Question: PocketWizard Plus vs MultiMAX

I've been to their site and read old NG posts and I think I have it
figured out but just want to make sure before I plop down my hard
earned bucks...
The PW Plus is a system of modules that transmit or receive but not
both, and the MultiMAX is a module that can do both transmit and
receive depending on what you need at the moment?
So if I wanted to use a camera and 2 monolights I would use say the
Plus system and use a transmitter on my camera and a receiver on the
monolight and let the built-in slave fire the second monolight? And
if I decided to go with MultiMAX I would need 2, one for my camera and
the other for a monolight? Is this correct?

And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Thanks,
Tom

Tom (2) wrote:

I've been to their site and read old NG posts and I think I have it
figured out but just want to make sure before I plop down my hard
earned bucks...
The PW Plus is a system of modules that transmit or receive but not
both, and the MultiMAX is a module that can do both transmit and
receive depending on what you need at the moment?
So if I wanted to use a camera and 2 monolights I would use say the
Plus system and use a transmitter on my camera and a receiver on the
monolight and let the built-in slave fire the second monolight? And
if I decided to go with MultiMAX I would need 2, one for my camera and
the other for a monolight? Is this correct?

Yep.

Example with PW:
Shooting a show I used two monos (with color gels) each with a PW
receiver set to the same channel. A single transmitter on the
camera set off both of them (a third BG rim light had a slave in
a long black painted cardboard tube pointing at one of the monos).

If I had had a special cable for the purpose, I could have
connected both monos to a single receiver. (In a 'radio'
environment I don't like to depend on slaves).

If needed: To increase the sensitivity of the slave on the second
light a small sheet of aluminum foil hanging a foot or so away as
a reflector from the slave sensor increases the sensitivity
dramatically.



And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Yes. Although some monolights (like mine) will fire on slave
even if the sync cord is plugged in, so check it out first.
Masking the sensor with black tape is possible but requires
testing ... the slaves are very sensitive.

The multimax system is setup such that the module at the camera
can trigger the cameras electronic cable release. Useful when
remoting cameras (PW provide for this with other models).

Cheers,
Alan



--
-- rec.photo.equipment.35mm user resource:
-- http://www.aliasimages.com/rpe35mmur.htm
-- e-meil: there's no such thing as a FreeLunch.--

"Alan Browne" wrote in message
.. .
[SNIP]

And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Yes. Although some monolights (like mine) will fire on slave
even if the sync cord is plugged in, so check it out first.
Masking the sensor with black tape is possible but requires
testing ... the slaves are very sensitive.


Eeek! I'd always assumed that, like mine, all systems had switchable
slaves - real pain not to.


Peter

"Alan Browne" wrote in message
.. .
[SNIP]

And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Yes. Although some monolights (like mine) will fire on slave
even if the sync cord is plugged in, so check it out first.
Masking the sensor with black tape is possible but requires
testing ... the slaves are very sensitive.


Eeek! I'd always assumed that, like mine, all systems had switchable
slaves - real pain not to.


Peter

Bandicoot wrote:

"Alan Browne" wrote in message
.. .
[SNIP]

And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Yes. Although some monolights (like mine) will fire on slave
even if the sync cord is plugged in, so check it out first.
Masking the sensor with black tape is possible but requires
testing ... the slaves are very sensitive.

Eeek! I'd always assumed that, like mine, all systems had switchable
slaves - real pain not to.

I bought mine (used) and they are definitely not top line models.
They are really "hobby" photographer lights. Reasonable power
(200 W-s) but the modeling light doesn't follow the power level
(which is only 1/1 and 1/2 in any case).

I'd love a few Alien-Bees (a couple 800's and a 400) but that
will have to wait...

Cheers,
Alan

--
-- rec.photo.equipment.35mm user resource:
-- http://www.aliasimages.com/rpe35mmur.htm
-- e-meil: there's no such thing as a FreeLunch.--

Bandicoot wrote:

"Alan Browne" wrote in message
.. .
[SNIP]

And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Yes. Although some monolights (like mine) will fire on slave
even if the sync cord is plugged in, so check it out first.
Masking the sensor with black tape is possible but requires
testing ... the slaves are very sensitive.

Eeek! I'd always assumed that, like mine, all systems had switchable
slaves - real pain not to.

I bought mine (used) and they are definitely not top line models.
They are really "hobby" photographer lights. Reasonable power
(200 W-s) but the modeling light doesn't follow the power level
(which is only 1/1 and 1/2 in any case).

I'd love a few Alien-Bees (a couple 800's and a 400) but that
will have to wait...

Cheers,
Alan

--
-- rec.photo.equipment.35mm user resource:
-- http://www.aliasimages.com/rpe35mmur.htm
-- e-meil: there's no such thing as a FreeLunch.--

"Alan Browne" wrote in message
.. .
Bandicoot wrote:

"Alan Browne" wrote in message
.. .
[SNIP]

And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Yes. Although some monolights (like mine) will fire on slave
even if the sync cord is plugged in, so check it out first.
Masking the sensor with black tape is possible but requires
testing ... the slaves are very sensitive.

Eeek! I'd always assumed that, like mine, all systems had switchable
slaves - real pain not to.

I bought mine (used) and they are definitely not top line models.
They are really "hobby" photographer lights. Reasonable power
(200 W-s) but the modeling light doesn't follow the power level
(which is only 1/1 and 1/2 in any case).


Proportional modelling lights are nice, but nowhere near as helpful as the
idea sounds: eyes and film see things so differently that the meter will
tell you much more than the modelling lights will.

Sure I do make use of mine, but I think it is a much less important feature
than other things. Mostly I set the main light(s) and then turn off their
modelling while I put in the fill and whatever else is needed, then put them
all back for a quick look for any shadows that aren't getting as much fill
as they should. After that use of the modelling lights for placement, it is
over to the meter for setting relative power levels. I'm sure not everyone
works the same way as me though...

I'd love a few Alien-Bees (a couple 800's and a 400) but that
will have to wait...


Not familiar with the brand, which I've heard of but never this side of the
pond. Still, two 8s, a 4 and your two 2s sounds like a pretty good range to
aim for for portraits. I reckon that often the fill actally demands the
most powerful light, since it is the most 'spread about' - especially if you
are using bare bulb up into a corner of the room. Still, I use my lights
mainly for still life, studio flower shots, and for the ocassional
architectural gig (with an 8,000Ws head for the fill then) so I don't really
have that much feel for portraiture requirements...

Having seen some of your portraits, you certainly get a lot of good mileage
out of those two units.



Peter

"Alan Browne" wrote in message
.. .
Bandicoot wrote:

"Alan Browne" wrote in message
.. .
[SNIP]

And while I'm here I have a related question: if I'm shooting at a
wedding (group shots) and others are sneaking in with their consumer
digital cameras, does it make sense to have a third PocketWizard on
the second monolight to keep the built-in slave from reacting to the
renegade digital camera flash?

Yes. Although some monolights (like mine) will fire on slave
even if the sync cord is plugged in, so check it out first.
Masking the sensor with black tape is possible but requires
testing ... the slaves are very sensitive.

Eeek! I'd always assumed that, like mine, all systems had switchable
slaves - real pain not to.

I bought mine (used) and they are definitely not top line models.
They are really "hobby" photographer lights. Reasonable power
(200 W-s) but the modeling light doesn't follow the power level
(which is only 1/1 and 1/2 in any case).


Proportional modelling lights are nice, but nowhere near as helpful as the
idea sounds: eyes and film see things so differently that the meter will
tell you much more than the modelling lights will.

Sure I do make use of mine, but I think it is a much less important feature
than other things. Mostly I set the main light(s) and then turn off their
modelling while I put in the fill and whatever else is needed, then put them
all back for a quick look for any shadows that aren't getting as much fill
as they should. After that use of the modelling lights for placement, it is
over to the meter for setting relative power levels. I'm sure not everyone
works the same way as me though...

I'd love a few Alien-Bees (a couple 800's and a 400) but that
will have to wait...


Not familiar with the brand, which I've heard of but never this side of the
pond. Still, two 8s, a 4 and your two 2s sounds like a pretty good range to
aim for for portraits. I reckon that often the fill actally demands the
most powerful light, since it is the most 'spread about' - especially if you
are using bare bulb up into a corner of the room. Still, I use my lights
mainly for still life, studio flower shots, and for the ocassional
architectural gig (with an 8,000Ws head for the fill then) so I don't really
have that much feel for portraiture requirements...

Having seen some of your portraits, you certainly get a lot of good mileage
out of those two units.



Peter

Bandicoot wrote:



Not familiar with the brand, which I've heard of but never this side of the
pond. Still, two 8s, a 4 and your two 2s sounds like a pretty good range to

AlienBees don't sell them via retail. Strictly by shipping.

aim for for portraits. I reckon that often the fill actally demands the
most powerful light, since it is the most 'spread about' - especially if you
are using bare bulb up into a corner of the room. Still, I use my lights
mainly for still life, studio flower shots, and for the ocassional
architectural gig (with an 8,000Ws head for the fill then) so I don't really
have that much feel for portraiture requirements...

Having seen some of your portraits, you certainly get a lot of good mileage
out of those two units.

They are pretty good units. I've also (sometimes) added a Maxxum
5400 or 5600 as the trigger+fill (off a 'brella) flash with a
cable to the camera and manually set power. This is a bit kludgy
but works with a couple softboxes for subject.

I shot some 1st communions last year with them out of softboxes
at f/11 (ISO 100). No prob in a small setting.

For home projects with strange ligthing I shoot a roll of cheap
negative film with various power/aperture settings (using a flash
incident meter), note everything down, get the negatives dev'd
and then scan. Then I reshoot on chrome with the appropriate
adjustments... tedious but useful for wierd setups.

(this convo has deja lu all about it...).

Cheers,
Alan

--
-- rec.photo.equipment.35mm user resource:
-- http://www.aliasimages.com/rpe35mmur.htm
-- e-meil: there's no such thing as a FreeLunch.--

Bandicoot wrote:



Not familiar with the brand, which I've heard of but never this side of the
pond. Still, two 8s, a 4 and your two 2s sounds like a pretty good range to

AlienBees don't sell them via retail. Strictly by shipping.

aim for for portraits. I reckon that often the fill actally demands the
most powerful light, since it is the most 'spread about' - especially if you
are using bare bulb up into a corner of the room. Still, I use my lights
mainly for still life, studio flower shots, and for the ocassional
architectural gig (with an 8,000Ws head for the fill then) so I don't really
have that much feel for portraiture requirements...

Having seen some of your portraits, you certainly get a lot of good mileage
out of those two units.

They are pretty good units. I've also (sometimes) added a Maxxum
5400 or 5600 as the trigger+fill (off a 'brella) flash with a
cable to the camera and manually set power. This is a bit kludgy
but works with a couple softboxes for subject.

I shot some 1st communions last year with them out of softboxes
at f/11 (ISO 100). No prob in a small setting.

For home projects with strange ligthing I shoot a roll of cheap
negative film with various power/aperture settings (using a flash
incident meter), note everything down, get the negatives dev'd
and then scan. Then I reshoot on chrome with the appropriate
adjustments... tedious but useful for wierd setups.

(this convo has deja lu all about it...).

Cheers,
Alan

--
-- rec.photo.equipment.35mm user resource:
-- http://www.aliasimages.com/rpe35mmur.htm
-- e-meil: there's no such thing as a FreeLunch.--