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  1. #11

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    It might be possible to have a mechanical leaf shutter modified to trigger the X sync on the blade closure. You would still be using moderate to slow speeds to get the blur-to-sharp effect. Off hand I can't think of many current medium format cameras with focal plane shutters, so that limits your off-the-shelf options.
    I feel, therefore I photograph.

  2. #12
    bobfowler's Avatar
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    I used to have a small box that was designed for measuring the delay of M sync. It had a variable delay circuit which you adjusted until you had "proper" sync with an electonic flash connected. The position of the controls indicated the time of the actual delay at "M". It was a box sold by the old National Camera folks. It shouldn't be a big deal to make something like that with a fixed amount of delay...
    Bob Fowler
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    Some people are like Slinkies. They're really good for nothing, but they still bring a smile to your face when you push them down a flight of stairs.

  3. #13
    Marco Gilardetti's Avatar
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    But then, why you would want to have a synch on second curtain?

    In the case of a gig, I would better have the flash fired as the shutter releases, and THEN some extra exposure with leaves opened. This way, I'd capture the "hot" instant of the action, and next the blurry image will form as long as I want.

    With synch on second curtain, you'd never know what instant you will photograph as "sharp". Suppose you fire the shutter, and then the singer start to scratch his @$$ while your flash is lighted...
    I know a chap who does excellent portraits. The chap is a camera.
    (Tristan Tzara, 1922)

  4. #14

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    "...start to scratch his @$$ while your flash is lighted..."

    That would of course be hilarious!

    I just like the look of "rearing". You get all the blur and action, but still a sharp looking shot. Without rearing the sharpness can be lost in blur. Both ways have their advantage.

  5. #15
    Marco Gilardetti's Avatar
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    Okay, but seriously: why? Isn't a flash followed by 1sec exposure exactly the same of a 1 sec exposure followed by a flash, if we talk of exposure?

    Then okay, you'd capture in "sharp mode" two different instants of the action. But then again, having the flash fired exactly when you want it to "freeze" an important frame of the action, seems better to me.
    I know a chap who does excellent portraits. The chap is a camera.
    (Tristan Tzara, 1922)

  6. #16

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    Syncing the flash at the end instead of the beginning of the exposure creates different results. The exposure is of course the same, but if the flash is fired just before the shutter closes, movement is frozen "on top" of all the blur. If the flash fires at the opening of the shutter, the blur ends up "on top" of (or after) the frozen moment making the image look less sharp.

    Check out rear curtain sync at: http://www.vividlight.com/articles/3311.htm

    Also, one can guesstimate a musicians next move, and fire in advance. Say I use an exposure of 1/2 second. I can predict when the drummer, for instance, is going to hit that cymbal and fire the shutter about 1/2 sec in advance. I will then get all that motion, but after 1/2 seconds, the flash fires and freezes the action, and the shutter closes.

    I'm not saying either one is better, they're just different. And I like the rear or delayed sync better most of the time.

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