Sometimes the shadow created by the speedlight when mounted in the camera's hotshoe produces a tell tale shadow possibly not wanted, eg for esthetical reasons
I have run into this in the past (fortunately long time ago) when having to use the speedlight as main light source due to bad/low level available light eg while not having the option of bouncing in some kind of way, like this http://a4.pbase.com/o10/20/670620/1/104719498.sLWzkN09.104719498.TvTrawFC.Mode131Archief20081017.jpg
(Fiorucci Catwalk show Amsterdam 1980)
Using a bracket places the speedlight higher, and thus causes the shadow created by it behind, rather then alongside the subject, and thus makes it less conspicuous
Also due to placing the speedlight further away from the lens axle, the risk of 'red eyes' gets diminished.
There are plenty of types of them in all price ranges for sale
I personally, if I can't avoid having to use flash, use a DIY construction based on the bracket of a 60CT4 Metz potato head combined with a Hedler C12 lightstand adapter I had lying around
I then try to more or less match the color temperature of the flash with that of the available light using a gel on the flash and adapting the color temperature in the camera accordingly, and use ISO and camera settings to more or less balance the output level of the speedlight and available light
Looks like this when it works out (not perfect, but could be worse) http://a4.pbase.com/g10/20/670620/2/167797917.UMxSPUUq.jpg
( FMC 01 AMFI Amsterdam D850 2.8/70-200 VRII at 116mm, SB800 with Kodak 85 type gel filter, f4 1/200th ISO 3200)
I suspect prior to the technological advances of off-camera flash, it was well-worth it but now, not so much. It's easy to have a speedlite on a stand and get E-ttl (if desired) wirelessly.
They were mostly used in the days when anything above iso 400 was almost unusable (for colour at least). It was flash used because there just wasn't enough light vs now when it is almost solely used for its lighting effect and bounced/off-camera.
You'll draw a lot of attention, and it looks like it would be pretty tiring / awkward to use, but it's probably the best quality of light you can get from a flash bracket. (If I did it I'd probably go with an ELB 400 over the B2 for the added power, and HS)
I agree with the general opinion here. Back in the film days, flash had to be used a lot more than nowadays. All the bracket does is move the flash a little further away from the lens which reduces the chance of red-eye. Depending on how tall your flash is, it might also reduce the shadow under the chin a tiny bit. All in all I don't think it's worth it. Your camera becomes huge and hard to handle, and you will need some kind of wire dangling which connects the flash on the bracket to the hotshoe.
I've had good success using a low-profile rotating bracket with my Canon 600EX to fill shadows and even out light shooting at medium ISOs (Custom Brackets RF-PRO http://www.custombrackets.com/products/featured/rf-pro.html). Being able to quickly flip to portrait orientation with the flash above the camera is the other big benefit of a bracket, and the design of this model is pretty slick (but not cheap).
But I agree with the consensus opinion that it does bulk up your gear and draw attention, and may not be worth the extra stop of fill light given the high ISO capabilities available now. Here's a work reception I shot with that rig a few years ago, using LumiQuest Pocket Bouncer on the 600EX in that bracket. Pleased with the results, but I've mostly gone flash-less and used a more discrete system since then.
If you're stuck with the on-camera flash as the primary light source, and you go to shoot verticals, the shadows becomes a dominant part of the picture in the background. That was one primary purpose for me to use a flash bracket that could move the flash above the lens in vertical orientation.
I use Stroboframe flip flash bracket. Quickly converts from Landscape orientation to Portrait orientation. I always use it for social events and weddings. I just like the results and the even illumination it gives, albeit not very far though. Mostly localized .
In another era, I shot weddings. Used a 2 1/4 square with an aux side grip (Bronica). I fashioned a bracket that placed my flash about 12 in above my lens. It worked very well. Did not have to worry about flipping the camera for verticals.
Fast forward to today. I wanted to shoot a wedding for a friend using digital. So I purchased a flash bracket that flipped the camera using a circular track arrangement. Expensive but worked well. Have not used it since. Were I to do it over again here are the things I would consider:
Must get the flash about 12 in or so above the lens. Avoid red eye and better modeling.
Don't know if I would go with a flippy bracket or something cheaper and more simple. There is a tendency today to shoot a greater percentage in the horizontal format. For the times you need vertical, if the flash is mounted such that you can quickly unmount it and handhold conveniently, I would do that. That is what we used to do with 35. Hold the flash high and pointed towards the subject with the left hand. We generally used potato masher style flashes (with handle). These are out of fashion now. You might rig up some sort of handle for the flash to fit on to so you can handle the flash comfortably and aim it accurately. What you do depends on how you are going to use it. Infrequent use and relatively few verticals, I would go cheap. Heavy use, I would spend the money.
There is a much more use of bounce flash today because you can easily color balance and fix in post. Could not do that back then, lab prints from bounced flash sucked. Make sure your bracket allows you to direct your flash for bounce. Again a higher mount helps for direct rear bounce because you will clear your forehead.
Keep in mind that this involves the use of a PC cord because the flash does not connect to the hot shoe of the camera. Wireless does not make too much sense (unless you are using off camera flash too) because you have to have the wireless transmitter and flash both on the camera which is kinda awkward. PC cords are a weak point, they fail. Be sure you have spares. Make sure your camera has a PC socket. If not I think there are adapters that fit in the hot shoe to provide one. Another weak point, avoid if you can.
Nothing worse than to have a group o 20 people in front of you and your flash does not fire.
Personally I still use them sometimes. I do shoot some venues where it's the only option and did get a B2 option for one by PMG and works better than advertised. I can't use stands and wireless in this venue, but very comfortable with a full rig and a tripod, so I settled for this combo and it works for me. Unless you have something specific I wouldn't waste my time as before in film days, where there where quite a few made and where very popular, but there are some places where it might be your only option and I'd rather have one than not. Regards, takomaru
michi098 wrote:
I agree with the general opinion here. Back in the film days, flash had to be used a lot more than nowadays. All the bracket does is move the flash a little further away from the lens which reduces the chance of red-eye. Depending on how tall your flash is, it might also reduce the shadow under the chin a tiny bit. All in all I don't think it's worth it. Your camera becomes huge and hard to handle, and you will need some kind of wire dangling which connects the flash on the bracket to the hotshoe.
I agree that these are the reasons.
I agree that it makes the camera a bit bulky. (I use the RRS Bracket.)
I disagree strongly that it's not worth it. I typically either use a single mounted flash in a "semi bounce" configuration, or pointed full forward as a fill flash, with a stronger key light on a stand. In both scenarios, I find the slight improvement in shadows well worth the slight size / weight inconvenience.
- It is indeed a SLIGHT difference, but since the weight doesn't bother me at all, I have no reason to remove the bracket.
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Also, FWIW, I'm currently using a Godox AD200 head ON CAMERA, via the EC200 extender. (With the main unit hooked to my belt, or to my tripod.) I love it.
This could "sort of" be done without a bracket, but due to the physical shape of the AD200 head, the light source would be significantly LOWER than that of a typical speedlight. Additionally, some of the light would be blocked by most lenses.
"I personally, if I can't avoid having to use flash, use a DIY construction based on the bracket of a 60CT4 Metz potato head combined with a Hedler C12 lightstand adapter I had lying around" holding the SB800,
I'd sure like to know how you hold this with the other (one hand) - "D850 2.8/70-200 VRII"
I used stroboframes for years. Still have one knocking about.
Pros: gets the flash in a position you can very quickly flip from portrait to landscape, and have the flash both away from the body (less red eye), and in the same relative position in either body rotation.
Cons: adds weight and bulk.
As stated by others, off cam is preferred, but cannot always be the option you have... in which case these are the best alternate in a run/gun enviro.
Bought a flipping flash bracket last year and deciding within 10 minutes that it was a mistake. I really disliked the bracket getting in the way of my camera controls and flipping is a time-waster. I just shoot events with flash on camera and the bigger units are tall enough to avoid red-eye at closer distance and the shadows drop behind the subject, no fuss. We have enough pixels these days to crop vertically in post. If I needed to shoot portrait orientation a lot for some reason, I would stick the Speedlight on one of those monopods with the little legs. I have full wireless control for that eventuality (Nikon SB-5000).
Hanginon wrote:
Well, @Paul_K@, if you have this in one hand -
"I personally, if I can't avoid having to use flash, use a DIY construction based on the bracket of a 60CT4 Metz potato head combined with a Hedler C12 lightstand adapter I had lying around" holding the SB800,
I'd sure like to know how you hold this with the other (one hand) - "D850 2.8/70-200 VRII"
You guys in the Netherlands must be tough guys!
I have the DIY construction bolted on the winder underneath the D850
While this means I have to operate the D850 + winder, SB800 and contraption, and 70-200VR with one hand, I do so using a few tricks I picked up over the years
So rather then shooting handheld, I have the whole set up mounted on a monopod (attached to the lens, on to which the body, and in its turn the SB00 and contraption is attached)
While I have to take care to avoid things from tipping over all the time, I don't have to hold or lift the combined weight and as a result can stay away from the spinach
