Following up on their popular Strato wireless flash triggers, Phottix is set to announce the Strato II Multi as their successor, and FlashRAW has an exclusive first review.

The Strato II Multi take all of the elements that made the original Stratos successful and add a few new features and refinements. Among the most exciting features of these 2.4GHz wireless flash triggers are the ability to group flashes and the backwards compatibility with the original Strato units.

The last generation of Strato triggers were widely viewed as having build quality and reliability that justified their price point above budget offerings like the Yongnuo RF-602.

In this full review of the new Multi units, we take a look to see how Phottix has built on the Strato line in their newest wireless trigger for speedlights and studio strobes.

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Evolved, Not Reinvented

As the name suggests, the Phottix Strato Multi is an evolution of the Strato line. Phottix hasn’t reinvented the wheel here, but rather they’ve built on the very successful platform of the previous Strato model. The Strato was one of the first affordable wireless flash triggers that brought TTL pass-through to the masses.

The new Phottix Strato Multi takes the same form factor and specs and builds in some new features – some mere refinements and some more substantial.

Key Features

Here’s a rundown of the Strato Multi’s system features, both new and those features we’re familiar with from the previous Strato.

New Multi Features

• 4 Group Selector
• Screw-down locks for both transmitters & receivers
• Dedicated On/Off Switches on both transmitters & receivers
• Improved compatibility with Nikon SB-600 Speedlight

Key Features

• TTL Pass-Through
• AAA Batteries
• Hotshoe for speedlights
• 3.5mm jack connection

Strato Specifications:

The Phottix Strato Multi’s specs, on the surface, look very similar to the predecessor’s. Once again, the specs of the Strato Multi offer a lot to like, including AAA batteries for both the transmitters and receivers, and universal 3.5mm jacks for outputs.

Phottix Strato Receiver & Trigger:

Overall, the Strato Multi transmitter and receiver share a very similar form factor, with a few key differences. Just as with the previous generation, the bodies of the units are identical in size and shape. Where they differ is in the inputs & outputs, as well as the controls.

In an upgrade from the previous Stratos, the new Strato Multi units now feature screw-down locks on both the transmitters and the receivers. This is in addition to a locking pin that lowers with the locking disks for extra security. Previously, only the transmitters had these screw-down locks, so it’s nice to see Phottix committed to bringing about these small but incredibly welcome touches.

Batteries

One great thing about the Strato Multi system is that both the transmitter and receiver take standard AAA batteries, just like the old Stratos. The units ship with Energizer-brand batteries, but it’s nice to know that you can use rechargeable batteries like the Sanyo Eneloop AAA NiMH with the system instead of more exotic and harder to find sizes.

Again, hats off to Phottix for understanding that usability doesn’t always mean having the smallest gadgets (which smaller batteries would allow), but rather readily available and interchangeable batteries. Even Pocketwizard misses this point with their new TTL line of wireless flash triggers.

Connectivity – Outputs, Inputs, and Interconnects:

In terms of connectivity, the Multi units feature the same great options as their predecessors and get a A+ for connectivity. Both the transmitters and receivers feature beautiful 3.5mm miniplugs and all the necessary cables, as well as a 3.5mm to 1/4″ miniplug adapter. Thankfully, there are no weird proprietary connections like we’ve seen with the Yongnuo RF-602.

Also included with the transmitter kit are miniplug to PC-sync cords, so you’re good to go if you want to connect the Strato receivers to your speedlight flashes that way instead of using the hotshoe connections.

The Strato receivers feature DC-inputs, so you can power them without batteries in the studio, along with a 2.5mm microplug connection that’s used with the include shutter-release connector. The standard 10-pin shutter-release cable and the PC-sync cables feature threaded locking cuffs, which is a nice touch.

Controls:

Test Button/Shutter Release

The controls on the Strato Multi units are pretty straight forward, but do feature a few changes from the last generation. Again, there is a big test button on the top of the units, though it isn’t labeled as such. Instead, there’s also a dedicated test button on the side of the units as well. Using either the top or side buttons on the transmitter units will fire the receivers. With the receivers, on the other hand, the top button only works when the unit is used as a shutter release.

While this redundancy seems a little strange, the benefit here is that the smaller test buttons on the sides of the units are much easier to press when you’re actually using the units attached to cameras and flashes. Conversely, when using the Strato Multi system as a shutter release system, the larger top-mounted buttons are easier to press. So, you have twice the buttons, but also a bit of flexibility in what interface is most comfortable to use as well.

Channels

The Strato Multi system allows for four channels, much like most comparable triggers. Again, the Strato features a simple four-channel slider selector on the receivers and transmitters. One thing that Phottix has done away with is the somewhat confusing “fire all channels” setting on the transmitters. Now, for better or for worse, all receivers and transmitters must be on the same channel to be used.

Groups

One new addition to the Strato Multi units is the feature of groups. Similarly to a wireless flash system from Nikon or Canon, one may now set receivers to a specific group – A, B, C, or D. The Strato Multi transmitter can then be set to fire any combination of groups.

The group selector on the Strato Multi transmitter is on the back of the unit, which makes it incredibly easy to change when needed. The switches are rubber soft-touch buttons, which are a nice touch that prevents accidental changes while they’re in your camera bag that would be easy with a hard switch.

With the previous generation of Stratos, the channel settings could be used as psuedo groups, but only to fire one channel at a time. This full grouping control of the new Strato Multis is a great improvement.

On/Off Switch

One small but welcome refinement is the inclusion of an on/off switch on the transmitters.

Previously, the receivers had this switch, but the transmitters lacked this control and simply had an auto shut off timer. While battery drain was never a problem, there was always the possibility that the test button on the transmitter could be depressed in one’s camera bag, resulting in battery drain.

A simple on/off switch on the new Strato Multi units fixes this.

Build Quality:

The Strato Multi units live up to the excellent build quality of the Strato units. Again, we see a metal foot on the transmitter, metal 1/4″ threads on all units, and hard, impact-resistent plastic used throughout. You won’t find any creaking joints here.

Overall, the build quality is even better than that of the current Pocketwizard TTL units. The plastic feels more solid, the switches more secure, and the units simply more robust overall. All the switches on the transmitters feature positive detents at each position and seem solid.

That said, there are some differences in the fine details between the new Strato Multi and the old Strato units, which featured some of the very best build quality of any flash trigger we’ve reviewed.

One point of difference is the lock-down dials on the hotshoe feet of the new Multi triggers, which feature notches around the circumference as well as more widely spaced ridges compared to the old Stratos. Another change is the switches on the body, which are now larger and slightly ridged in contrast to the smaller white sliders used on the last generation of Stratos. Lastly, the plastic of the new Multi units feels very slightly less dense than that used on the old Stratos, which are heavier and slightly more solid feeling.

Given the choice, we prefer the locking dials,  switches, and plastic of the previous Stratos to the new Multis, but this point must be made with the caveat that the new Strato Multi units are still extremely well made and more solid feeling than the new Pocketwizard triggers we’ve reviewed.

TTL Pass Through – An Explanation:

Just like the Strato, the Strato Multi trato, Phottix includes “TTL pass through” capabilities, which basically allows you to use a hotshoe flash on top of the Strato’s transmitter with full TTL capabilities. What does this feature mean for photographers? Flexibility and freedom.

Taking advantage of the TTL pass through of the Strato, you can use a hotshoe flash on-camera to provide fill, bounce, or use the flash’s AF-assist light. You can even put another brand of wireless flash trigger on the Strato transmitter’s hotshoe and trigger another set of remote flashes along with the Strato’s remotes.

In essence, what the Strato offers is all the features that you could use with your camera’s normal hotshoe – think of it as the world’s shortest TTL-sync cord.

For shooters using Nikon’s CLS (or Canon eTTL), you can use the TTL pass-through function as a way of combining CLS triggering with the 2.5GHz Strato triggering.

In this setup, you could use non-TTL flashes or strobes with the Stato receivers, while using a Nikon SB-900 or Nikon SU-800 as the commander on top of the Strato transmitter to control a second set of CLS-capable speedlights, all with the benefits of TTL and groups.

One has to keep in mind that in this setup, no CLS/eTTL data is being sent by the Strato transmitter – triggering with CLS/eTTL is still done via IR sent from the commander flash, so you’re not getting the same kind of TTL Frankenstein mix like you would with Pocketwizard FlexTT5 units.

Operation – Use As A Wireless Flash Trigger:

Unlike older flash triggers like Pocketwizard Plus II or other systems like Elinchrom Skyports or Paul C. Buff Cybersyncs, the Phottix Strato system is designed for small hotshoe flashes in mind, and connecting them to your flashes is as easy as sliding the units onto the receivers’ hotshoe. No messy PC-sync cords required.

Phottix accommodates studio strobes using the larger 1/4″ sockets with the included 1/8″-to-1/4″ adapter. Since Phottix includes just about every connector you could desire in the kit, you’re set to trigger anything from a humble Nikon SB-400 to Alien Bees to Profoto.

To use the Strato system, simply attach the transmitter to your camera’s hotshoe and then attach the receiver to your flash or strobe of choice. Thanks to the four-channel slider, setting the individual receivers is dead simple.

Similarly, groups are set on the receivers and controlled on the transmitter. The inclusion of groups in the Multi system is very welcome, as it allows for flexibility in lighting setups and very quick changes without having to manually set or turn off specific flashes in a setup.

Operation – Using Strato As Remote Release:

While most users will be using the wireless flash triggering function, the Phottix Strato Multi system doubles as a wireless shutter release. With the receiver plugged into the 10-pin shutter release socket of your camera, the transmitter’s main button acts as the shutter release, complete with half-press capabilities. Simple.

Reliability & Range:

In my testing, the Phottix Strato Multi achieved a reliable range of approximately 70-meters for consistent triggering. In the same testing conditions, I found that the previous generation of Strato achieved a slightly longer range of around 80-90 meters of consistent and reliable triggering. At closer distances, the performance was identical.

For most users and situations, the difference between the new Strato Multi and the old Strato is inconsequential. For both triggers, the performance at normal shooting distances is a non-issue and either may be recommended without reservation.

Flash Sync Speeds:

Below are three shots of the Phottix Strato Multi, shot at 1/250, 1/320, and 1/400, respectively, made with the Nikon D7000.

Hot on the heals of our Singh-Ray Vari-ND reivew, we take close look at another contestant to enter the growing market in adjustable neutral density filters. The Fader ND MKII from Light Craft Workshop is a neutral density filter that promises the same 2-8 stop variable light cutting ability as the Singh-Ray Vari-ND, but for less than a third the price.

Neutral density filters have long been used by outdoor photographers to accomplish long exposure special effects like the motion blur of running water or the movement of clouds across a landscape. Portrait photographers have also used the light stopping abilities of ND filters to tame daylight and achieve shallow a depth of field in flash photography. More recently videographers and cinematographers have embraced ND filters as a way of achieving the 180 degree shutter rule wherein the shutter speed is double the frame rate – without losing control over depth of field.

So, how does the Fader ND MKII hold up? Hit the jump for out in-depth review.

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If you find this review and the other content here at FlashRAW useful, please consider making your next photo gear purchase through our affiliate links. Whether you’re buying a lens cap or your next DSLR upgrade, your support lets us bring you these in-depth reviews.

The Light Craft Workshop Fader ND MK II used in this review is available at Amazon.com or B&H Photo Video in New York City.

Solving The Flash Sync Problem

The main problem photographers encounter when using flash in bright light is the limitation of one’s camera x-sync shutter speed, which for most DSLRs is in the range of 1/200 to 1/250. Even though certain speedlights offer a high-speed sync option, they do so with such a massive reduction in power as to completely negate the reason for overpowering the ambient light in the first place.

The typical solution for working in bright daylight is to shoot at the camera’s base ISO and  stop the lens down to f/11 or smaller to achieve a workable exposure within the 1/250 x-sync ceiling. If the desired image includes off-camera lighting, this equation requires massive amounts of flash power – certainly more than 400 watt seconds in midday sun.

Neutral density filters solve this problem by reducing the amount of light that registers in the final exposure. This allows photographers the creative latitude to either shoot at very large apertures or underexpose the ambient light relative to the flash power or combination of the two. Whether you want to shoot f/1.4 portraits at high noon or turn daylight into night, neutral density filters can help you get the job done.

Specifications and Value

Fader ND MK II offers the same 2 to 8 stop density range as the market leading Singh Ray Vari-ND but for just $125 – less than 1/3 the price. Moreover Light Craft Workshop claims that the Fader upholds image quality better than other adjustable ND filters on the market. At it’s weakest setting, the Fader ND is perfect for subtle effects whereas the maximum 8-stops of density will allow you to achieve dramatic photographic feats including turning day into night or shooting f/1.4 in high noon sun without blowing your exposure.

The Fader ND MK II which comes with a plastic hard case and lens cap is available in a range of standard filter sizes between 52mm and 86mm.

Design

The Fader ND consists of two pieces of polarizing glass – a fixed rear element and a captive font element which rotates smoothly, allowing you to dial in varying amounts of neutral density from 2 to 8 stops. To prevent vignetting, the Fader ND features a front element that is one stop larger than the rear element. For example, the unit we tested had a 77mm back element and an 82mm font element. The font element is threaded to allow the attachment of additional filters.

While there is an adjustment scale printed on the filter barrel, the markings are only meant to be used as a reference for repeatable results,  they are not calibrated to any specific measurement, nor do they indicate a linear progression of density. Unlike the Singh-Ray Vari-ND which has two scales on opposing sides, the markings on the Fader ND are only printed on one side of the filter, an omission we found extremely annoying when trying to locate the scale on different lenses.

The issue is less that the Fader ND has one set of adjustment markings and more that the markings don’t end up facing the top of the lens. What’s even more annoying, is that the scale ends up in different places when the filter is screwed onto different lenses.

The above shot shows that when used in conjunction with the Nikon 85mm f/1.4G, the adjustment scale on the Fader ND ends up on right side of the lens instead of the top. In our testing with the Nikon 24-70mm f/2.8, the adjustment scale faced the bottom of the camera. Since it’s easiest to focus when using the filter at it’s minimum setting, the awkward placement of the markings makes reproducing the exact same level of density shot by shot very difficult without  a completely static subject or a tripod.

Expanded Flexibility

The Light Craft Workshop website states that the Fader ND MK II is usable between 2 and 8 stops of density. The included instructions mention a slightly more powerful range or 8.5 or 9 stops at the end of the scale.

Above is how the filter looksat it’s weakest and strongest settings – roughly 2-stop of density on the left and over 8-stops on the right.

Click to enlarge.

Above is an 6-image composite showing a photo of a bright blue sky at 1/250 at f/8, ISO 200. On the left is an exposure without the Fader ND MK II filter. The five frames to the right show the progression of the density from 2 to 8-stops, illustrating how much light the filter reduces through its range.

The five images shot with the Light Craft Workshop Fader ND MK II filter correspond to the two ends of the spectrum and slightly more than the line markings on the filter’s adjustment scale. As one can see, the difference in ND isn’t a linear one – there is only a very small change between the first and second line markings in strength of the filter, and a much more dramatic change after the third marker.

Use & Functionality

Using the Fader ND MK II is a process – a painful one if you don’t stick to a strict, repeatable workflow.

Due to the massive amounts of light cut by the Fader ND filter, the most accurate use of the filter necessitates that you focus at its lowest setting, then dial in the desired amount of density to shoot. For landscape photographers shooting at hyperfocal settings already, this isn’t really an issue at all, but for portrait shoots where composition and shooting distances are rapidly changing, it requires a good bit of coordination.

In the overwhelming majority of use cases it is completely impractical to use the Fader ND MK II  with a lens hood.

In testing we were able to reliably focus the Fader ND at f/2.8 in good light with up to 4-stops of density dialed in. In very bright light and with faster lenses, you’ll be able to focus with the filter at even higher levels of neutral density. The main problem with the filter is that it’s difficult to find the markings on the barrel to lower the density to focus and then dial it back to the proper amount to shoot. Further complicating things, the markings on the adjustment scale do not face upward on the majority of Nikon lesnes we tested.

Examples with the Light Craft Workshop Fader ND MK II

Blocking out the sun:

Nikon D3 + 70-200mm f/2.8

The above photo was taken in full afternoon sun on a bright cloudless day at a focal length of about 200mm. The exposure was 1/250, f/8, ISO 200 with the maximum 8-stops of density dialed into the Fader ND MK II filter. It goes without saying that the ND filter is strong enough to turn day into night.

Shooting wide open with studio strobes

Here’s an example of how the Fader ND MK II can be used shoot wide open even in conjunction with a powerful Profoto studio strobe:

1/125, at f/2.8, ISO 200. 4-stops of ND applied. Nikon D3 + 24-70mm f/2.8. Profoto AcuteB 1200. Westcott 12x50 Strip Bank. photo by Chris Owyoung for iheartradio.

The above shot is a practical example of how the Fader ND MK II can be used to achieve a shallow depth of field even when placing lighting modifiers with powerful studio strobes very close to your subject.

In this example, the filter is cutting roughly 4-stops of light from entering the lens, allowing for the widest possible aperture to be used despite nearly 40Ws of flash power less than three feet from the subjects. Without the Fader ND, it would have been difficult to achieve the shallow depth of field with such a large and relatively powerful light source.

With the Fader ND, the most obvious alternative for lighting this shot would be to replace the Protfoto Acute head with a lower power light source like the Nikon SB-900 speedlight. This solution is less than ideal because, while it would lower the output of the light enough to shoot wide open, it would also change the quality and shape of the light.

Image Quality

In use, the Fader ND MK II produced very sharp images with no offensive color cast or noticeable loss of detail. However, while FlashRAW generally frowns upon pixel peeping, we felt that since the Fader ND MK II costs over $200 less than the similarly specified Singh-Ray Vari-ND it warranted some additional scrutiny.

Vignetting

The following images were taken with the full-frame Nikon D3 and Nikon 24-70mm f/2.8G with an exposure of 1/60, at f/2.8, ISO 6400 with approximately 7-stops of ND dialed into the Fader ND MK II. As we’ll explain later, 7-stops is the practical maximum amount of density that can be used with the Fader ND. The RAW files were processed in Adobe Lightroom 3 with all vignetting correction turned off.

Light Craft Workshop Fader ND MK II Vignetting at 24mm

Thanks to the oversized front element, vignetting on the Fader ND MK II is nearly non-existant, even at 24mm on a full-frame sensor. Identical shots at 28mm and 35mm are included for reference only.

Light Craft Workshop Fader ND MK II Vignetting at 28mm

Light Craft Workshop Fader ND MK II Vignetting at 35mm

X Marks The Spot

Did you notice the darkness in the right corner of the vignetting frames? We did too.

This anomaly occurs when the filter nears it’s maximum density. As you approach between 8 and 9-stops of density, a dark moire cross pattern will grow from the corners and eventually converge in the center of the frame. Although this limitation is described in detail in the product manual, it is suspiciously absent from the Fader ND MK II product page on the Light Craft Workshop website.

The density at which the cross pattern appears is also directly related to the focal length being used. Wider angle lenses used on full-frame cameras are particularly susceptible to this issue.

The dark cross pattern on the Light Craft Workshop Fader ND MK II at 24mm on the Nikon D3.

When the Fader ND MK II was used with a Nikon D3 and 24-70mm lens at the wide angle end, the cross pattern was noticeable at roughly 2/3 of the way through the adjustment scale becoming increasingly offensive toward the maximum setting.

Is this a problem? Probably not. In testing, even 4-stops of density was enough shoot wide open at f/1.4 in bright sun within our camera’s maximum x-sync speed of 1/250. In short, the sweet spot of the Fader ND MK II, which falls between 2 and 6-stops of density, should be more than sufficient to cover all but the most extreme of scenarios. If more density is needed, Light Craft Workshop makes an “ultra” version of the Fader ND MK II which features between 9 and 12-stops of density.

Resolving Fine Detail

Much of the price vs. performance value of the the Light Craft Workshop Fader ND MK II lies in it’s ability to produce sharp images. While some amount of loss is expected with any filter, the amount of fine detail retained by the Fader ND MK II was surprising.

Click to enlarge.

Above is an 4-image composite showing a photo of a $20 bill at 100% magnification.  On the left is an exposure without the Fader ND MK II filter. The three frames to the right show the progression from approximately 2 to 5 to 8-stops of density, illustrating how much resolution the filter loses through its range.

The photos were taken with the Nikon D3 and 24-70mm f/2.8 lens with an exposure of  1/160 at f/4, ISO 200. To maintain proper exposure, the power output of a 1000Ws strobe was increased as the density of the filter was increased. The camera was mounted on a tripod and the lens switched to manual focus after the initial focus lock was achieved to ensure that the filter itself did not affect AF accuracy.

Generally speaking, filters are known to degrade image quality because they are made with lower quality glass and optical coatings as compared to professional lenses. And, needless to say, you’re putting something between your lens and your subject, which generally speaking isn’t great for image quality.

So, at a street price of less than $125, some loss of sharpness is to be expected. However, as this series illustrates, the Fader ND MK II manages to retain all but the finest of details even at the maximum density setting.

This level of detail loss might give pause to some landscape photographers but should not be an issue for portrait shooters. In practice, the quality of the lenses you use, your RAW converter, and your sharpening workflow will make more of a difference on image sharpness than the Fader ND MK II will.

f/4, at 1/160, ISO 200. Nikon D3 + 85mm f/1.4

The example above is a 100% crop showing the amount of detail possible when using the Fader ND MK II with roughly 4 stops of density dialed in.  The RAW file was processed in Adobe Lightroom 3 with the default sharpening settings applied.

The Good, The Bad & The Ugly

Pros:

• Wide 2 to 8-stop ND range
• Flexible “fader” eliminates need to remove filter to focus for most lenses
• Good optical clarity & neutrality
• Excellent vignetting control
• Daylight becomes your bitch
• At $125, it’s over $200 less than the competition

Cons:

• Single adjustment markings can hinder repeatable results
• Dark cross pattern appearing at 2/3 density at 24mm
• Requires dedicated shooting workflow – not for P&S work

Summary

If you’re a strobist with the need for sync speed, or a cinematographer trying to nail the 180 degree shutter rule, the Light Craft Workshop Fader ND MK II deserves your serious and immediate attention.

The fact of the matter is that the Fader ND MK II meets (and in some cases exceeds) the high marks achieved by of the market-leading Singh-Ray Vari-ND but for a fraction of the price. And, while the Fader ND does have a few specific shortcomings, the enormous creative possibilities unleashed by this tool are undeniable.

The Light Craft Workshop Fader ND MK II is available from BHPhotoVideo.com:

• Light Craft Workshop Fader ND MK II – 77mm
• Light Craft Workshop Fader ND MK II – 82mm
• Light Craft Workshop Fader ND Ultra MK II – 77mm
• Light Craft Workshop Fader ND Ultra MK II – 82mm

Where To Buy – Recommended Retailers

Buying photography gear? We recommend the following retailers:

• B&H Photo
• Adorama
• Amazon.com

Purchases through these affiliate links help support FlashRAW.

For a portable location lighting solution, speedlights have long been a staple due to their small size. However, speedlights often leave photographers wanting in power, especially when shooting in bright sunlight. The solution of battery-powered strobes have traditionally been much larger and tremendously more heavy than speedlights.

Enter the Elinchrom Quadra Ranger series.

The Quadra system is one of the first ventures by a major lighting manufacturer that starts to bring real power in a groundbreakingly small package. With flash heads smaller than Nikon SB-900 and a power pack light enough to carry with a shoulder strap, the Quadras are a kit that are the perfect fit for frequent flyers and any photographer who want to keep their location kit as light as possible without sacrificing sun-combating power.

Support FlashRAW Reviews

The Elinchrom Quadra Ranger pro kit used in this review was graciously provided by our friends at B&H Photo Video in New York City.

If you find this review and the other content here at FlashRAW useful, please consider making your next photo gear purchase through out affiliate links with B&H Photo, Amazon.com, or any of our other partners. Whether you’re buying a lens cap or your next DSLR upgrade, your support lets us bring you these in-depth reviews.

Heir To The Thrown

The Elinchrom Quadra Ranger RX are the baby brothers to the Elinchrom Ranger RX series, and essentially take a similar form factor, but at about 1/3 the weight, half the size, and overall much more portable.

Elinchrom offers two main kits for the Quadra Rangers – “pro” kits with two flash heads, a power pack and two batteries, and standard “to go” sets with just one flash head, one powerpack and one battery.

All things considered, the Pro set offers the best value, though the standard set weighs in at a relatively affordable price that grabbing just that basic kit is a game-changer for location work.

Quadra System – Flash Heads

The Quadra Ranger system encompasses several different flash units:

S & A Heads

The S head is the standard flash head for the Quadras. For the majority of users, this is the set you’ll want to go with unless you’re shooting action sequences or sports.

In addition, Elinchrom offers an “action” head optimized for very short duration to freeze motion. When used with the lower power B socket on the Quadra power packs, the A heads can achieve flash duration as short as 1/6000 second. Aside from the difference in the flash components, the A heads look identical to the S heads.

RQ Ringflash PRO

The Elinchrom RQ Ringflash PRO is a dedicated ringflash for the Quadra series. Aside from the traditional bracket mount for a ringflash, this ringflash also features a handle on the bottom of the  unit, which is handy for using the flash “freehand” without the bracket. The downside to the handle is that the package is slightly bulky to pack, since the 2-meter cable is non-removable.

Elinchrom’s Ringflash ECO does away with this handle and adds a detachable cable design, with the loss of a little speed in the duration of the flashes.

Quadra System – Lighting Modifiers

While you can buy the Elinchrom Quadra EL Adapter to use any of Elinchrom’s light modifiers with the Quadra Ranger series, there are a few dedicated light modifiers for the Rangers that are designed for the light and fast kit.

Elinchrom Portalite 40 x 40 cm Softbox

This softbox is small but mighty. At 15″ square, this softbox is extremely compact, but a great choice for edgier, single-person portraits, and especially if you’re mixing in ambient light into the exposure.

Aside from the nice quality of light from this tiny softbox, the best thing about it is the design – it breaks down to nothing more than few fabric panels, small plastic speedring, and four short metal rods. In other words, it’s the kind of modifier than you can fit into a bag that’s already full.

Other benefits of the modifier are that it’s light and manageable enough for an assistant to hold without fatigue, and that it’s small enough that it doesn’t catch any wind.

RQ Reflector Grid:

Another dedicated Quadra modifier, the 18cm reflector also accepts 12º, 20º, and 30º grids. The grids snap in with a piece of spring metal for a tight piece of kit. This reflector grid worked great for adding just a touch of highlight shooting with the B socket of the Quadra’s pack.

Design of the Quadra System

The design of the Quadra Rangers is easily the most compelling feature of this kit. Simply, everything is incredibly compact. This is a truly go-anywhere lighting setup. One of the features that helps accomplish this, aside from the small sizes of all the components themselves, is the fact that pretty much everything is modular. The cables detach from the flash heads, the power back separates into the electronic brains and the battery, etc.

The flash heads feature built-in umbrella holders and a stand attachment/tilt mechanism. The cables for the kit are fully detachable, which goes a long way in minimizing bulk when packing and transporting the Quadra kit. Each end of the cable has a locking threaded collar for secure use.

The battery pack features two ports for an asymmetric power distribution when two flash heads are used. In this two-light setup, 2/3 power goes to the A socket and 1/3 power goes to the B socket.

The controls on the power pack are straight forward, with a digital display and soft-touch buttons for the interface. The power of the unit is controllable in 1/10-stop, 1/2-stop, or full-stop increments, which is great for fine-tuned exposure.

Size & Weight

The entire Elinchrom Quadra Ranger kit is downright tiny – as it should be, for this basically its entire raison d’être. The flash heads themselves are essentially almost half the size of a speedlight like the Nikon SB-900. The battery pack is a little larger than the size of a really thick hardcover book.

Even with the sealed lead acid batteries, the kit is light enough to throw into a backpack or carry using the supplied shoulder strap. More to the point, this portability is a no-brainer. Even small units like the Profoto AcuteB 600 are heavy enough to prevent this kind of effortless carry.

Build Quality

There’s always a catch. With the Elinchrom Quadra Rangers, the catch is in the build quality of the flash heads. Without pulling any punches, the heads are pretty much all plastic, from the mount to the tilt head and all the body components. What all this adds up to is that the heads feel a bit cheap.

The flash heads feature an umbrella mount that is just a tube for an umbrella shaft. There’s no lock on the mount – the shaft is held in place by tension alone. In testing, this tension was enough to securely hold a Photek Softliter II without issue, though you do have to crank down the tension well.

The bigger concern with the flash heads is the ability of the heads’ tilt mechanism to lock with the weight of very large modifiers. To this end, Elinchrom offers the RQ-EL Reflector Adapter, which accepts the standard Elinchrom mount and features a stronger dedicated stand mount and tilt mechanism.

The build quality of the rest of the kit is great – the battery pack locks securely and feels solid once assembled.

Ease of Use On Location

Overall, the Quadras are incredibly easy to use. Even without reading any of the manuals, the entire system has an easy, plug ‘n play simplicity, from assembling the kit to shooting with the Elinchrom Skyport to control power levels.

A big part of the ease of use is the simplicity of the system, but the size and weight of the Quadras can’t be stressed enough – the compact portability and light weight of these units alone makes for a much easier location kit.

Aside from quibbles about the Quadra accessories mount on the flash head, the system as a whole functions just beautifully in the field. ‘Nuff said.

Oh, but one caveat – below.

Asymmetrical Power

The one catch about using the Quadras in the field is that when using two flash heads on one battery pack, the power, as advertised, is asymmetrical. 2/3 goes to the A head and 1/3 power goes to the B head, automatically and statically ratioed based on whatever the global power setting is.

While this works for most quick ‘n dirty location shooting, the lack of fine-tuning between the two sockets’s power distribution is ultimately a handicap for the system. I’d love the ability to split power between the two power channels – even the ability to switch the ratio to 50/50 power between the two would be a great option to have.

Elinchrom Skyport System

Like a lot of companies, Elinchrom has developed their own wireless flash triggering system – the Elinchrom Skyport series. The Quadra Ranger power pack has a built-in Skyport receiver – naturally, the Quadras and Skyport transmitter work perfectly together.

The clear benefit to the digital controls comes in with the use of the included Elinchrom wireless trigger transmitter. While the Skyport transmitter feels like a cheap plastic toy on a good day, the ability to dial the power pack’s levels up or down in precise, 1/10-stop increments is beautiful. If that sounds too slow, 1/2-stop and full-stop adjustments are also possible.

In terms of the interface, I do wish that the Skyport transmitter had the ability to display the current power level of the power pack.

While the built quality of the Skyport transmitter leaves lot to be desired, particularly the flimsy exterior antenna, the sheer ease of use in remotely controlling the power of your remote lights almost trumps any negatives.

Quality of Light

Long story short, the quality of the light that the tiny little Quadras put out looks great. No color tints that you can find on some lower-end strobes – just clean, consistent white light from the Quadras heads.

Battery Performance & Recycle Time

For our use, including several 2+ hour location shoots, the Quadras were champs when it came to battery power. Elinchrom specs 150 full-power pops per battery. When not shooting at full power, the practical limit for the battery would seem closer to 200-400 flash exposures.

In terms of recycle time, Elinchrom states 2.2 seconds when using the fast recycle mode is more on par with the recycle times of speedlights. However, this “fast” recycle mode does produce a 40% reduction in battery power compared to the slower, energy-conserving recycling mode.

When using the Quadras in slow recycle mode, the recycling time stretches out to 4 seconds between full-power pops, but give more juice in the long run. Kudos to Elinchrom for giving users the choice these recycle rates – any photographer will love this flexibility. The Quadras are relatively fast when you need them to be and offer the choice of longevity when that’s a priority.

Quadra Power

Now here’s the big question – a system, no matter how convenient, still has to have the power to be useful. After all, speedlights still win out for sheer portability, but their relative lack of power is the reason small, portable systems like the Elinchrom Quadras exist.

So, do the Quadras cut the mustard?

The test for this was to shoot late afternoon in South Beach Miami with the sun in the frame. Limited by the 1/250 sync speed of the Nikon D3 and the base ISO 200, the Quadras were powerful enough to allow us to shoot at f/11 and use the Singh-Ray Vari-ND filter with in 6-stops of beautiful neutral-density.

Long story short, the Quadras spanked the blazing sun into submission, even with 6-stops of ND over the 24-70mm f/2.8 I was using.

Quadras vs Speedlights

Alright, first-hand accounts of use in the field will probably satisfy most readers out there, but some of you are still hungry for more meat. To this end, we here at FlashRAW did a little real world test to show how these the Elinchrom Quadras stack up against a small, battery powered flash like the Nikon SB-900 speedlight.

The Test Setup:

While there are other tests that compare the Elinchrom Quadras to small speedlights, all of these tests were shot with bare flash and only metering the center. This kind of testing reveals that the difference between the lights is roughly only 1.5-stops. After shooting with the Quadras, we suspected that the difference was much greater.

The key piece missing with these other tests is that they don’t replicate actual use, since a light modifier is almost always used.

To test the real-world use of these lights, we decided to go with a Photek Softliter II as the test modifier – a nice, relatively big light modifier that should show off the differences between the Quadras and Nikon SB-900. The Softliter was was positioned with its center at a height of 72-inches, and with the center 66-inches from the test scene. For both tests, each light was fired at full power at different aperture levels.

The Elinchrom Quadra was shot bare with no reflector or diffuser. The Nikon SB-900 was set at 24mm with no diffuser.

The Results:

Power Equivalency:

Studying the above examples, one can see that the difference between the Elinchrom Quadra and the SB-900′s power doesn’t break down into full stops. To this end, and to get as close as possible, I shot at 1/3-stop intervals to get as close as possible to see at what aperture the two lights reached equivalency.

The result? 2 and 2/3-stops. That’s the difference between the Quadras and the SB-900. More specifically, the Elinchrom Quadras give you 2 and 2/3-stops more power than a Nikon SB-900 when using a modifier like the Photek Softliter II.

If you’re asking why we made test shots instead of just metering with our Sekonic 358 light meter, we here at FlashRAW prefer real images to pure numbers or charts – that’s it.

Examples With The Elinchrom Quadra System

Here’s a selection of additional samples shot with the Quadras – from taming bright Florida sun to mixing with speedlights, these lights were a breeze to use and seemed to do it all.

Extending the Quadra System

For those looking to get the most out of the Quadra Ranger system, an ideal system would consist of at least two total power packs and 2-3 flash heads between them, simply for the best combination of flexibility and dedicated power.

In addition, at least one of the extended, 10-meter cords is a good option for the most flexibility, as the 2.5-meter cords do limit flash positioning, especially if you’re using the units on tall lightstands or with a boom.

Who Should Buy the Quadra System

So, who should be interested in buying the Quadra kit? Anyone interested in a go-anywhere portable lighting kit. In particular, if you’re the kind of photographer who flies often, hates checking gear, and needs more power than speedlights without much more additional inconvenience, the Quadras are pretty much a perfect fit.

And, I’m happy to report that the Quadra pro kit packs up to fit perfectly in a Think Tank Airport International with plenty of room to spare.

Summary

If you’re looking for the smallest pro lighting kit out there with minimal weight, the Elinchrom Quadras are a beautiful piece of kit. Even with some cheap points in the build quality, the overall package is just so fast, convenient, and flexible that this system has to demand a lot of consideration.

In using the Quadra for the period of a month, I was consistently impressed by not only the sheer portability of the system, but the relative power as well. For most practical purposes, I found that the Quadra’s modest 400ws power rating was more than enough to overpower bright sun when using efficient light modifiers.

Further more, the Quadras are also remarkably more powerful than your average speedlight, offering nearly 3-stops of additional power. In real world use, this was plenty of power to spank the sun into submission and use a neutral-density filter like the Singh-Ray Vari-ND to cut even more light.

Where To Buy – Recommended Retailers

Buying photography gear? Support the features and gear we bring you by making your next gear purchase through any of the product links on FlashRAW. Every purchase helps! We recommend the following retailers:

• B&H Photo
• Adorama
• Amazon.com

Whether you’re buying a lens cap or your next DSLR upgrade, your support lets us bring you these in-depth reviews and photo features.

Neutral-density filters are a mainstay of landscape  and travel photographers desiring long exposure for specific effects like the motion blur of water. However, outside their utility with outdoor photographers, the ND filter has immediate uses for anyone shooting portraits and working with flash photography.

The Singh-Ray Vari-ND is a unique kind of neutral density filter. Unlike most ND filters, the Singh-Ray Vari-ND achieves a 2 to 8-stop range of ND through two different filters sandwiched together, resulting in extreme flexibility from a single unit. As Singh-Ray advertises, their Vari-ND filter is “The only solid ND filter you’ll need.”

Support FlashRAW Reviews

The Singh-Ray Vari-ND used in this review was graciously provided by our friends at B&H Photo Video in New York City.

If you find this review and the other content here at FlashRAW useful, please consider making your next photo gear purchase through out affiliate links with B&H, Amazon.com, or any of our other partners. Whether you’re buying a lens cap or your next DSLR upgrade, your support lets us bring you these in-depth reviews.

The Flash Sync Problem

When shooting with flash in bright daylight, there are a couple of problems that become apparent . For one, one has to shoot at or below the x-sync of one’s camera, which is generally between 1/200 and 1/250. Even though some speedlights offer a high-speed sync option, the reduction in power that these flashes employ to achieve a HSS is so drastic that it often defeats the entire purpose of trying to ambient light.

Even shooting at the base ISO of one’s camera means that a very bright scene will necessitate stopping down to f/11 or even smaller to achieve a proper exposure for the ambient light. When you compound this with the desire to underexpose ambient light and create a hierarchy with an off camera flash like the Nikon SB-900 or a portable lighting system like the Elinchrom Quadra Ranger or Profoto AcuteB 600, the limitations of a 1/250 sync speed become daunting.

Instead of stopping down to f/22, the beauty of an ND filter is the ability to cut multiple stops of light from factoring into the exposure. This not only means that one can avoid stopping down into the zone of diffraction, but it opens up creative opportunities that can help create compelling photos as well.

Whether you want to create a “dark daylight” of dark blue sky or shoot at f/1.4 at high noon, a good neutral density filter is the answer to many a photographers’ flash sync woes.

The Only ND Filter You’ll Need

Singh-Ray states that their Vari-ND is ”The only solid ND filter you’ll need,” and they’re not far off. Aside from photographers who need less than 2-stops of ND, the 2 to 8 stop range offers enough flexibility to satisfy all but the most demanding and specific uses.

2-stops of ND is the perfect amount for subtle effects, while 8-stops allows you to shoot at f/1.4 at high noon with a sync speed of 1/200 without blowing your exposure white hot.

Moreover, one thing Singh-Ray stands by is the quality of their filters – one reason why the Vari-ND will blow a $300+ hole in your wallet.

Thin vs Regular

Singh-Ray makes two versions of the Vari-ND – the standard-ring version and the thin-ring version. The regular version is 14.2mm thick and the thin is 10.5mm thick. My best recommendation is to skip the standard and go straight to the thin-ring version.

At over a centimeter thick, even the thin-ring is enough cause vignetting below 35mm on a full-frame camera. Besides, if you’re already spending $340 on a filter, you might as well spend $390 for the more svelt version.

Design

The design of the Vari-ND filter looks very much like your average polarizer. The Vari-ND features a smoothly rotating front element that lets you dial in different degrees of neutral density, from 2 to 8-stops.

While there are markings on the barrel of the filter, these are not calibrated in any meaningful way, nor do they represent a linear progression. Singh-Ray states that the markings are only so that you can achieve repeatable results and they are not to be used as precise indicators of stops.

Expanded Flexibility

As we’ve mentioned, the Singh-Ray Vari-ND filter is unique because of the ability to “dial in” varying amounts of neutral density, from 2 to 8-stops.

Above is how the filter itself looks at its two extremes – 2-stops on the left and 8-stops on the right. At 8-stops, the filter is very nearly black due to the amount of light being cut.

Click to enlarge.

Above is an 8-image composite showing a photo of a bright blue sky at 1/250 at f/8, ISO 200. On the left is an exposure without the Vari-ND filter. The five frames to the left show the progression of the filter from 2 to 8-stops, just to give an idea of exactly how much light the Singh-Ray filter reduces through its range.

The five images shot with the Singh-Ray Vari-ND filter correspond to the two ends of the spectrum and three line markings in between on the ring of the filter. As one can see, the difference in ND isn’t a linear one – there is only a very small change between the first and second line markings in strength of the filter, and a much more dramatic change to the third marker.

Use & Functionality

Using the Vari-ND is a process – for the most part, it’s not a set-it-and-forget-it kind of accessory unless you plan on using it at its lowest ND settings only.

Due to the massive amounts of light cut by the Vari-ND filter, the best use of the filter necessitates that you focus at its minimum effect, then reset the filter to shoot. For landscape photographers shooting at hyperfocal settings already, this isn’t really an issue at all, but for portrait shoots where composition and shooting distances are rapidly changing, it requires a bit of finesse.

The easiest use of the filter comes without using a lens hood, or using a collapsable lens hood like the Mamiya #2 rubber lens hood.

Since the Vari-ND is only two-stop of light reduction at its minimum, f/2.8 lenses focus just fine without the need to remove this filter. In bright light and with faster lenses, you’ll be able to focus with the filter at even higher levels of neutral density.

At 8-stops neutral-density, the frame for all but the brightest scenes is so dark that everything is obscured. Precise framing requires achieving the frame you want before “stopping down” the ND filter. In dimmer ambient situations, a tripod is advisable for the most critical framing.

While the markings on the filter aren’t useful for dialing in a specific amount of neutral-density, they are essential for getting even and repeatable results with flash and strobes. Thanks to the markings on the barrel of the Vari-ND, it’s easy to set your flash exposure “stopped down” with the filter, open it to 2-stops ND to focus, and then reset the filter to the desired strength.

Examples With The Singh-Ray Variable ND Filter

Killing The Sun

Contrary to its appearance, the above photo wasn’t shot in space. Instead, it’s a photo of the sun amid a bright blue sky at midday. The exposure was 1/250, f/8, ISO 200 and 8-stops ND with the Singh-Ray Vari-ND filter. Needless to say, this ND filter is enough to turn day into night.

Shooting Wide Open

Translating this into something slightly more applicable to photography, here’s an example of how this can work to kill daylight with a portrait:

1/250, at f/1.8, ISO 200. 7-stops ND applied. Nikon D3 + Nikon 85mm f/1.4

The above photo is a practical example of how the Singh-Ray Vari-ND can tame daylight in a meaningful way.

Here, the filter was cutting over 4-stops of light, which lower light levels entering the lens enough to shoot the Nikon 85mm f/1.4 at the relatively wide aperture of f/1.8 for a very shallow depth of field, all while dramatically darkening the bright afternoon sky. The real key is that this was all shot at 1/250, the sync Nikon D3.

Without the Vari-ND filter, it would have been impossible to shoot with the same combination of a wide aperture, relatively low shutter speed (for the abundant light), and also throttle down the harsh afternoon sunlight into a gentle accent camera left.

While using high speed sync with speedlights would have enabled one to raise the shutter speed, HSS dramatically decreases flash power, which in turn hugely decreases the flexibility of small flashes and all their benefits.

Shooting Into The Sun

Here’s another portrait example of how the Singh-Ray Vari-ND filter can really tame sunlight – in this instance, shooting directly into the glaring, South Beach sun in Miami.

1/250, at f/11, ISO 200. 4-stops ND applied. Nikon D3 + Nikon 24-70mm f/2.8.

Here, the Vari-ND is working at around four-stops or so – enough to easily tame the sun without completely killing detail in the clouds, and overall keeping things natural for an exposure that would have been impossible otherwise.

Image Quality

The beauty of the Singh-Ray Vari-ND – and the reason for its high price – is the excellent optical quality of this filter. It’s color-neutral, so it won’t impart color casts to your images while it works – hence why it’s called a neutral-density filter.

Moreover, the filter leaves your images sharp. Two slabs of glass or not, sharpness with this filter is a complete non-issue; the quality with this filter is simple there are doesn’t degrade the quality of your lenses. In reality, the quality of the lenses you use, your RAW converter, and your sharpening workflow will make more of a difference on image sharpness than the Vari-ND will.

1/250, at f/5.6, ISO 200. 4-stops ND applied. Nikon D3 + Nikon 24-70mm f/2.8.

The Good, The Bad & The Ugly

Pros:

• Wide 2 to 8-stop ND range
• Flexibility eliminates need to remote filter to focus for most lenses
• Excellent optical clarity & neutrality
• Daylight becomes your bitch

Cons:

• Thin-ring mount is $390
• Filter vignettes below 35mm on full-frame
• Requires dedicated shooting workflow – not for P&S work

Summary

If you’ve ever cursed your camera’s sync speed, wanted to tame ambient light, or otherwise control your exposures independent of the sun, the Singh-Ray Vari-ND filter is the answer to your prayers.

While it’s not cheap by the standards of a filter, the fact is that the Vari-ND is a tool that extends your lighting equipment and its flexibility in such a meaningful way that it’s more apt to compare this to another piece of lighting equipment.

As David Hobby, the Strobist Himself, says,

My advice – don’t skimp on the ND. The cheap ones are pure crap – and I say that from experience. I highly recommend the ungodly expensive Singh-Ray Vari ND, which I am pretty sure is manufactured in heaven. It oughtta be, for the price. But it is sharp as hell, neutral and lets yo use any aperture you want.

In summary, the Singh-Ray Vari-ND is a small tool that produces enormous results. You probably just won’t want to clean it with your t-shirt like you do for your other filters.

The Singh-Ray Vari-ND is available from BHPhotoVideo.com:

• Singh-Ray Vari-ND – 77mm (Thin Mount)
• Singh-Ray Vari-ND – 77mm (Standard Mount)
• Singh-Ray Vari-ND – 82mm (Standard Mount)

Where To Buy – Recommended Retailers

Buying photography gear? We recommend the following retailers:

• B&H Photo
• Adorama
• Amazon.com

Purchases through these affiliate links help support FlashRAW.

Save  up to $32 on select beltpacks from Think Tank Photo, while supplies last. Think Tank makes some of the highest quality and most thoughtfully designed camera bags on the market and these are no exception.

Each beltpack features an extra-wide reinforced belt, front organizer, removable foam padding, rain cover, and the ability to add additional modular containers. Best of all, Think Tank bags are warrantied against any defects in material or workmanship for as for long as you use the product.

3 different beltpacks qualify for this offer:

• Speed Racer
• Speed Freak
• Speed Demon

Note: All FlashRaw readers will also get a free bag from Think Tank when ordering $50 or more using these links.

Support Our Content

If you found this information helpful, please consider buying your next photo gear purchase from, Think Tank, B&H Photo, or any of our other affiliate links.

Think Tank Speed Racer Beltpack

Think Tank Speed Freak Beltpack

Think Tank Speed Demon Beltpack

Looking for a Shoulder Bag?

While not part of this sale, the FlashRaw team highly recommends the Urban Disguise 40 shoulder bag. Whether you’re on location or on vacation, it’s hands down one of the most durable and well designed camera bags we’ve ever seen.

Say goodbye to sore fingers and that stack of cracked plastic containers; Think Tank Photo has released a new AA battery holder as part of a series of 5 bags designed to hold all the small gear that gets losts in larger containers.

Features:

• Hold 8 AA batteries
• Velcro closure
• Folds in half for compact storage
• Lays flat when empty

Where To Buy – Recommended Retailers

The AA Battery Holder is available immediately from the Think Tank Photo online store.

If the info we provide here at FlashRAW.com is helpful, please consider supporting our content by purchasing from any of our recommended retailers.

• B&H Photo
• Amazon.com

Questions? Comments?

Professional lighting manufacturer Westcott has released a new series of 7 foot parabolic umbrellas for an introductory price of $99/unit. The Westcott Parabolic Umbrella actually measures 7.25′ in diameter and features a double-walled 7mm shaft and heavy-duty construction supported by 16 fiberglass ribs.

The umbrella is available in 3 different styles; silver, white diffusion, and black/white.

Thanks to their special shape, parabolic umbrellas provide photographers with a highly efficient focused light source that wraps the subject in soft light while retaining the specular highlights that give the final image both detail and clarity. Silver parabolic umbrellas in particular are capable of producing up to 3 f-stops more output than a typical softbox.

Westcott 7 Foot Parabolic Umbrella Specs & Features:

• 7.25 feet in diameter (slightly larger than the Paul C. Buff PLM)
• 16 fiberglass ribs
• Double-walled umbrella shaft
• 7mm tapered shaft
• Zippered carrying case

While in the past, access to to this special quality of light meant using a $5,000 – $10,000 Broncolor Para FB, the market has recently seen a flood of low-cost options beginning with the Parabolic Light Modification System from Paul C. Buff and followed by a number of lower quality copies.

Since the Westcott 7 foot Parabolic Umbrella is the first entry into this market by a manufacturer associated with professional grade lighting modifiers, the FlashRaw team will be looking into these immediately.

To see sample photos and learn about the differences between the silver, white diffusion and black/white versions of the umbella, check out these videos from Westcott:

Silver Westcott 7′ Parabolic Umbrella

White Diffusion Westcott 7′ Parabolic Umbrella

Black/White Westcott 7′ Parabolic Umbrella

Where To Buy – Recommended Retailers

All 3 styles of the Westcott Parabolic Umbrella are available immediately at B&H Photo or Adorama.

If the info we provide here at FlashRAW.com is helpful, please consider supporting our content by purchasing from any of our recommended retailers.

Questions? Comments?

After seeing our review of the  Manfrotto 175F Justin Clamp, FlashRaw reader Mario mentioned that he likes his Nasty Clamps. Here’s the question: Was Mario was recommending a new piece of lighting accessory or just getting a frisky in the comments section? The answer  is either exciting or disappointing depending on how much you like lighting gear compared to S&M.

Nasty Clamps are a useful (albeit NSFW) clamp accessory with a wide variety of applications across the still and motion picture industries. In many regards, Nasty Clamps are directly comparable to the Manfrotto 175F Justin Clamp, with a few important differences.

Anatomy of a Nasty Clamp

The Nasty Clamp is essentially a high-tention spring clamp attached to a 5-segment articulating arm of modular tubing that terminates in a 1/4-20 bolt. Like the Manfrotto 175F, the Nasty Clamp solves the reoccurring problem of placing speedights in locations that are either impossible to reach with a lightstand or too obtrusive in the final image.

The modular “gooseneck” design makes simple work of mounting a speedlight at almost any imaginable angle. The length and flexibility of the gooseneck can be tailored to the task by adding or subtracting sections of tubing.

By default, Nasty Clamps come with 5 articulating sections that provide roughly the same load bearing capacity as the Manfrotto 175F but with greater flexibility. Adding additional tubing increases range of motion at the expense of maximum load. Clamps outfitted with longer goosenecks allow the attached equipment to be mounted to and wrapped around tightly packed obstructions.

While they won’t safely hold a professional camera body with f/2.8 glass, a standard Nasty Clamp can support a surprising amount of weight, especially when mounted underslung.

The tail end of the Nasty Clamp features a 1/4-20 bolt – the industry standard thread size for camera tripod mounts, cold shoes, speedlight stands and quick release plates. Nasty Clamps can also take larger accessories by attaching the same 1/4-20 to 3/8 female stud commonly found on umbrella brackets.

Compared to the Manfrotto 175F Spring Clamp

Size

The jaws of the Nasty Clamp are over 7cm thinner than those Manfrotto 175F, making the Nasty Clamp less secure when mounted vertically but much easier to pack and store. When opened completely, the jaws of both clamps have roughly a 5cm spread.

Range of motion

We love the Manfrotto 175F, but the micro ball head simply can’t compete with the nearly limitless configurations of the Nasty Clamp gooseneck. With the right length of modular tubing, it’s possible to create a Nasty Clamp with a degree of control that approaches Manfrotto’s famous Magic Arm – but for roughly half the price.

Build Quality

For something that started out as a DIY project of Portland-based photographer Matthew Monroe, Nasty Clamps have a build quality that inspires trust. Considering they could be used to hold thousands of dollars in equipment, solid build quality is an absolute requirement.

Included accessories

Unlike the Manfrotto 175F, which has built-in ball head and cold shoe, Nasty Clamps do not come with any stock accessories or attachments. Instead, cold shoes for mounting speedlights and additional segments of modular tubing are sold separately. While we dislike that the clamps aren’t sold speedlight-ready, the versatility of the 1/4-20 bolt somewhat makes up for this.

Versatility

Nasty Clamps can hold a much wider range of accessories than the Manfrotto 175F, which is limited to shoe-mount equipment only. With a little bit of thinking (and a trip to the hardware store), Nasty Clamps could be used to mount almost any medium weight object. The most obvious choices for visual creatives are speedlights, wireless transmitters, microphones, small cameras, LED lite panels, and light weight studio heads.

The one feature Nasty Clamps lack is also the main reason you should consider keeping both kinds of clamps in your lighting bag. Since they don’t have a 5/8 inch sleeve, there’s no way to mount a Nasty Clamp to the end of a normal stand stand or arm.

Load bearing

The both clamps easily hold a large speedlight, PocketWizard Plus II and an external AA battery pack like the Nikon SD-9 or Canon CP-E4.

In the most common positions, the Nasty Clamp can hold a good deal more than the stated 1 pound maximum recommend load. The trick is to find the proper balance (no pun intended) between the weight of the attached accessories and the natural tension of the modular tubing. As a general rule, shorter arms hold more weight; longer arms hold less weight.

Since Nasty Clamps can hold a large variety of attached equipment, equal measures of caution and common sense are needed when using them it in the field. Use common sense – don’t mount your $2,000 camera on a rotting wooden post on a wind day.

Summary

Whether used in conjunction with or in place of the popular Manfrotto 175F spring clamp, the Nasty Clamp is a rock solid problem solver for both studio and location photographers. The versatility of this tool is truly impressive. When fine tuned speedlight placement is required, it’s the Nasty Clamp that reigns supreme.

Where To Buy – Recommended Retailers

Support one of our own – Nasty Clamps are designed and built Portland-based photographer Matthew Monroe. They are available separately or in sets of 5 for as little as $38/clamp.

Order online at www.nastyclamps.com or email Matt directly and tell him that FlashRaw sent you.

Buying other photography gear? We recommend the following retailers:

• B&H Photo
• Adorama
• Amazon.com

Purchases through these affiliate links help support FlashRAW.

In this review, we take a look at the MiniTT1, FlexTT5, and AC3 Zone Controller components of the Pocketwizard ControlTL system – the next generation of wireless flash triggers.

Support These Reviews

The new Pocketwizard MiniTT1, Pocketwizard FlexTT5, and Pocketwizard AC3 Zone Controller units tested in this review was provided on loan by B&H Photo Video in NYC. If you find this review helpful, please consider buying your next photo gear purchase from B&H or any of our other affiliate links.

The Pocketwizard ControlTL System

With the ControlTL system, Pocketwizard gives users the ability to use TTL flash metering, enable high speed sync, and change manual power on up to three groups of remote flashes.

Inside The Boxes

Both the MiniTT1 and FlexTT5 ship in a minimal kit. Both units include the appropriate batteries to get running, as well as a USB cord for firmware updates and a 3-year warranty card. If anything, the 3-year warranty may be enough of an incentive for some photographers to go for the Pocketwizard standard – and premium – over cheaper third-party options.

Design – FlexTT5

The Pocketwizard FlexTT5 is no small unit, and features a footprint roughly twice that of the MiniTT1. This is not a small transceiver that you can simply squeeze into your bag. Moreover, carrying a large set of these units is going to require dedicated space in your portable lighting kit.

For users shooting with lighting modifiers that have dedicated brackets, the larger size of the Pocketwizard FlexTT5 may pose a problem. This is not only due to the size of the transceivers, but also because of the off-center tripod mount.

Unlike less “intelligent” flash triggers, the brains of the FlexTT5 require that flashes connect via the transceiver’s hotshoe, so this should be a consideration with the gear one uses.

Batteries:

The battery compartment for the FlexTT5 opens on the side of the unit and features a sliding lock. The FlexTT5 uses two AA batteries, which may be reason enough for some photographers to pay more for these transceivers over the MiniTT1 – even with the larger size.

Design – MiniTT1

True to its name, the MiniTT1 is a compact design, and especially next to the larger FlexTT5 and the older Pocketwizard transceiver units.

Batteries:

Interface & Controls

Overall, the inputs and controls on the FlexTT5 and MiniTT1 units are simple and pretty straightforward. Both unites feature channel selectors, which also include the off switch, as well as Test/Learn buttons. The FlexTT5 unit also features group selectors for setting different flash groups (A, B, C)

The switches on both units have a very short travel between settings. Due to the short distances, a soft touch works best for selecting the middle options in the 3-setting sliders. Those who don’t know their own strength may find themselves “overshooting” the middle detents. For photographers with existing PocketWizard transceivers or PocketWizard-compatible equipment like the Sekonic L-358 light meter, it may be best  to configure the C1 channel setting on the FlexTT5 or MiniTT1 to your most used channel – doing so is a simple affair using the included software.

Connectivity

Both the FlexTT5 and the MiniTT1 feature a mini-USB jack, which allows for firmware updates. To this end, Pocketwizard supplies the necessary USB cable with the units.

Since its release, the Canon ControlTL firmware has been updated numerous times to improve performance and compatibility, and now sits at version 5.000. The Nikon version has already been updated to 2.100, and Pocketwizard recommends checking new units to ensure they’re updated to the very latest firmware.

Downloads for the firmware are free and available on the Pocketwizard website:

http://www.pocketwizard.com/support/downloads/

In addition, the FlexTT5 features two 3.5mm jacks for flash sync and shutter release capabilities. As mentioned previously, the units only ship with USB cords – all other accessory cables must be purchased separately.

Using the ControlTL System

The heart of the ControlTL system is the big FlexTT5 unit. These key devices are the crucial link that fool your Nikon speedlights into thinking they’re attached to a camera, and thus unlock features previously unattainable with other wireless flash triggers.

When using the ControlTL system for Nikon, all remote flashes should be set to TTL FP mode. For users used to using Nikon CLS, where individual flashes are set as dedicated remotes, this is slightly counter intuitive, but just trust Pocketwizard. It just works.

Additionally, all flash grouping is established on the FlexTT5 unit, where remotes can be set as groups A, B, or C, rather than on the speedlights themselves. For anyone familiar with Nikon CLS, you should feel right at home.

Aside from one FlexTT5 for each remote flash, either a FlexTT5 or MiniTT1 is necessary to act as the primary transmitter on top of your DSLR, as well as a commander flash. For the Nikon CLS system, this means either the Nikon SB-900, Nikon SB-700, or Nikon SU-800.

Lock on your CLS commander of choice to the Pocketwizard transmitter on the hotshoe of your camera, and you’re ready to go.

From there, the beauty of the ControlTL system is that Nikon CLS and i-TTL work exactly as they normally do, controlled via the built-in menus/interface of your Nikon commander, but now with the range and reliability of the standard 344MHz Pocketwizard radio standard.

Aside from using Nikon’s commander-capable units, Pocketwizard has also introduced the AC3 Zone Controller, which is arguably the most impressive part of the Control TL system.

Design – AC3 Zone Controller

The PocketWizard AC3 Zone Controller is very small, roughly half the size of the already compact MiniTT1. The tiny form factor of the AC3 is in part thanks to the fact that it has no battery – drawing power directly from the FlexTT5 of MiniTT1 it’s connected to.

Remote Power Control

This small piece of equipment comes with a very big promise. The AC3 Zone Controller gives photographers on-camera power control over three groups of remote flashes in either manual or i-TTL mode.

At the time of writing, the AC3 Zone Controller can remotely adjust the output of Nikon and Canon TTL speedlights attached to a FlexTT5 as well as studio strobes from Elinchrom and Paul C. Buff (separate adapter required).

Using the AC3 Zone Controller

The controls on the AC3 Zone Controller are extremely straightforward. The unit features switches that control three groups of remote flashes, with detents for off, manual, and automatic (TTL). The AC3 also has three numbered dials that control the relative output of each flash group.

When set to Manual mode (M) and attached to either a FlexTT5 or MiniTT1, the AC3 Zone Controller is capable of adjusting the output of remote speedlights over a 6 stop range, from 1/64 power up to 1/1 in roughly one-third stop increments.When set to Automatic mode (A) the power dials of the AC3 Zone Controller set flash exposure compensation relative to the i-TTL exposure of the corresponding group. Simply choose the operating mode of your remote groups, dial in the relative power level, and start shooting.

In our testing, the AC3 Zone Controller demonstrated reliable power control and triggering of remote speedlights even when mixed with other non-TTL strobes.

TTL Flash Metering

Aside from using a commander unit with the ControlTL, it’s also possible to use TTL metering with remote flashes using the FlexTT5 transceivers by setting them to TTL-FP.

One of the coolest aspects about this feature is that it’s still possible to dial in flash exposure compensation from your Nikon DSLR.

While this flash compensation is less useful for multiple flashes, it makes it still possible to control a 6-stop range of exposure compensation with TTL flashes without the need for a dedicated commander unit. This feature is especially useful for one-light setups where TTL flash metering is still preferred, but may need to be fine-tuned.

Standard Wireless Triggering

While the ControlTL system and its TTL compatibility is what makes these new Pocketwizards for Nikon notable over competing wireless flash triggers, the FlexTT5 and MiniTT1 units can be used as conventional triggers for manual flashes as well. For this non-TTL triggering, it’s possible to use a PC-sync cord, which gives you more flexibility for accommodating the slightly awkward size of the FlexTT5 transceivers.

Compatibility & Legacy Use

In this non-TTL capacity, the FlexTT5 and MiniTT1 units will work with all of Pocketwizard’s other current wireless triggers, including the Pocketwizard Plus II and Pocketwizard MultiMAX units.

In our testing, the FlexTT5 and MiniTT1 were also able to trigger a 1000WS Dynalite pack with built-in PocketWizard receiver with rock solid reliability. While most third-party, budget manufacturers seem to change their wireless protocols with every new generation, one beautiful thing about Pocketwizards is that you can use the TT5 transceivers and TT1 transmitter with any Pocketwizard running on the 344MHz FCC band.

Build Quality

Build quality across the ControlTL system is very good. FlexTT5, MiniTT1, and AC3 Zone Controller feel solid in the hand and leave little to be desired in terms of materials or finish. On the whole, the build quality of the ControlTL line feels significantly better than that of PocketWizard’s legacy transceivers.

High Speed Sync

Aside from the benefits of wireless TTL and CLS control, one other notable feature of the ControlTL system is the capability for high speed sync without significant loss of flash power. With Nikon flashes, this means the freedom to sync and trigger flashes over the standard x-sync of 1/250.

In testing, the Pocketwizard FlexTT5 and MiniTT1, the units successfully ramped up to cleanly sync at a staggering 1/8000 – a full 5-stops above the standard sync speed of the Nikon D3. For anyone interested in overpowering daylight or freezing motion, your options for Nikon speedlights just got better.

Summary

The new Pocketwizards for Nikon have been a long time coming, with many delays. Still, what they promise – the speed and control of Nikon CLS and TTL with the reliability and freedom of wireless control – is the holy grail of small flash photography.

While Radiopopper has had TTL units that piggybacked onto Nikon’s IR CLS system out for years, the Pocketwizard ControlTL system feels like a much more complete and reliable system. After all, no one really wants velcro in their wireless flash chain as a point of failure.

For the CLS addicts and the control freaks who love Nikon’s wireless flexibility but want the rock-solid reliability of the Pocketwizard brand, the new Pocketwizard MiniTT1, FlexTT5 and AC3 Zone Controller units are a revelation. They just work.

Now that they’ve arrived, we here at FlashRAW must say that they deliver. At a price. Not a metaphorical price, but retail prices that are 50% to 75% of the Nikon brand flashes – the Nikon SB-700 and Nikon SB-900 – with which they’re designed to work so well. The premium price of the new ControlTL units is essentially the only caveat here.

Aside from the bulk of the FlexTT5 units, the best part about this Pocketwizard system is that it practically fades away to total transparency, especially when using the tried and true Nikon SB-900 as the commander unit. You get all the CLS goodness you know and love, but now thinking about line-of-sight and bouncing the IR signal is a thing of the past.

All in all, the new ControlTL system is the most flexible set of wireless triggers to date from Pocketwizard. With high-speed sync, TTL, and the ability to wirelessly control the power of remote flashes with the ease of Nikon’s own great CLS system, the MiniTT1, AC3 Zone Controller and FlexTT5 units are must-haves for the dedicated small flash shooter who wants to maximize his/her Nikon speedlights. You just gotta pay to play.

Where To Buy – Recommended Retailers

Buying photography gear? We recommend the following retailers:

• B&H Photo
• Adorama
• Amazon.com

Purchases through these affiliate links help support FlashRAW.

Photographic accessories company Photoflex has announced a new lithium-battery powered strobe – the TritonFlash – which is set to offer competition to Elinchrom Quadra Ranger RX as more powerful alternative to speedlights with a still-compact package.

The press release as it was posted on the Photoflex.com LiteBlog:

Photoflex® Inc. of Watsonville, CA. announces the release of its new high-powered TritonFlash™ lithium ion battery powered strobe kit. The TritonFlash™ is designed for the professional demands of events, sports, portraiture, architecture, editorial and other applications where photographers require powerful output without AC power.

With a guide number of 185 and up to 750 full power flashes on a single charge, the TritonFlash™ operates in the power range of studio strobes, enabling photographers to shoot large setups in bright sun without the need for AC power. The lightweight battery pack (22 ounces / 623 grams) will power two TritonFlash™ heads simultaneously. Fast recycle mode allows bursts of up to 7 shots per second for capturing fast action at weddings, sporting events, or for scientific purposes.

The kit includes several essential accessories that enable photographers to complete location and studio assignments without additional purchases: Extra small OctoDome® SoftBox with connector, second lithium battery, FlashFire® wireless kit for cable-free strobe firing, and international battery charger (100~240 volt AC).

Features:

• Newest Lithium Ion battery technology for fast recycling and long life
• Built-in optical slave sensor
• Up to 750 flashes at full power on a single charge
• Superfast mode for bursts up to 7 frames per second
• 13 power settings with accurate 1/3 stop increments
• Includes two batteries. Quick change design for fast battery swapping
• Powerful output of guide number 185 – suitable for large groups in full sun
• Battery pack will power two TritonFlash™ heads simultaneously
• Very short flash duration for stopping action, even on full power
• Modeling light with ten-second auto shut off for maximizing battery life
• Comes with robust all metal swivel for supporting umbrellas and large SoftBoxes
• Can be operated worldwide on AC power (100~240 volts)
• Will operate on AC power and recharge battery at the same time
• Digital readout on backlit screen can be easily read in bright or dark environments

Kit contents:

1 – TritonFlash™ head
1 – Power module with connections for two TritonFlash™ heads
1 – FlashFire® wireless kit for cable-free flash firing
2 – Lithium ion batteries
1 – Carrying case for power pack with shoulder strap
1 – Battery cable (4 feet/1.2 meters)
1 – Battery extension cable (9.8 feet/3 meters)
1 – AC powered international battery charger (100~240 volts)
1 – AC power cord for battery charger
1 – AC plug adaptor for European use
1 – Seven inch reflector accessory
1 – Swivel stand mount (all metal)
1 – Flash tube protector cap
1 – Extra small OctoDome® SoftBox in carry bag
1 – SoftBox connector (OctoConnector®)
1 – Hot shoe sync cable for direct connection to camera

Full information, including pricing, will be available on Photoflex.com on February 21.

[Photoflex]