Welcome to our RU-vid channel! Here, we are excited to bring you content that showcases the latest and greatest from the world of photography and videography. As an authorized distributor for top brands like Godox, Wandrd, SmallRig, F-Stop, and Caruba, we pride ourselves on offering a wide range of high-quality products. Whether you're a professional or an enthusiast, we have everything you need to elevate your creative work. We deliver our products across Europe, ensuring that you have access to the best tools and equipment, no matter where you are. Stay tuned for product reviews, first looks, and much more!
I'm getting 2 for events, ive been using 1 ad100 and 1 sd300 but I could fit 2 ad200 in the same slot in my event bag, I'll miss the easy mount with fasboxes(angler) but but the convenience of 2 equal lights with same power and mount will make it easier for me
I have a 200 and 200 pro. I don't see the need to upgrade. I think the one thing that is a fail in the 200 series is the modeling light. 5 watt is equivalent to a 50watt bulb. They went to 7.5 which is 75 watt incandescent. They should have went to 10 or 15 100-150 incandescent. That would make this flash more useful. That might have been worth the upgrade..
Maybe a translation problem, but it seems godox does not understand the concept of streetphotography. What the video shows is city model, fashion or portret photography. Godox please Google streetphotography.
come on !!! the same head ! esto era lo primero que tenian que actualizar pero obvio quieren seguir vendiendo accesorios por aparte ... aprendan a VISICO
I have some Broncolor units that I've found used on eBay and stuff and they are my most reliable units for commercial work but I LOVE both the AD200 and the AD100. The AD200 is the portable light I use and enjoy the most. It's been with me for some years now and I rarely shoot it at full power, even the AD100, they're surprisingly powerful and absolutely reliable. I was thinking of getting the AD300 when it was released but I decided to go with a second AD200, this time the PRO one and I can use them both independently or place them together as a 400W unit with the AD-B2 adapter. Godox is doing such an amazing job with these ones.
Are you sure you didn't upload this too early? Seems like it isn't out yet? It's nowhere to be found online except for this video, not even on the Godox website lol. I mainly hope this means the normal pro will go down in price! Would like to get me a few of those extra :)
Hello first I want to say thank you for all of your information that you have given us over Time regarding Lighting. What I would like from you if you would please do a tutorial on the flashpoint 600 pro II or the godox 600 pro II . Especially regarding the high-speed sink / or freezing Mode scenario that they have for this light I am completely lost when you enter the realm of the 512 set up that they have and then the freeze mode that they have in the system unfortunately I have not seen any videos whatsoever at all regarding this or explaining how it actually works. There are a few other issues inside the menu that's a little elusive as well can you go over each one of those especially the odd ones you have your normal settings that are self-explanatory and then there's a couple settings in there that are confusing and I'm not sure exactly what there for. Once again thank you and I hope to see some information on this light in the future
Hello sir, I am your owned I bought a flass of TT685 N ,which is a four battery system it was fine when I bought it but as days went by the batteries started losing their capacity very fast. Flash and It heats up very fast I could not use. it because of such danger Can you fix it and give it to me? Indian mani when I buy Indian rupees 7000 was too big for me If mine fixes this problem I will start using it again, pls sir i m waiting for u r answer sir , thank you sir
Do you know how much freeze mode reduces the power? The manual just says that in freeze mode "... the power is less than normal flash mode". I'm trying to work out if full power in freeze mode is like half power in normal mode or something totally different. Thanks for the great video - short, sweet and packed with the info we actually need, rather than the press release! Much appreciated.
I love using the ad600 ttl on every shoot lately. Not sure if I am too interested in upgrading, but that modeling light, it is a pretty cool party trick
@@juanargueta5988 its also a 2.5 sec recycle time at full power as where the model before this is .9 sec recycle time.. And to use 1/512 you can't use HSS. The menu takes twice as long to flip through also.
I learned lighting apprenticing with top wedding photographer Monte Zucker back in the early 1970s who took all his posed portraits using skylight through a north facing window with a reflector for fill and re-enacted the ceremony and shot the reception with dual flash, always having one flash 16” above the lens for Fill, placing the off camera flash on a modified medical IV stand which could be easily rolled around to keep it aimed at a 45° angle to the nose and overhead so the shadow of the nose falls over half of it modeling it’s 3D shape ideally, the same angle the noses were pointed toward the window. The mistake many beginners make when using artificial lights is to put the Key light and Fill at opposite 45°angles. While that might seem logical it results in a pattern of two crossed shadows on the face and unfilled voids in the smile line, corners of mouth, teeth, inside of mouth etc. Monte taught me to look critically at photographs I took with flash and look for the darkest shadows in the image which are the result of no fill flash reaching those areas. When setting up the lights I learned to always start by setting the desired aperture for DOF on the subject then turn on the Fill source first and raise it to where the camera can record detail in the shadows. Back when shooting film an incident meter was needed for that but with digital it can be done visually using the playback and histogram. All of my portraits have been non-models who aren’t paid by the hour and don’t have the patience to stand around while a photographer futzes with lights and meter so I put drape white and black hand towels on a stand to represent the extreme of the tonal range for setting lights. Why towels? The loops in the fabric create sparkling specular highlights and draping a 3D reveals visually whether or not the fill light is reaching everywhere is a way a flat black and white target can’t. After setting the Fill so it is creating as few shadows as possible and raising its power to reveal the detail in the black towel the playback. Then the Key light is turned on and raised until the white one is just at or below triggering the black-out clipping warning in the playback. From that baseline of full tonal range the lighting is made to look softer or harder with a given set of modifiers by changing two variables: 1) change the distance of the light to the subject which will affect front-to-back fall off and shadow contrast, and/or; start with more fill for a lighter softer look or less for a darker look. Back in the 1970s before instant playback what we would do is find the distance for Fill and Key which produced a full range of detail (e.g. fill at 8ft and key at 5.6ft and then tie a string to the lights using them to set them. The inverse square law makes light fall off with distance very predictable and if you tie knots in a string at intervals of 16, 11, 8, 5.6, 4, 2.8, 2, 1.4, 1 feet or meters there will be a one stop difference in intensity. We used that method without the string to set ratios between key and fill and change exposure when moving in and out to change crop. For example if shooting from 11ft our aperture was f/8 to expose the shadows correctly with the fill, and the off camera flash was place at 8 ft to make it 2x brighter, the ratio need to expose the highlights it created over the flash correctly. If moving into 8ft to shoot tighter the aperture would change to f/11 to keep the exposure the same and the off camera flash would be rolled in to 5.6 ft to keep the ratio and highlight exposure the same. The difference between one- and two-light strategies is seen in the shadows when photos are exposed per the highlights. By adding a fill flash you can control the mood of the lighting. When shooting outdoors and adding flash over ambient you need to look critically at the eyes of the subject in the ambient light to see if the brow is shading them. That is nearly always the case when shooting a subject while at eye level with them in skylight because of the high incident angle of the skylight. Light in the eyes or not, is one of the subliminal body language clues we react to. Shaded eyes covey a different message than brightly lit eyes. If the latter is the look which is desired then it is necessary to pose the face of the subject up into the skylight outdoors the same way you would by a window then if you want the flash to create the same pattern it needs to be placed to hit the face at the same angle which outdoors requires tall light stands. Finally to avoid then shooting up the nose holes of the subject the camera needs to be raised so it is looking down at the top of the nostrils by finding something to stand on or bringing a 1 - 2 meter step ladder to shoot from. Adding a 1/4” - 20 pitch bolt to the top step of a ladder and attaching a tripod ball head is a handy hack when shooting outdoors😊
