking a frame



The high speed sync feature is a bit problematic at best. The theory is very simple: You connect the trigger to the camera hot shoe. You then connect the trigger to the camera via a shutter release cable. When you have everything connected you then change the function switch to camera and fire your shutter at a speed faster than it's sync speed. The H550 will then learn how to sync faster from your camera. As it turns out this really only works with Canon cameras and not Nikon. With Nikon's cameras you have to also set up another trigger as a remote shutter release. With this limitation the high speed sync option for Nikon's is not really practical and overall disappointing.

I do hope that this flaw with the Nikon high speed sync is something that can be corrected before the main production run of H550s are manufactured. Overall this is the only main feature that I am disappointed with. Other wise these are pretty good transceivers.



One feature that can be easily overlooked as a Nikon shooter is the TTL pass through. When you are shooting with Nikon cameras and flashes you have access to a very cool lighting system. The Nikon CLS is a fantastic control system and with triggers that support TTL pass through you are able to add even more options into the mix. I do like having the ability to remotely control my Nikon flashes via my Nikon SU800 and with the H550 in line between the camera and the SU800. I also have as many manual flashes in the mix. One scenario where this works very well in when you want to have fixed light sources in your environment like on your background. You then can use the SU800 to control your varying flashes where you might have to make adjustments like in key lights when you have multiple subjects.



On a physical critique the material is on the boarder of being too light weight. I put it right on the cusp. The hot shoe on the top of the unit has some good and some bad. The good is the fact that it has a hole for the locking pin on Nikon flashes. The bad is that the shoes are a bit on the loose side. If you have a Nikon SB600 mounted on top it is going to wiggle around to the point where I think it is either going to break off or the flash is going to fall. When you have a Nikon SB900 mounted on top it is far less loose, but still not the most stable mounting. Now, if you mount a Lumopro LP160 on the H550 it is pretty stable. Part of why the LP160 is more stable on the H550 is due to the weight and profile of the flash. The Lumopro LP160 weighs less than the Nikon SB900 and has a lower profile.

I like the triggers design and build. I am disappointed by the high speed sync problems with the Nikon cameras, but I am sure that is something that is going to be corrected. The Ojec-co H550 transceiver has a very capable TTL pass through trigger with room to grow. These units definitely have more going for them than they do against them. For Nikon shooters the ability to integrate the H550 into your CLS set up is great for versatility. If you are a Canon shooter then you will not have the high speed sync issues and so the H550 will look even more attractive.

Ojec-co H550 Transceiver

The H550 from Ojec-co is a new entry to the flash trigger market. The unit is a transceiver so that it can function both as a transmitter or a receiver. It operates on the 2.4Ghz frequency, and supports many functions like TTL pass through, wireless or wired shutter triggering, and high speed sync triggering. For power the H550 uses AAA batteries.



These units are offered as a set of two or as singles. The H550s ship with a stand that looks just like the one that ships with a Nikon SU900, a flash sync cable, a 3.5mm to 6.5mm adapter, and a set of AAA batteries. I am not sure what the main production line is going to ship with, but it will more than likely be along the same lines.




On the top of the unit you have the shoe mount, a set of four dip switches, trigger button, high speed sync status indicator, group indicator lights, group selection button and the status indicator light.



The left side of the transceiver has the power/function switch, camera shutter socket, flash socket, and a hole for a strap.



On the right side you are able to see the group indicator lights, the high speed sync status light and you have the High speed sync dial.

I have received a set of the Nikon transceivers and a single Canon transceiver from the first production run. Normally the first production run have some sort of issues. That is not from a design flaw but normally from the idiosyncrasies of manufacturing.



There are two different H550 units: Nikon and Canon. One great feature is the fact that you can use either model to trigger one another. The only difference between the Nikon and Canon units are the terminal connection on the shoes. If you are using them as just simple dumb triggers then it does not matter which units you have, they are interchangeable in this fashion. I think that is a pretty good feature.

Here is a list of the H550's specifications.

Radio frequency: 2.4GHZ
Signalling: Frequency Shift Keying (FSK)
Antenna: Built-in PCB Antenna
Controlling Distance: 150m
Channels: 16
Flash groups: 3 groups, 7 different group combinations
Normal triggering sync-speed: 1/250 second
High sync-speed: Up to highest shutter speed of camera - 1/8000 second
Continuous trigger frequency: >20 frames / second
Battery type: 2x AAA (2.4V~-3.2V)
Standby time: 200 hours
Camera shutter interface: Ø2.5mm
Studio flash interface: Ø 2.5mm
Lets look at the functions of the H550. As a trigger they work fantastic. I have not had a single misfire when I use them. The distance is rated at 150 meters. I have not gone out for an official test, but I have not had any issues with the function over distance.



The sixteen channels to choose from are more than enough to shoot in a large group of other photographers and not have any channel crossing problems.

There are three groups with seven different combinations to choose from. I do not shoot using groups so this function is lost on me.

In continuous shooting mode I found the receivers on my flash units to keep up with out any lag time.

One of the features that I like having is the ability to wake up sleeping flashes without it taking a frame



The high speed sync feature is a bit problematic at best. The theory is very simple: You connect the trigger to the camera hot shoe. You then connect the trigger to the camera via a shutter release cable. When you have everything connected you then change the function switch to camera and fire your shutter at a speed faster than it's sync speed. The H550 will then learn how to sync faster from your camera. As it turns out this really only works with Canon cameras and not Nikon. With Nikon's cameras you have to also set up another trigger as a remote shutter release. With this limitation the high speed sync option for Nikon's is not really practical and overall disappointing.

I do hope that this flaw with the Nikon high speed sync is something that can be corrected before the main production run of H550s are manufactured. Overall this is the only main feature that I am disappointed with. Other wise these are pretty good transceivers.



One feature that can be easily overlooked as a Nikon shooter is the TTL pass through. When you are shooting with Nikon cameras and flashes you have access to a very cool lighting system. The Nikon CLS is a fantastic control system and with triggers that support TTL pass through you are able to add even more options into the mix. I do like having the ability to remotely control my Nikon flashes via my Nikon SU800 and with the H550 in line between the camera and the SU800. I also have as many manual flashes in the mix. One scenario where this works very well in when you want to have fixed light sources in your environment like on your background. You then can use the SU800 to control your varying flashes where you might have to make adjustments like in key lights when you have multiple subjects.



On a physical critique the material is on the boarder of being too light weight. I put it right on the cusp. The hot shoe on the top of the unit has some good and some bad. The good is the fact that it has a hole for the locking pin on Nikon flashes. The bad is that the shoes are a bit on the loose side. If you have a Nikon SB600 mounted on top it is going to wiggle around to the point where I think it is either going to break off or the flash is going to fall. When you have a Nikon SB900 mounted on top it is far less loose, but still not the most stable mounting. Now, if you mount a Lumopro LP160 on the H550 it is pretty stable. Part of why the LP160 is more stable on the H550 is due to the weight and profile of the flash. The Lumopro LP160 weighs less than the Nikon SB900 and has a lower profile.

I like the triggers design and build. I am disappointed by the high speed sync problems with the Nikon cameras, but I am sure that is something that is going to be corrected. The Ojec-co H550 transceiver has a very capable TTL pass through trigger with room to grow. These units definitely have more going for them than they do against them. For Nikon shooters the ability to integrate the H550 into your CLS set up is great for versatility. If you are a Canon shooter then you will not have the high speed sync issues and so the H550 will look even more attractive.

After the Zombies

After the Zombies

LumoPro LP160 – Seamless integration

The more I use the Lumopro LP160 the more I love it. Recently I have been using it as a slave unit with my Nikon flashes. It has worked seamlessly when using the digital optical slave function. With this function selected the flash will ignore the TTL pre-flash and wait for the actual flash for it to fire. Between the S (optical slave made) and the Si (optical slave mode that ignores the TTL pre-flash) it is nearly effortless to add in the LP160 as a manual flash into your shot for added depth of lighting.



With all of its triggering options there is little need for additional triggers. All you need is a single set and the optical modes of the LumoPro LP160 and they fire right along with your other flashes.



I have also been using the digital optical slave function when using my SU-800as the commander of my Nikon flashes in manual mode. When shooting with this type of set up I can control the Nikon flashes from the camera position via the Nikon SU800 and have the LP160 fire with the Nikon's



If you wanted to have remote control of the LP160's power I would suggest that you look into the Jrx series by Radiopopper. I have not used these triggers as of yet but from what I have read and heard they should not have a problem controlling the LumoPro LP160's flash output.



I cannot express how happy I am with this flash unit and how much I recommend it to anyone looking for another flash in their kit.

LumoPro LP160 – Seamless integration

The more I use the Lumopro LP160 the more I love it. Recently I have been using it as a slave unit with my Nikon flashes. It has worked seamlessly when using the digital optical slave function. With this function selected the flash will ignore the TTL pre-flash and wait for the actual flash for it to fire. Between the S (optical slave made) and the Si (optical slave mode that ignores the TTL pre-flash) it is nearly effortless to add in the LP160 as a manual flash into your shot for added depth of lighting.



With all of its triggering options there is little need for additional triggers. All you need is a single set and the optical modes of the LumoPro LP160 and they fire right along with your other flashes.



I have also been using the digital optical slave function when using my SU-800as the commander of my Nikon flashes in manual mode. When shooting with this type of set up I can control the Nikon flashes from the camera position via the Nikon SU800 and have the LP160 fire with the Nikon's



If you wanted to have remote control of the LP160's power I would suggest that you look into the Jrx series by Radiopopper. I have not used these triggers as of yet but from what I have read and heard they should not have a problem controlling the LumoPro LP160's flash output.



I cannot express how happy I am with this flash unit and how much I recommend it to anyone looking for another flash in their kit.

The Nikon 1 System

MELVILLE, N.Y. (Sept 21, 2011) – Nikon Inc. today announced a revolutionary new digital imaging system built from the ground up to empower users with new ways to tell stories through photography, driven by imaginative next-generation technology. The iconic new Nikon 1 system is designed to become one with the user and their lifestyle, providing a unique form of expression with amazing image quality, speed and portability.



From Nikon, a company with more than 75 years in imaging excellence, the Nikon 1 J1 is an advanced camera with interchangeable lenses that opens the door to a fresh way to capture pictures and High Definition (HD) movies. This Nikon 1 system represents a new category of camera that challenges conventional thinking, emphasizing a pocketable form factor with unbelievable speed, combined with the high image quality that only Nikon could create. Thanks to a wealth of innovative technologies, the Nikon J1 camera is a simple to use conduit for creativity, seemingly anticipating a consumer’s needs in any situation. Moments are instantly captured using amazingly fast new hybrid Autofocus (AF), and blazing fast speed with continuous AF. Users can also shoot with confidence knowing that the Smart Photo Selector will automatically capture the best possible image without a second thought. Furthermore, just a touch of the shutter button instantly captures a high quality image while simultaneously recording Full HD 1080p movies, and the exciting new Motion Snapshot mode captures fleeting moments like never before with a combination of moving and still images, bringing memories to life. To accompany this exciting new form factor, Nikon created the entirely new 1 NIKKOR lens system that seamlessly integrates powerful precision optics into a camera platform to capture more of the world around the user.

Nikons press release for the Nikon 1 system

Nikons product page for the Nikon 1 System

The Nikon 1 System

MELVILLE, N.Y. (Sept 21, 2011) – Nikon Inc. today announced a revolutionary new digital imaging system built from the ground up to empower users with new ways to tell stories through photography, driven by imaginative next-generation technology. The iconic new Nikon 1 system is designed to become one with the user and their lifestyle, providing a unique form of expression with amazing image quality, speed and portability.



From Nikon, a company with more than 75 years in imaging excellence, the Nikon 1 J1 is an advanced camera with interchangeable lenses that opens the door to a fresh way to capture pictures and High Definition (HD) movies. This Nikon 1 system represents a new category of camera that challenges conventional thinking, emphasizing a pocketable form factor with unbelievable speed, combined with the high image quality that only Nikon could create. Thanks to a wealth of innovative technologies, the Nikon J1 camera is a simple to use conduit for creativity, seemingly anticipating a consumer’s needs in any situation. Moments are instantly captured using amazingly fast new hybrid Autofocus (AF), and blazing fast speed with continuous AF. Users can also shoot with confidence knowing that the Smart Photo Selector will automatically capture the best possible image without a second thought. Furthermore, just a touch of the shutter button instantly captures a high quality image while simultaneously recording Full HD 1080p movies, and the exciting new Motion Snapshot mode captures fleeting moments like never before with a combination of moving and still images, bringing memories to life. To accompany this exciting new form factor, Nikon created the entirely new 1 NIKKOR lens system that seamlessly integrates powerful precision optics into a camera platform to capture more of the world around the user.

Nikons press release for the Nikon 1 system

Nikons product page for the Nikon 1 System

Rogue Gels by Expoimaging

The new Rogue Gels come in two different versions. The first is the Rogue Gel's Universal Lighting Filter Kit and the second is the lighting filter gel kit for the Rogue Grid. Both kits come with 20 gels for a wide variety. The two sets offer the same color choices and options, but two different mounting methods.

The Universal Lighting Filter Kit is just what it sounds like: universal. This gel kit has a Gel-Band that attaches around the flash, along the lines of a custom shaped rubber band. You then take the tabs of the gels and tuck them into the side of the Gel-Band.

The gels are cut so that you can leave a bit of space between the head of the flash and the gels. The Gel-Band is a very secure fastener, it is not going to ever fall off of your flash, and the gels are held tightly and not going anywhere.

That being said, I do wish that the Gel-Band was similar to the Rogue Tension Strap found on the Honeycomb Grid. The way that the Tension Strap mounts is great and with a very small modification I am sure that it could be converted into a gel holder. But I am sure that would raise the cost significantly so it is all a matter of trade off.

The Rogue Gels lighting filter kit for the Rogue Grid is perfect in its integration with the grid. You place the gel between the bezel and the honeycomb. The two pieces line up via the grooves on the bezel and the honeycombs. It is super easy to put together and the gels cannot go anywhere because of the grids design.

In the spirit of keeping this “fresh” and trying new techniques, I decided to use these gel kits to enhance the natural tones of the location and the model. By putting a gel on my flash unit mounted in a Westcott 28” Apollo I filtered the light bringing it to a nice warm tone that complimented the model and the tones of the location.

Another technique that I tried was placing an amber gel on a flash and then bouncing the colored flash off of the wall bringing in again some warmer tones to the shot.

These two gel kits are fully capable of dealing with not only color correction but also with dramatic lighting situations. They are a truly comprehensive gel set. With 20 gels in each of these kits you have a wide range of colors to blend in or change altogether. I tried mainly to enhance the colors present instead of completely changing what was there, but these make it easy to accomplish either task.

One of the things that I love about the Rogue line is that they are small modifiers that have big results.

I always make sure to have these modifiers in my kit, every shoot. Their sublimity has a huge impact on the shot, and I love having them as an option providing so many different possibilities.

At the end of the day I find both the Rogue Universal Filter kit and the Rogue Gels lighting filter kit for the Rogue Grid just as versatile as the other light modifiers in the Rogue series. I believe Expoimaging has created a very well designed line of flash modifiers that every photographer should try.