1、In photography, to create an image that has never been created before without a Hollywood-sized budget or extensive retouching in Photoshop is a rare thing indeed. Over the last few years, I have been experimenting with the Hypersync capabilities of the Elinchrom Ranger RX Speed AS pack along with t

2、he Ranger S flash head when using the PocketWizard ControlTL transceivers.在拍攝,一張相片,從來都沒有好像好萊塢大片制作般有廣泛的使用Photoshop圖的確是一種罕見的事情。在過去的幾年里，我一直使用普威ControlTL引閃器，一直在嘗試與愛玲瓏RX Ranger RX Speed與Ranger的閃光燈頭的Hypersync能力。Ever since I first started playing with Hypersync I have dreamed of being able to overpower day

3、light and light up a surfer on a wave from a far distance. I tried it out in Tahiti with mixed results three years ago, but this year, with the help of Elinchrom and PocketWizard, I was able to pool the extensive gear needed and head out to Hawaii to give it another try. As you can see in the image

4、above, we pulled it off. As far as I know, this is the first image ever created of a surfer on a wave that was lit with strobes from 500-feet (150 m) away. To put that in perspective, the light from the strobes traveled a distance equivalent to 1.4 football fields and overpowered daylight (with the

5、help of a cloud).自從我第一次開始玩Hypersync我夢寐以求的能夠壓過日光，在遠處照亮一個沖浪者。三年前我嘗試過到了塔希提島，結果好壞參半，但今年以來，隨著愛玲瓏和普威的幫助下，我能夠集中所需的大量傳動然后前往到夏威夷再試試看。正如你可以在上面的圖片中看到，我們挺過來了。據我所知，這是以往任何時候都被照亮，從500英尺（150米）的距離閃光波創造了一個沖浪的第一張圖像。為了把在視角，從閃光燈的光線行進的距離相當于1.4個足球場和過強光照（有云的幫助）。To make this experiment possible, Elinchrom graciously shipped

6、 four Ranger RX Speed AS packs, four S heads and four high performance reflectors half way around the world to the north shore of Oahu. I brought with me one extra Ranger setup, which made for a total of five Ranger packs and heads. With this setup we had 5,500 Watt/Seconds of lighting power at our

7、disposal. Additionally, PocketWizard sent four extra Power ST4 transceivers to go on top of the Ranger RX Speed AS packs so that I could trigger all five packs using Hypersync with the PocketWizard Flex TT5 transceiver.為了使這個實驗可能，愛玲瓏附帶了4個 Ranger RX Speed 組，包含4個S 燈頭和4個高性反光罩（魷魚桶），中途在瓦胡島北岸。我帶多了一個額外Range

8、r電箱，這對于一共有五個Ranger RX和頭使用。有了這個設置，我們有照明功率為5500瓦/秒在我們的處置。此外，四個普威接收發射器，這樣我可能會引發使用Hypersync與普威的Flex TT5收發器全部五個包。In my experiments shooting ice climbing and other sports with one flash head, I found that I could consistently overpower the sun from 60 to 70 feet (20m) away. In shaded conditions, as withmy

9、 latest ice climbing shoot, I was able to light up the bottom of a gorge almost 200-feet (60m) away with one Ranger pack and head. With that in mind, I imagined that I could light up a surfer on a wave at up to 500-feet (150m) away with five Ranger packs and S heads working together. It took some tr

10、ial and error, and a few extremely helpful assistants, to actually make this work.在我拍攝攀冰及其他運動的經驗中只使用一個閃光燈頭，我發現我可以一直從60到70英尺（20米）遠壓過自然光。在陰涼的環境，與我的最新攀冰拍攝，我能照亮一個峽谷的底部將近200英尺（60米）的距離與一個Ranger和燈頭。有鑒于此，我以為我可以照亮一個波沖浪者在高達500英尺（150米）距離五個Ranger組和S燈頭一起工作。用了一段反復試驗，以及一些非常有幫助助手，真正完成這項工作。For this shoot, I hired pr

11、o surfer Tommy Ihnken, who lives on the north shore of Oahu. The waves on the day of the shoot werent exactly what we had hoped for; they were a bit unpredictable and small, but Tommy is known for catching some big air and he was keen to give it a go. We opted to shoot at Rocky Point, which is a sur

12、f break known for huge airs off medium sized waves. Along with me on this shoot were three assistants: the legendary surf photographer and my good friend, Brian Bielmann, Ben Reed and Robin Dabney. All three were indispensable on this assignment.對于這個拍攝，我聘請了職業沖浪選手湯米Ihnken，住在瓦胡島北岸。在拍攝當天的波浪并不是我們所希望的;他們

13、有一些不可預知的，但湯米是能夠的感受到空氣的變化，他想試一下。我們選擇了拍攝點在巖石，這是眾所周知的巨大擺架子關中型波的沖浪。隨著我在這拍三個助理：傳奇的沖浪攝影師和我的好朋友，布萊恩Bielmann，本里德和羅賓達布尼。這三個人都是不可或缺的這個任務。As one of the top surfing photographers of the last 35-plus years, Brian told me that he had seen several photographers try to light up a surfer on a wave with strobes on th

14、e beach but they never had any luck unless they shot at night and only from about 60-feet away. Hence, with this shoot, we were being very ambitious.去過35年間最頂尖的沖浪攝影師布賴恩告訴我，他看到幾個攝影師嘗試照亮一個波沖浪者在海灘上閃光，但他們沒有什么運氣，除非他們拍攝在夜間和只有大約60英尺的距離。因此，這次拍攝我們是非常有信心。Once we got all of the gear to the beach and got set up,

15、 we had two and half-hours of daylight to work with. The surf conditions were the best they were going to be that week and we went to work setting up the Rangers and testing everything out. Tommy got in the water and we started shooting. For the first hour we got nothing of note. Not a single frame.

16、 With full sun hitting the surfer, I could see that in a few shots we were filling in the shadows but we were not actually overpowering the sun. We realized that the high performance reflectors, when used from that distance, were like lasers and that the light was going right past Tommy for many of

17、the shots because he was moving all over the place with the waves. The next step was to have two assistants direct the flash heads, moving them with the surfer, so we could make sure we were hitting the surfer with the lights. After a few tries, we got some images where we could see that the lightin

18、g was working. Now we just needed to wait for something interesting to happen.當我們把所有的器材運到沙灘安裝好，白天的時候有兩個半小時是沖浪的最好條件，我們將在這周開始工作測試所有器材。湯米去到海面，我們就開始拍攝。剛開始的第一個小時，我們一無所獲，因為每張相片都是日光全部打在海浪上，我在拍了幾張之后發現，我們只能在強日光下填補陰影，我們發現使用高性能反射罩，在遠處使用時，就應該要好像鐳射激光器一樣跟隨著湯米進行拍攝，接著在有波浪的的地方吩咐了兩個助手直接拿著閃光燈頭跟著沖浪者，確保我們的能把沖浪者照亮。在試了幾次之

19、后，我們得到一些圖片，燈光是沒有問題的，我們只需要等待一些有趣的事情發生。Within a few minutes of putting two assistants on the flash heads to move them in tandem with the surfer, the sun dropped behind a thinly veiled cloud and Tommy caught a decent air, one of only three he was able to get over the course of the entire shoot. In that

20、 moment, everything came together and helped us created the shot at the top of this page. With the strobes firing at full power I only got one image per shot, and the fact that the timing was perfect for this image is a small miracle. There are so many things that had to come together to get this im

21、age. It still boggles my mind that we actually pulled it off. Brian was pretty amazed that we even got it to work, much less that we got an action shot. After we got “the” shot, I kept shooting for another hour or so. In that time we got several other shots that were fully lit but none of them measu

22、red up to the shot above.在兩個助手將閃光燈頭跟著海浪這幾分鐘，太陽落到了一片稀薄的云層中，就像Tommy抓住了空氣一般，他終于挺過了整個拍攝過程。在那一刻全部剛好走到一起，讓我拍攝到這個畫面。隨著閃光燈開著全功率的輸出我只有在拍攝每一個圖像，而事實上，在時間是這個完美拍攝的圖像是一個小小的奇跡。有跡象表明，必須全部人聚集在一起獲得這個圖片這么多東西。在我的心里里它仍然很驚喜，我們實際上把它關閉。布萊恩是相當驚訝，我們甚至得到它的工作，要少得多，我們得到了一個動作鏡頭。之后，我們得到了“這個”的拍攝，我不停地拍攝了一個小時左右。在那個時候，我們還有其他的多次拍攝，但被完

23、全被照亮，所以沒有上一個鏡頭拍攝的好。To capture the image I shot with a Nikon D4, a Nikkor AF-S 400mm f/2.8 telephoto lens and a 1.4X Teleconvertor. This setup resulted in a 560mm f/4 lens. The exposure for the resulting image was 1/1,250thsec at f/4 at ISO 800. Because we were shooting wide open the lens had to have

24、 exceptional autofocus and as you can see, it performed flawlessly. Gauging the distance of the surfer from the strobes was a matter of looking at the focus marker on the lens, which indicated a distance of about 500-feet. My shooting position was approximately 60 feet to the right of the strobes on

25、 the beach and basically in line with the flash heads.為了這次拍攝我是用了 Nikon D4 ，一支Nikkor AF-S 400mm f/2.8 的長焦鏡頭和1.4X Teleconvertor（遠攝增距鏡），使用增距鏡后可以設置在560mm 焦段f/4 光圈 ，快門速度1/1,250 秒 f/4 光圈 ISO 800，因為我們使用長焦鏡頭必須有出色的自動對焦，正如你可以看到，它的表現堪稱完美，在鏡頭上看著計算沖浪者和閃光燈的距離，在大約500英尺的距離時候進行對焦。我們拍攝位置約在沙灘上60英尺，閃光燈基本從右側發射出光線。While

26、I dont consider this to be the best surfing image I have ever created, it is certainly different from any other surfing image I have produced and is not a bad shot by any means. As a proof of concept, it illustrates how Hypersync, when pushed to extremes, can be used with the Elinchrom Rangers to cr

27、eate images that never existed before. In fact, I dont know of any other battery-powered strobe on the market that could have created this image. The Rangers are in a class of their own when it comes to their Hypersync capabilities and overpowering daylight from far off distances.雖然我不認為這是我拍攝最好的一次沖浪形

28、象，但它是比起我自己拍攝其他沖浪形象不同的，作為證明，這次是一個特別的拍攝方式。它詮釋了如何使用 Hypersync，推到最高時候，可以使用Elinchrom Rangers 來拍攝之前沒有拍攝過的東西，其實我也不知道市面上其他牌子的外拍電箱能夠拍攝到這個圖像，但是愛玲瓏Rangers已經能夠使用Hypersync在遠距離壓過日光My thanks to Elinchrom and PocketWizard for believing in this project and for sending out the extra gear to make it happen. My thanks

29、also to Brian Bielmann, Ben Reed, and Robin Dabney for helping me on this project and especially to Ben Reed for filming the Behind the Scenes video. Without the help of these two companies and the assistants this image would not have been possible.我感謝愛玲瓏和普威相信這個項目，并且給多了一套多余的裝備來完成這個。我還要感謝 Brian Bielm

30、ann，Ben Reed和Robin Dabney幫助我完成這個項目，特別是Ben Reed拍攝幕后視頻，如果沒有這兩個公司和助手幫助這次拍攝項目是不可能完成的In 2011, while ice climbing in Ouray, Colorado at the Ouray Ice Park, I met Dawn Glanc, one of the strongest female ice climbers in the world. The following year, in 2012, I set up a portfolio shoot with Dawn where I lit

31、 the ice climb she was on from above with an Elinchrom Ranger RX Speed AS battery-powered pack and the Ranger A “Action” head.在2011年，科羅拉多州的烏雷冰公園攀冰時，我見到了黎明Glanc，是世界上最強的女冰山登山者。次年，2012年，我成立了一個投資組合拍攝黎明曙光，在她爬到上面有愛玲瓏RX Speed AS電池組和 Ranger A “Action” 燈頭，開始觸發閃燈The resulting images were very well received an

32、d I was able to license several of the images to a wide variety of high-end clients.這組相片非常受歡迎，我能夠授權使用幾種圖像到各種高端客戶That same year, I also I started playing with Hypersync flash technology. I first tried it out in Tahiti while shooting surfing. I was able to light a surfer on a wave while shooting from

33、a boat nearly 100-feet (30m) away. There were many variables on that shoot, which didnt allow me to actually get the image I wanted, but the seed was planted in my brain for future experiments. With more experimentation, and a marked improvement in the Hypersync technology, I was able to reliably ov

34、erpower daylight from 60 to 70 feet (20m) away using the Elinchrom Ranger RX Speed AS pack and the Ranger S head along with the high performance reflector。就在同一年，我也開始了我Hypersync flash閃光技術使用。我第一次嘗試它在塔希提島拍攝時沖浪。我能夠在浪潮中向沖浪者使用閃光，而從船上近100英尺（30米）的距離拍攝。有上拍，這并沒有讓我真正得到我想要多樣變化的圖片，但我一直在想如何實現。隨著越來越多的實驗，并在Hypersyn

35、c技術幫助有了明顯的改善，我能夠可靠地從60到70英尺（20米）遠使用愛玲瓏RX Ranger Speed 和Range燈頭和高性能反光罩來克服日光Having gotten Hypersync to work reliably, my mind started spinning with ideas for possible shoots. One of the first thoughts I had was to go back and shoot ice climbing with Dawn, but this time using Hypersync.Fast forward a f

36、ew years, to this January, when I had some free time for another portfolio shoot. I planned another ice climbing shoot with Dawn in the Ouray Ice Park and I was hoping to improve on my previous outing. I took with me the trusty Elinchrom Ranger RX Speed AS pack and the Ranger S head this time, along

37、 with the PocketWizard ControlTL transceivers that make Hypersync possible. After shooting with Dawn in a few different areas of the park, I set up the Ranger and a flash head on the bridge that spans the gorge above the ice climb. I set up the flash head and the high performance reflector so that i

38、t created a shaft of light on the intended ice climb. I dialed in the exposure settings by using the histogram on the back of my camera. Having tested out my settings the day before I was able to get near perfect illumination of the ice climb in the first shot. Once Dawn and her sister Kristi rappel

39、led into the gorge, it was go time. I moved around and shot from various angles above and to the side of the climb from the opposite side of the gorge. I also shot with telephoto, standard and ultra-wide angle lenses so that I had every possible variation.我們已經有了 Hypersync可靠的工作了，在我腦海里又萌生一些想法。其中第一個想法我

40、要有是去拍攀冰與與曙光，但在使用Hypersync的時候一晃數年，到了今年一月，當我有些空閑時間用于其它投資組合拍攝。我計劃在烏雷冰公園攀冰與拍攝黎明，我希望改善我以前的郊游。我帶著我對愛玲瓏的信賴的Ranger RX Speed AS 電箱 和 Ranger S燈頭使用的這段時間，連同普威ControlTL收發器，使Hypersync變成可能，黎明在公園不同的幾個地區進行拍攝后，我設置了Ranger，并跨越上面爬冰峽谷大橋閃光燈頭 我設置了閃燈燈頭和高性能反射罩，使其燈光可以照射到所期望的冰崖上，我通過觀察相機背面上的曝光柱狀圖設置。經測試我設置前一天在附近爬在那里拍攝第一張完美的照明，當曙

41、光和他的妹妹Kristi 攀爬入峽，在這段時間我四處移動，并從不同角度上面拍攝，在峽谷對面分別使用了長焦，標準和超廣角鏡頭，讓我嘗試各種變化。For these images, I shot at around 1/1,000th second at either f/5.6 or f/5 at ISO 400 for the entire shoot. With the shaded nature of ice climbing, the Hypersync setup was reliably lighting the entire climb all the way to the bot

42、tom of the gorge 165 feet (50m) down. I shot over 230 images as Dawn made her way up the dead vertical ice climb. Because I was shooting at such a high shutter speed, this allowed me to move around much more easily and capture a greater variety of images than on my previous outing, where I had to us

43、e a tripod.這些照片，我拍攝時使用的設置為 1/1,000秒 光圈為 f/5.6 o或 f/5 ISO400 。隨著攀冰的陰影產生，Hypersync設置被可靠地照亮整個攀登一路峽谷165英尺（50米）向下探底。我拍了230圖像作為曙光讓她在冰上一路垂直爬升。因為我是在拍攝如此高的快門速度，這讓我更容易地走動，并捕獲更多種類的圖像比我以前的郊游，在這里我不得不使用三腳架。As a side note, I would expect the high performance reflector to be a very hard light and generally it is, b

44、ut in this instance, with the light bouncing into the ice and flying all over the place the light quality was softened quite a bit. On other shoots, where I have used the high performance reflector, I am constantly amazed at how nice the light quality generated by this metal reflector can be and esp

45、ecially how subtle the light fall off is towards the edges of the beam.作為附帶說明，我希望高性能反射罩是一個非常硬光，一般情況下它都是，但在這種情況下，經過光經過了在冰上反彈光線的品質柔化了了不少。在其他拍攝，在那里我已經使用了高性能反射罩，我經常驚訝于金屬情況下光線產生怎樣的反射，特別是如何微妙的光線邊緣的羽化衰弱。In the end, the results were stunning. I can say unequivocally that these are the best ice climbing imag

46、es I have ever created and they wouldnt exist without the Hypersync abilities of the Elinchrom Ranger. I dont think there is any other strobe on the market that has the power and the ability to overpower daylight (or in this case the open shade) as the Ranger Hypersync setup did that day. This shoot

47、 has inspired me to try applying Hypersync flash to many other hard to illuminate sports. Hypersync has opened up a whole new world in terms of what can be lit without a Hollywood movie budget. I am very excited to see how far I can take it by creating new and exciting images that have never been do

48、ne before.最后，結果是驚人的。我可以毫不含糊地說，這些都是我有過創造了最好的攀冰照片，他們不會不愛玲瓏 Ranger的Hypersync能力存在。我不認為這是市場上任何其他頻閃，有能力壓倒日光（或在這種情況下，戶外陰影）作為 Ranger Hypersync設置那天做的能力。這已經激發了我嘗試運用Hypersync閃光燈來拍等諸多難以照亮的運動。 Hypersync開辟了一個全新的世界中什么都可以照亮條件 - 沒有一個好萊塢電影的預算。我很高興地看到，通過它我可以走多遠過創建一個以前從未做過的新的和令人興奮的圖像。The new range of Elinchrom softboxe

49、s, the Litemotiv 120 and 190, are now starting to ship out. This gave us an opportunity to ask Swiss photographer, Anoush Abar, to let us have his feedback on his experience with these new light shappers. As a heavy professional user, Anoushshared with us his impressions his thoughtson the new Litem

50、otiv softboxes.愛玲瓏柔光箱的新型號，Litemotiv120和190，現在開始出售。這給了我們一個機會向瑞士攝影師，Anoush ABAR，讓我們對他的經驗與這些新的光shappers他的反饋。作為一個專業的重要用戶，Anoush我們他的印象他的想法，新的Litemotiv柔光箱的分享。Elinchrom: You recently had the chance to use the new Litemotiv 190: overall, what was your first impression?愛玲瓏：你最近有使用新Litemotiv190的機會：總體來說，什么是你的第一

51、印象是什么？Anoush:The first thing that struck me was just how rock solid this equipment was. I heardmyself thinking how tough these boxes were! The Litemotiv take up very little room once foldedbutbecome enormous once you open them up! I mean, really enormous! Its almost intimidating at the start and you

52、 start wondering how on earth you are going to put all that together. But in the end, once youve got to grips with the assembly logic and the different color coded pieces, its both quick and easy. It really becomes so simple to set up them up that you stop thinking about it, plus you can have a real

53、 go at it without worrying about breaking anything. Its tough yet portable, the perfect compromise.Anoush：第一件事那我吃驚的是該設備是多么堅如磐石的。我聽見自己思考這些箱子多么艱難都！但Litemotiv折疊后占用的空間很小，但你一旦打開他們又會變得非常巨大！我的意思是，真正巨大的！這幾乎是嚇人的開始，你開始想知道如何在地面展開上，你打算把所有的在一起.但最后，一旦你得到認真處理組合邏輯和不同的顏色編碼部分，它是既快捷和容易。這真的變得如此簡單設置它們，你停止思考，再加上你可以有一個真正的

54、去它無需擔心破壞任何東西。它是又強硬又便攜，完美的妥協。What can you tell us about the light from the Litemotiv?你能介紹有關Litemotiv光線？For this shoot, we needed to light up a girl who was walking down a staircase, for a fairly wide-angled shot. That meant that we needed a lot of light and my default choice could have been the Rotal

55、ux Octa 175 cm. However, the problem is that it lights a wide area: its soft, but wide, too wide.對于此拍攝，我們需要照亮了一個女孩是走樓梯，在相當寬角度拍攝。這意味著我們需要大量的光，我的默認選擇本來是Rotalux八溴175厘米。然而，問題是，它照亮一個廣域：它是柔軟的，但寬，太寬。I really needed a soft light that I could precisely position. A stronger light, for instance a beauty dish,

56、wouldnt have worked either because I didnt want to give too much of the impression of sunlight. So my dilemma was figuring out how to combine soft lighting with a clear sense of direction, and the Litemotiv allowed me to do exactly that. 我真的需要一個柔和的光線，我可以精確定位。更強的照亮，例如beauty dish（二次反射罩），也不會任何制作，因為我不想給

57、你太多的陽光的印象。所以，我的困境是搞清楚如何柔和的燈光結合一個明確的方向感，而Litemotiv允許我這樣做。The advantage is that you can install it further away from the subject because of it size while retaining all itseffectiveness. In fact, once you move it far enough back, mostsoftboxes ressemble eachanother and any light source turns into natur

58、al light. The benefit here is that shadow projection with the Litemotiv is both soft and powerful. In addition, when you remove the diffuser on the front but keep the internal diffuser in place, you can extend the shadow length.它的優點是可以從因為它的尺寸的主體，同時保留其所有效力安裝它進一步遠離。事實上，一旦你移動回足夠久遠，最柔光箱ressemble每個另一個與任何光源變成“自然光”。這里的好處是，投射陰影與Litemotiv既柔軟又有力。此外，當你取下擴散器的前面，但保持內部擴散的地方，可以延長陰影長度。The atmosphere is truly unique, with a very distinctive light. How did you achieve that technically?這里的氣氛是真正獨特的，具有非常獨特的光線。你是如何做到這一點在技術上？The idea was to shoot