Flashpoint eVOLV 200 R2 TTL Pocket Flash | (AD200) Thoughts?

I think it's better to just barebulb it...

...kinda like raw dawging it... can be dangerous but it's so much fun :P

RDKirk wrote in post #18506584
Wow, I see a huge difference in the light between the Fresnel head and the small reflector. Hee-yuuge.

Horses for courses.

bobbyz wrote in post #18506586
I would think bouncing off the white card outside will be much harder as you need a stand to hold the card.

Daggah didn't specify indoor or out.

And, to be truthful, my comment about bouncing a fresnel off a grey card was meant to be tongue in cheek.

The fresnel head is 3 inches across and the small reflector is 4.5

Is there a difference in the light spread between the two? Yes. Lots.

Is there a difference in the quality of the light? Yes, of course. But, for what most users are shooting, and how they are doing it, I wouldn't recommend purchasing and traveling with the small refector, over the included fresnel.

But, now I am very curious...

@RDKirk, What qualities of light do you see the 'Hee-Yuuge' difference in and how (and/or when and for what subject matter) would you put the 'Hee-Yuuge' difference to use?

For my personal use, I haven't used my two AD360s THAT much (I don't do that many portrait shoots but I plan to do more next year) but every time I've used an AD360 with the small reflector, it's been as a rim/kicker light. Edit: or as a background light, in which case I'd definitely need the reflector over the fresnel head to get the circular gradient on the background.

bobbyz wrote in post #18506552
I use the bigger 7" reflector that came with AD600. Instead of color gels it would be nice if someone was selling CTO, CTS, CTB etc. in different strengths, so much more useful.

Have you seen these?

https://flashgels.com …uct/product&pro​duct_id=51

kayl wrote in post #18507146
Have you seen these?

https://flashgels.com …uct/product&pro​duct_id=51

Yes, I think we discussed a while back. I think $50 is too much. Maybe it is worth it.

bobbyz wrote in post #18507169
Yes, I think we discussed a while back. I think $50 is too much. Maybe it is worth it.

It's too much.

I am sure you can get a gel pack for less, and do a quick "crafts" project on them to make your own.

https://www.amazon.com …&keywords=flash​+gel+packs

https://photography-on-the.net …read.php?t=1478​563&page=1

My daughter needed to do pinhole photos for class, and needed a light in our "darkroom" to see what she was doing. I used a red gel from a pack wrapped around a low powered flash light to provide her a light. Having a multipack of large gels is very handy for a number of things.

Gel sheets are more expensive than simple colors. I think 22x22 something is like $7 each at my local theatrical supply store. Do agree on your DIY approach. I need to make some.

With FlashGels I need to pony up $50 per strobe. If it was cheaper or came with say 2 or better 4 sets of each then yes. Right now there is only one 1/4 CTO in set for $50.

Just use cheapo speedlight gels and the Frensel head

How many strobes would benefit from a 22x22 CTO gel? Maybe 4 or so? $7 seems to be a very good deal for that gel.

bobbyz wrote in post #18507346
Gel sheets are more expensive than simple colors. I think 22x22 something is like $7 each at my local theatrical supply store. Do agree on your DIY approach. I need to make some.

With FlashGels I need to pony up $50 per strobe. If it was cheaper or came with say 2 or better 4 sets of each then yes. Right now there is only one 1/4 CTO in set for $50.

Yeah, better marketing would include sets of multiple sheets in one color.

Also, it's questionable whether the filter even has to completely cover the tube with that T shape. Except for very critical color-management, you can just wrap a simple strip around the tube and leave the top uncovered--makes little difference in most practice.

BTW, a pedantic point:

What we're talking about here are actually "acetate" filters. A true "gel" filter is optically clear to be used over camera lenses (optically perfect enough even for packs of them to be used over camera filters). Genuine "gel" filters are also extremely expensive:

Like this Kodak Wratten 3x3 ND filter at $75.

https://www.bhphotovid​eo.com …645541_3_x_3_Ne​utral.html

TeamSpeed wrote in post #18433231
SSSOOOoooo, we have a new use for this light. My wife takes her own real estate shots using whatever camera and lens I give her. Today I thought I would put the transmitter on the new SL1 and give her an AD200 with a reflector dish on it. We tried it around our house, and basically I told her to use this like a floor lamp to light up the ceiling. If she doesn't want to use the flash, turn it off, in rooms where she does, turn it on.

She liked the effects and idea so she is using it today. This means as of this point the SL2 and AD200 and 1 stand become our business property, and it worked very, very well with somebody that knows nothing about photography or flash/strobe. She is using that lightweight compact stand with the strobe which makes it basically a floor lamp, which falls in line with her concepts of staging.

TeamSpeed-
Have you tried out the AD200/Evolv 200 with the SL2? I just got my Black Friday/Cyber Monday dual head bundle and TTL drastically overexposes with my SL2. It works fine on the 50d. Seems like this is likely an issue with the 6dmkII also.

RDKirk wrote in post #18507419
Yeah, better marketing would include sets of multiple sheets in one color.

Also, it's questionable whether the filter even has to completely cover the tube with that T shape. Except for very critical color-management, you can just wrap a simple strip around the tube and leave the top uncovered--makes little difference in most practice.

BTW, a pedantic point:

What we're talking about here are actually "acetate" filters. A true "gel" filter is optically clear to be used over camera lenses (optically perfect enough even for packs of them to be used over camera filters). Genuine "gel" filters are also extremely expensive:

Like this Kodak Wratten 3x3 ND filter at $75.

https://www.bhphotovid​eo.com …645541_3_x_3_Ne​utral.html

It's a throw back term, like "lead" in you pencil.

Rosco, GAM and Lee once used colored gelatin to make these,. but that was a very long time ago. The term is still however universally "gel" even though it's been polycarbonate or polyester fro decades.

We never "poly" our lights in theatre, we "gel" them.
(although sometimes we "drop color" and no that is not a euphemism for acid)

The storage room for color filters is called the "gel room"

The holders are universally called "gel frames"


So "gel" is the accepted industry standard name for the product regardless of what material they move to make them.

kayl wrote in post #18507455
TeamSpeed-
Have you tried out the AD200/Evolv 200 with the SL2? I just got my Black Friday/Cyber Monday dual head bundle and TTL drastically overexposes with my SL2. It works fine on the 50d. Seems like this is likely an issue with the 6dmkII also.

No I haven't, but that would be bad if there is an issue. Might be due to a different metering system over what other models utilize?