Comparison Godox Ring ML-150 II vs Godox Ring MF-R76

The time it takes the flash or generator (for studio flashes) to prepare for the next flash. The smaller it is, the better. This parameter is especially important for continuous shooting, when the interval between frames is small: if you often shoot in this mode, you should look for a flash with the shortest possible recycle time. Also note that the characteristics usually indicate the shortest recharge time; in some operating modes, it may be significantly more than stated.

The duration of the pulse of light provided by the flash. This indicator can range from thousandths to hundred thousandths of a second; it is usually expressed as a fractional number with a unit in the numerator, such as 1/880 s. The human eye does not notice the difference, but in some shooting modes it can become critical. For example, to capture fast-moving scenes (such as splashing water, the flight of an insect, or the movement of machine parts) you need to choose a flash with the shortest flash duration possible — otherwise the image may be blurry.

The longest pulse duration in modern photoflashes is about 1/800 s; the minimum value can reach 1/30,000 s or even less.

The colour temperature of the light emitted by the device. Most of the classic flashes have a standard colour temperature of 5500-5600 K, so this parameter is usually not given for such lamps. But on-camera light sources (see "Type") can differ markedly in this indicator, and we will talk about them.

Colour temperature characterizes the overall shade of the glow emitted by the device. At the same time, an interesting nuance is that low values \u200b\u200bcorrespond to colours that a person perceives as warm; and as the colour temperature rises, the hue shifts more and more towards cool colours. For example, for a 60 W incandescent lamp, the light of which has a pronounced yellowish colour, this parameter is approximately 2700 K, and for a fluorescent lamp that produces “daylight” light with a bluish tint, this parameter is about 7000 K.

In general, the colour temperature of lighting is one of the most important parameters when shooting: it determines the colour balance of the image "seen" by the camera. In camera settings, this indicator is called "white balance". It can also be determined automatically, however, for the most reliable colour reproduction, it is still desirable to set its values according to the known colour temperature of the lighting.

Specifically, in on-camera light sources, the colour temperature can be either constant or adjustable. In non-adjustable models, the value of this parameter is the same as in most flash units...— 5500 K, which corresponds approximately to neutral white. Adjustment also provides the possibility of at least lowering the colour temperature — usually up to 3200 K, which approximately corresponds to warm white light. In addition, occasionally there are models in which the maximum colour temperature exceeds 5500 K, reaching 6000 K and even more.

The ability to change the colour temperature can be useful not only for shooting as such, but also for “matching” the lamp with other light sources. The fact is that if several simultaneously used light sources have different colour temperatures, the colour rendition on the scene being shot will be unreliable — to the point that a monochromatic object illuminated by different lamps from different sides may look like a two-colour one. One way to avoid this is to set the colour temperature of the on-camera light to match the ambient light. However, it is worth noting here that the methods of adjusting the shades and the accuracy of such adjustment may be different. The most advanced option is to use two sets of LEDs, with a warm and cold shade of glow; By changing the brightness ratio between these sets, you can also change the overall colour temperature — and quite smoothly and accurately. Another way is to use coloured diffusers (see below), but here the adjustment is stepped, with fixed values (with and without a diffuser). In some devices, both of these methods are combined.

— Autofocus assist light. The presence of an auxiliary illumination function in the flash for the camera's autofocus system. Modern cameras in the vast majority use the so-called passive autofocus systems, which have one serious drawback: very low efficiency in low light and/or low contrast of the subject being photographed. Autofocus assist light is designed to solve this problem: before focusing, the scene is illuminated by a separate lamp, located, in this case, directly in the flash body. This ensures a sufficient amount of light for normal autofocus operation. Most often, the backlight lamps give off light of a characteristic reddish hue, but some advanced models use infrared illumination - invisible to the eye, but perceived by the camera. In addition, backlight systems can use a special light pattern instead of a solid beam, which further simplifies the task of autofocus systems. In any case, the presence of this function is especially important given that the flash is often used as a light source in low light.

— On-camera control. The ability to change the flash settings using the controls of the camera to which it is connected. In some cases (for example, with a wireless connection), this is much more convenient than switching attention from the camera to the flash.

— Automatic zoom. The ability to automatically change the flash light scattering angle. For the scattering angle..., see the corresponding point above, but here we note that this function provides synchronization between the flash and the lens: when the focal length of the lens changes, the scattering angle automatically changes. This ensures the most effective illumination of the scene and at the same time saves you from having to manually readjust the flash each time to the changed viewing angle.

— Manual zoom. The ability to change the flash spread angle (see "Light spread angle") manually. This function expands the possibilities for "fine" adjustment of operating parameters and allows you to set parameters that are not available with automatic zoom (see above). In addition, it will be useful if you have to use several fixed lenses with different focal lengths - the flash can be easily adjusted for each of them.

— Operation in master mode. The ability to operate the flash as a master for a system of several flashes. The entire system is controlled via the master flash, the parameters of the slave flashes are set, and the command to fire is given (note that the master flash itself may not give a pulse at all). If you plan to shoot using a system of several flashes, you will definitely need a model with this function — without it, creating a system is impossible. Of course, the master and slave flashes must be mutually compatible; this point should be clarified separately.

— Slave mode. The ability to operate the flash as a slave in a system of several flashes. In this mode, the device is connected to the master flash and is triggered by a command from it. For more information on flash systems, see "Master mode operation" above.

— Radio synchronizer. A device designed for wireless control of a flash or a set of flashes (if each of them has its own receiver). Usually it is a separate module installed in a hot shoe; upon a command to trigger, this module sends a radio signal to all receivers tuned to it, ensuring synchronous triggering of the flashes. At the same time, some models of lamps with this function are capable of receiving via radio not only the trigger signal, but also the operating parameters (primarily the duration and power of the pulse).

The type of element used to power the flash.

— AA. Powered by replaceable cells of standard AA size, known in everyday life as "finger-type batteries". The main advantage of such a power supply is the ability to quickly replace “dead” batteries with fresh ones: the replacement process takes one or two minutes on the strength (whereas for the built-in battery, charging is often the only option, which takes a long time). AA elements are sold almost everywhere. On the other hand, with such a power supply, you will either have to regularly spend money on disposable batteries, or separately purchase AA batteries and a charger for them; anyway, additional costs cannot be avoided. Another drawback is the dependence of the battery life of the flash on the quality of the batteries: when using cheap cells that are not designed for serious “loads”, the number of pulses per charge can be significantly (several times) lower than stated in the specifications. However, these shortcomings are generally not critical, and this type of food has become quite widespread. Most modern flashes use 2xAA, 4xAA, 6xAA, depending on power.

— AAA. Powered by replaceable cells (batteries or accumulators) of standard AAA size, known under the informal name "little finger" or "mini finger". Such elements are completely similar to the above-described AA and differ only in smaller sizes, wh...ich makes it possible to reduce the dimensions of the flashes themselves accordingly. However, for a number of reasons, they are used less frequently. Mostly 2xAAA are used.

— Battery. Powered by its own original battery, which is not related to standard sizes, and sometimes also non-removable.

On the one hand, in some aspects, such a power source is much more convenient than replaceable batteries. First, it initially comes in a kit, and the device is ready to work out of the box. Secondly, in the same kit there is usually a charger (or the flash itself connected to the network plays its role). Thus, when using it, you do not need to spend money on buying batteries — everything you need is already included in the kit. In addition, we note that special batteries are often more capacious, more powerful and at the same time more compact than replaceable cells; besides, they are easier to "fit" into the overall design of the flash and reduce the size (although the built-in batteries are different). On the other hand, such power has one key drawback: when the charge is exhausted, the battery will most likely have to be recharged, and this takes time and the availability of an outlet (or other external power source). In the best case, if the battery is removable, you can purchase a spare for it and keep it ready — but this feature is not available in all models.

In light of all this, the main field of application for batteries is "flashlights" for video — sources of on-camera light (see "Type"). It is in such devices that high capacity is of key importance: you have to shine "constantly and a lot", and with a high power of the light source, batteries cannot effectively cope with this task.

— CR123A. Replaceable cylindrical batteries, slightly thicker and noticeably shorter than AA batteries, have a diameter of 17 mm and a length of 34.5 mm. They also differ in operating voltage — 3 V. Some time ago they were quite popular in photographic equipment, but today they are extremely rare.

Additional items included with your flash or on-camera light.

— 1/4" mount. A special adapter with a standard 1/4" thread. Such mounts ensure compatibility of lighting equipment with universal accessories (for example, tripods), providing greater freedom in setting up the filming process.

— Diffuser. A diffuser, or in other words a softbox, is an accessory that diffuses and softens the light emitted by an on-camera lighting device. Its use allows you to achieve a uniform nature of scene lighting, avoiding harsh shadows, glare and "overexposure". In the video light category, a diffuser can play a visual effect - change the color temperature or the color of the glow. Note that several different colored diffusers are often supplied in the kit.

— Curtains. Adjustable plates in the form of characteristic petals that are attached to the on-camera light source and allow for flexible adjustment of light accents. Curtains are used to change the direction and distribution of the light flow — wide-open plates provide full coverage of the scene, while closed petals narrow the light flow and direct it “in the right direction” (i.e. to a specific part of the scene). Most often, curtains are used to adjust backlighting and background lighting.

— Battery. The presence of a battery in the delivery set of battery-powered lighting equipment. Eliminates th...e need to purchase a battery separately. This item refers to a removable battery (see "Power source"), but may also indicate the absence of a battery in the standard package - in this case, you will need to purchase it additionally.

— Power supply. A device for connecting a lighting device to the mains. This connection can be used for two main purposes — operating the light source from a socket (see "Power supply from the mains") and charging the battery directly in the device itself. Modern models of on-camera lighting can support either one of these functions or both at once — the details should be clarified additionally. It should also be noted that not all devices with the ability to operate from the mains are initially equipped with power supplies — in some cases, such an accessory must be purchased separately.

— Charger. A device for charging the standard battery of a lighting device. Chargers are supplied with models that operate from specialized batteries of a removable design (see "Power source"). And if such a model allows charging the battery directly in the device, and the set includes an adapter for connecting to a socket, it is no longer considered a charger, but a power supply (see above).

— Remote control. As a rule, individual on-camera lights and lightsabers (see "Type") are equipped with a remote control. It allows remote control of the lighting device settings: turning it on and off, adjusting the brightness, changing the color temperature, activating various lighting effects, controlling several light sources combined into a group, etc. The actual set of remote control functions may differ depending on the specific implementation.

— Case/bag. The presence of a bag or case in the standard configuration of the lighting device. Bags are often equipped with handles or a strap for easy carrying, a case is somewhat simpler - it does not have handles and is designed to be carried in a bag for photographic equipment, a backpack, etc. A bag or case covers the device from dust and other contaminants, to some extent protects the contents from damage from impacts and falls.