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The largest and most capable of the Speedlite line, the 580EX II includes improved dust and water resistance, particularly combined with the EOS-1D/1Ds Mark III. It has a noticeably improved build and feel over the original 580 EX, including the quick-lock setup for attaching the ash to the camera s hot shoe. Many of the functions of the 580EX II can be set and controlled either from the camera or the ash. On the camera you can make the selections under Selection Menu 2, the External Speedlite Control menu These choices include the following:
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choose between E-TTL II metering and the Manual setting.
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Shutter Sync. This allows you to
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FEB. Flash Exposure Bracketing
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allows you to set up your range and shoot in sequence.
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E-TTL II. This allows you to choose
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between evaluative or average metering.
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Flash Firing. This allows you to
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enable or disable ash ring. With ash ring turned o , the camera will still make use of the low-light focus assist beam, if chosen.
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6 Working with Canon Speedlites
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6.3 The 580EX II and 430EX with Velcro attached. Notice the various sizes. Though not as accurate as E-TTL normally is (and thus all the work to develop E-TTL II), sometimes a ash that reads the light all by itself does a better job. It doesn t care what lens is on or how E-TTL is set, it just does what it does. This sensor has a 20-degree angle, and so is fairly tightly controlled. It is not as good for mixing ambient and ash light as E-TTL; nevertheless, the Automatic Sensor is a useful and much-asked-for addition to the Speedlite series. Every photographer should test it against the normal E-TTL exposure methods to determine which methods work best for in particular circumstances.
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As of this writing, you can nd a full description of how to implement the automatic ash exposure sensor at the Canon Web site.
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430EX II and 430EX
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A bit less powerful than the 580EX II, the 430EX II and 430EX are considerably smaller and lighter than the 580EX II. Due to its less obtrusive pro le and lighter weight, I prefer the 430EX II Speedlite for most of my work. While very similar, the 430EX II has some noticeable improvements over the 430EX:
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Better build quality. It now has a
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metal foot, one-touch, quick-lock mechanism like the 580EX II.
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Faster recycling. It o ers 20percent faster recycling than the 430EX.
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Full ash control on camera. The
430EX allows only partial ash control from the camera, while the 430EX II now allows full control like the 580EX II.
108 Part II System Components
Both the 430EX and the 430EX II are excellent Speedlites, and both are still available with a $50 price di erence between them. One point to keep in mind with either of the 430 units is that in wireless mode, they can only function as a slave they do not transmit, so can t work as a controller. If you want to use wireless Speedlite setups, you ll either need a 580EX (or 550EX) unit or the ST-E2 wireless transmitter.
To get an idea of the lighting e ect before shooting with either ash, press and hold the Depth of Field button on the camera. The camera quickly strobes for one second, allowing you to preview what the strobe quality will be, including its directionality and so forth.
for and what matters to you. If you don t care about the background going dark in interiors, things get quite a bit easier, and you can ash away. If you want to capture the existing lighting ambience of a location as well as provide the level and quality of light you want for your main subject, the technique becomes a bit more involved. My own goal with Speedlites is to use an interior location s ambient light for exposure, and to use ash to embellish what available light is there. Of course, this is dependent on what ISO you are willing to shoot at, and how fast your lenses are, among other things. For interiors, I m strongly biased towards the L primes, so that I can pull in as much ambience as possible, utilizing wide apertures before I add in the ash, but only if enough light is there, and it s attractive. I ll often remain on Aperture Priority and use the ash for catchlight and frontal ll only, adjusting the ash exposure normally somewhere between 2EV and 0EV. I utilize a second approach as well. The previous technique is all well and good if you are able to obtain the necessary shutter speed and aperture that you want. However, all subtle and smart ideas will be ruined if your image is out of focus due either to lack of depth of eld or the shutter speed being too slow. Often for me, these core settings might be 1/80 second and f/2.5, regardless of how fast my lens is. Of course, this depends on the shot and the moment; for example, is the subject still or moving Is it a single person or a two shot All these factors impact decisions of ISO, f-stop, and shutter speed, needed depth of eld, and so on.