Monster working conditions…

Qflash in Action: Halloween treats featuring Quantum’s own Barrett McGivney.

Happy Halloween Quantum Shooters,

With Halloween and PhotoPlus right around the corner, I decided to showcase some of my work using nothing but Qflashes and featuring the artwork of J. Anthony Kosar.

Anthony is the FACE OFF Season 4 Champion and Award-Winning Artist who specializes in Fine Art, Illustration, Sculpture, Creature Design, Make-up FX, and Product Design through his company Kosart Effects Studios, LLC. In 2007, he interned at legendary Stan Winston Studio creating effects for INDIANA JONES 4 and James Cameron’s AVATAR, and studied sculpture under world-renowned creature designer Jordu Schell. Kosar designs and sculpts Halloween masks for Zagone Studios, creates special effects for theater, film, and commercials, and between projects, teaches the art of FX through his studio in Westmont, IL. Besides FX, Kosar is an internationally awarded fine artist and illustrator, having been awarded by the Society of Illustrators of Los Angeles, American Watercolor Society, Illinois Watercolor Society, and several others. In 2009, he was named “One to Watch” by Watercolor Artist Magazine.

Boaris Frankenswine
Title: Boaris Frankenswine
Artist: J. Anthony Kosar
Photographer: Barrett “Bear” McGivney

Lighting Equipment: (2) T5D-r, (1) Trio, (3) Turbo 2×2 Batteries, (1) Pilot, (2) FW7Q, (2) 45” shoot through umbrellas, Green gel, (3) QF60b reflectors, (3) compact stands, (3) swivel umbrella adapters, 8×8 black background.
Exposure: ISO 200, 1/125th @ f/8
Camera: Canon 5D Mark II, canon 24-70 f/2.8 lens.

Technique: The Trio was used as the back light with the green gel. About ½ power. The T5D-r’s were set up just out of frame at a 75 degree angle. Main light 1 stop brighter than the fill.
I wanted to make sure that the lighting revealed the intricate detail of this unique sculpture.

J. Anthony Kosar
Title: The Beast
Model: J. Anthony Kosar (designed, sculpted, made, painted and self-applied prosthetic makeup)
Project: SyFy’s Face Off submission
Photographer: Barrett “Bear” McGivney

LightingEquipment: (1) T5d-r, (2) T2, (1) Pilot, (1) 26” octabank, purple gels, (3) Turbo 2×2 Batteries, 8×8 black background.
Exposure: ISO 200, 1/125 @ f/8
Camera equipment: Canon 5D Mark III, Canon 24-70 f/2.8

Technique: T5D-r in 26” octabank as mainlight, 45 degrees camera left. The T2’s were set at the edges of the background aimed at 45 degrees towards Anthony’s back, creating the detail in the hair and separating him from the background with a touch of color.

Monster PromThese guys were part of a project called “Monster Prom” ad campaign photographed by Joshua Hoffine and commissioned by Sony UK.Read the story at Hoffine’s blog: Once the sculptures were returned to Anthony, he put the wardrobe touches on these three iconic characters in their awkward teen years and I got to photograph them.

Lighting Equipment: (3) T5d-r, (2) T2’s, (1) X5D-r w/ Qpaq, (2) 26” octabanks, (1) 45” silver/white umbrella, (2) 10×24 strip banks, (1) 32” silver reflector, (3) FW7Q, (2) Fw8R FreeXwire receivers, (2) Turbo 3 Batteries, (2) Turbo 2×2 batteries, (1) Pilot, (1) 8×8 black background.
Exposure: ISO 200, 1/125 @ f/14
Camera Equipment: Canon 1d Mark III, Carl Zeiss 50mm f/1.4

This was one of my more elaborate setups. I had 2 octabanks setup as my mainlight (one stacked over the other in Remote Group R1) at ¼+ power, my fill was the X5D-r shooting into the silver/white umbrella (Remote Group R2) at ½ power, the 3rd T5D-r set as a backlight with the red gel (R3) at 1/1- power, the 2 T2’s were at the edges of the backdrop aimed towards the boys at ¼ power and triggered by the FW8R’s. The 32” silver reflector is about 75 degrees from camera right.

Qflash in Action: French Action & Lifestyle Photographer, Nicolas Joly

Cover PhotoThis edition features French Action & Lifestyle photographer, Nicolas Joly.

Location: Col de l’Arzelier – France
Pilot: Ludwig Bourdon
Lighting equipment: (2) Quantum T2’s (oldies, but goodies), Turbo 2×2 battery packs, (2) tripods as light stands (2) QF60B standard reflectors.

Technique: They are both almost in the axis of the jump. One high in the front, one ground level from the back.
Flash Settings: Manual each at ¼ power.

Additional gear: PocketWizard Flex tt5’s for the HyperSync feature, Dakine Reload Backpack (my bag of choice for hiking with Qflashes).
Exposure: ISO 560 at 1/350 at f/4.
Camera: Nikon D4 with 16-35 f/4 lens


Senior gear editor and photographer at Big Bike magazine, Ludwig Bourdon and I were assigned to bring back action shots for the 2014 test issue. We have several needs, but of course a bright cover would be a nice addition to our session.

The resort was closed, and we had to hike to the top. Once I had packed my Dakine Reload backpack with two t2 Qflashes,  2×2 battery packs, PocketWizard Flex TT5’s, Nikon D4, 16-35 f/4, and two tripods, Ludwig and I headed into the woods of Col de l’Arzelier (France).

After a good afternoon of work, we found this jump. It’s rather small for a good pilot, but I really liked the dead tree and we agreed to try for our action shot here. I quickly set-up the 2 tripod mounted T2s with the flex TT5’s using the HyperSync feature. They are both almost in the axis of the jump. One high in the front, one ground level from the back.

The first jump was used as a trial for Ludwig, as well as fine tuning of the direction and power of the two lights.
The 2nd jump, Ludwig’s position was great. I immediately felt it was an interesting photo.
Ludwig was already a bit tired but, always ready for the famous “last one,” he carried the bike on his back up to the top one more time.
The 3rd jump, he does exactly the same jump, I shoot almost the same picture and we agree there would not be another “last one”…at least for today.

Some weeks later, we have the great pleasure to discover our photo on the holly cover.

Nicolas Joly

Qflash in Action

Longtime Quantum user and Master Photographer, Rick Ferro, has shared with us some photos from a recent wedding showcasing his Qflashes in action.


Location: Hotel with lots of overhead lighting. Because of the mixed lighting color temperature of the Trio’s and the ambient, I custom white balanced before I shot it.

Lighting Equipment: (2) Quantum Trios,

Technique:  Main light is 45 degrees camera left of the Bride with the Quantum 26’ octagon softbox powered by the turbo 2×2.

Flash Settings:  Main light is in Manual Mode dialed down to ¼ + power and that means just enough power for the subject.

The second trio is on the camera and slightly tilted upwards at 1/8 + power, also in the Manual Mode.

Exposure:  ISO 800 at 1/60 at f5.6

Camera:  Canon 5D Mark II with a 70 to 200-f2.8 lens

Rick_image001_650.jpg Having a wedding dress that is exceptionally long will help provide for amazing images.

Rick’s Tips:

1)      When they lift up the dress make sure they leave some slack so the dress has a softness and no rough edges.

2)      I also like to bring the veil around in front to help soften the edges, it also looks nice to cover some of the arm or use it to block some of the body.

3)      You need to have her gently sit on the bench and slightly lean towards you,

4)      Make sure her body is back enough so she can lean forward, It’s important she rest her elbows on the bench, now you will be able to place the hands how you want.


This bride was big on 1940 imagery, so all I really had to do was get the shot and add texture to it later. This bride was big on 1940 imagery, so all I had to do was get the shot and add texture to it later.

I always use NIK Dynamic skin softener for the face it really helps to smooth the face NIK has a filter called Antique, which really makes the image older looking.

Rick Ferro

High Speed Sync for Over The Top Action

DanielM_Quantum_HSSI love to shoot Action Sports events like X Games, Dew Tour or US Open, there’s just something about seeing the best athletes in the world performing right in front of you.  What makes me feel even better is when I capture amazing photos of them.

For events like this, I like to keep my setup as simple as possible, but I also need something to give me a little edge in front of all the other photographers standing right next to me.  I like to keep it simple just so I can move around, instead of being anchored to my flash.  I usually take a good selection of lenses, this insures that I get the whole course covered.  Then I take my secret weapon, one Quantum Trio + a Canon Pilot and Turbo 3 battery.  This setup gives me more versatility than any other flash on the market.  I can use it off camera, and still have full control of the flash, including High Speed Sync Mode.  I can also place it on top of my camera for fisheye shots, or just to get compelling lifestyles when I am walking around.  With the Turbo 3, I completely forget about recycle times, overheating or running out of battery power.  The Trio just works!

This shot is from the Burton US Open competition.  It takes place in Vail, Colorado and is a huge event for the Action Sports industry.  All the best snowboarders in the world were present this year.  I had my Trio on a monopod, and I had my assistant track with the riders as they flew 15-20 feet off of the edge of the Super Half-Pipe.  I couldn’t really use a light stand, since the athletes fly really high and cover a big distance.  If you don’t have an assistant, a friend will do the job just as well.  I wanted the flash to act more as a fill light, rather than making it obvious/overused.  I just wanted enough detail in the rider, so he doesn’t look like a silhouette against the sun.  Having the Pilot on top of the camera allowed me to control the power output until I got exactly what I wanted.  Getting a great photo was a combination of my skills and the skills of my assistant handling the flash.  It took us couple tries, but then pretty much every shot looked amazing.

I have another great story coming soon, it’s about the X Games in Aspen, CO and how I was getting numerous frames per second, not only from my camera but from my flash as well.

Daniel Milchev

Location, Commercial and Editorial Photography

I am a commercial photographer based in Birmingham UK, just wanted to say a big thank you to Quantum for helping me with my job. Without the versatility, reliability and flexibility of Qflash I wouldn’t have been able to give my clients the quality of images they require.

A few years ago I was severely let down on a commission by Canon’s own flash system (usual overheating problem) and needed a reliable replacement, the Qflash system ticked all the boxes, and since then it hasn’t let me down.

I use 3 Qflashes (Trio, X5dr, Td5r) coupled with a Canon pilot and FW7q, this setup is perfect for all the location and commercial commissions I undertake throughout the UK and Europe.

I use the Trio when I need on camera flash.

Last year I shot HM Queen Elizabeth during her Jubilee tour, I was briefed to get a front cover pic for the magazine that commissioned me, then images of all the people she met. The Trio coupled with the Turbo3 was the perfect combination, fast recycling meant I didn’t miss one of the group pictures, meaning lots people got a picture of themselves with the Queen.

On location I use up to 3 Qflash.

For this shot, the client wanted an interesting PR image form a school science day. One T5dr was placed behind the subject.

The wireless reliability of the T5dr coupled with the on camera pilot means I can shoot a couple of test shots to get the look I want, without having to go to the flash to change exposure.

The portrait to the left was lit using a Qflash X5dr fitted with QF75 26” Octagon Softbox,  a T5dr placed in the background to provide lighting for the background.

The QF75 provides me with the quality of full sized studio lighting without the bulk. I’ve lost count of how many times whilst shooting on location, a client would ask me for something else that wasn’t on the brief.
The QF75 coupled with a X5dr means I can shoot nearly anything extra that I’m asked for.

After a recent factory tour of the Jaguar car plant in Birmingham for a car magazine, the journalist I was with had an opportunity to interview Ralf Speth, CEO Jaguar Land Rover.

This was something I hadn’t been briefed to shoot but having the QF75 with me, the Qflash system meant I could light the interview very quickly.

This shoot took just 2 minutes to arrange, A X5dr and QF75 to light the CEO and a  T5dr in the background bounced off the rear wall. 3 test shots at the start of the interview to adjust exposure and I was ready to shoot.

A large percentage of my work is for the education sector.

University and school prospectuses need to be shot with the minimum of disruption to the classes. I usually light these with a X5dr and T5dr both fitted with the QF62BS Bare Bulb Enhancer.



The X5dr has enough power to bounce off the highest ceiling, this means I can work quickly at different angles when I’m moving around the subject, without the need to move the flash unit.
Quality light is at a premium most of the year round here in the UK, Qflash means I can light most rooms and subjects quickly and easily, and when the sun does shine, I can be in complete control by having the flexibility of shooting up to 1/8000th sec.

If any location photographer wants a system that is quick and easy to operate then look no further.

Edward Moss commercial and editorial photography
Birmingham UK


There’re All Speaking Quantum

I am surprised at how often the “can a Trio work with both Canon and Nikon” question comes up. The short answer is no, but there is more to the story.

If you use both Canon & Nikon bodies you may be interested to know that the Quantum Trio, Pilot and CoPilot all “speak Quantum.”

When you choose a Trio, Pilot, or CoPilot you need to pick a Canon or Nikon version to match the body you will be shooting with. Your unit will interpret the Canon OR Nikon TTL data it receives through its hot shoe and then it will “speak Quantum” to any remote Qflash or Trio.

This gives you the flexibility to shoot with a dedicated Canon Trio, Pilot or CoPilot on your Canon camera and control a Nikon Trio remotely, or visa versa.