Fujifilm and High Speed Sync

September 4, 2017 ·

Markus Klinko

In the fall of last year, when Fujifilm announced their GFX 50S medium format camera, it created quite a frenzy on the internet. The main concern expressed by many people at that time was the fact that no flash systems were ready to provide high-speed solutions, and that with its own native sync speed at 1/125, the GFX might be limiting for studio use. Less than a year later, things look very different in that regard. In July, Godox/Flashpoint have already released their XT1-F controller for Fujifilm cameras, (including GFX, when updated with firmware version V03). Meanwhile, Broncolor, Profoto, and Elinchrom are all working to release their own dedicated Fujifilm controllers in the next few months. For those who can not wait, there is the very simple solution of using the RoboSHOOT 20MX controller, which enables the GFX to successfully use the Nikon versions of the controllers by these companies. If you want to use Nikon speedlites, the RoboSHOOT provides an easy solution, and several other companies recently announced Fujifilm dedicated triggers. Fujifilm’s own EF-X500 is also available and works great. When it comes to the issue of the native sync speed of 1/125, in my own experience, this is really not a problem in studio or location situations with controlled lighting. For example, on a recent shoot in Sydney, Australia using GFX cameras with GF 23mm f4 lenses, and Broncolor, the short flash durations of the Broncolor Scoro assured super sharp results all throughout. Shooting typically at around f8 to f16, at iso 100, the 1/125 sync speed simply is not an issue. It is all about the flash duration in these situations.

Going back to the issue of high-speed sync, it is important to be very clear that there are basically 2 different ways to sync at high shutter speeds: HSS and HS. In HS, as used by Broncolor and Elinchrom, a very long flash duration is needed to provide a flash long enough, where a portion of that flash can be efficiently synced up with the shutter at high speeds. With HSS on the other hand, (the brands that use this method, such as Profoto, Godox, Jinbei and many speedlites), a rapid sequence of pulsating flashes, creates a very even and reliable solution. While HSS provides a smoother and more even exposure, it can lack the power of a ‘normal’ flash. When shooting with Godox, I have a developed a trick that allows me to take advantage of the very long flash duration (1/250 in full power), on the AD600 and AD200: By using two XT1-F controllers stacked on top of each other, and set in different channels, the first controller forces the camera into FP mode, while the controller on top, only connected by single point pin, keeps the flashes in normal mode, even if the shutter speed is set at 1/8000 or 1/4000 for example. Using this method, I gain almost 2 stops of much-needed power in situations with very bright ambient light. Here is an example, where this technique was very effective, shooting with a Fujifilm XT2 and 35mm f1.4 lens, at 1/8000, iso200 at f5, I only used 3 small AD200 at full power at a considerable subject distance of about 14 feet.

Since this trick only works with the flash units set at full power, the stacked controllers allow going back into regular HSS use, by simply turning off the top controller and set the first controller back to the channel that is used by the flashes. This is important because the HS trick can easily provide too much light, so the ability to go back to regular HSS is critical when moving around and in changing daylight situations. In this example, shot quite early in the morning, with the XT2 and 35mm f1.4 lens, I decided to shoot at 1/2000, iso 200 at f4.5. In this situation, with a much closer subject distance, regular HSS with 3 AD200, set at only 1/16 of their power, was all that I needed.

At a time when new technologies are constantly released, it seems that the best way is to utilize what is available at a given moment, even if it is somewhat unorthodox or maybe temporary as a method or trick. What counts in my opinion is to maximize the options and take advantage of the many growing possibilities to creatively and efficiently use lighting. With all of these new options, the GFX excels with high-speed sync, and the initial concerns about the lack of available solutions can now safely be put to rest.

Markus Klinko
August 2017

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Markus Klinko

See all articles by Markus Klinko

Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today's most iconic stars of film, music, and fashion. Klinko has photographed the likes of Beyonce, Lady Gaga, David Bowie, Jennifer Lopez, Britney Spears, Mary J. Blige, Mariah Carey, Kanye West, Anne Hathaway, Kate Winslet, Will Smith, Eva Mendes, Kim Kardashian, Naomi Campbell, and Iman. His editorial clients include Vogue, GQ, Vanity Fair, Harper's Bazaar, and Interview magazine. Brands such as Lancôme, L'Oréal Paris, Nike, Hugo Boss, Anna Sui, Pepsi, Skyy Vodka, and Remy Martin have hired Klinko to create advertising campaigns. His campaign for Keep A Child Alive raised over one million dollars for children with AIDS in just 3 days. Born in Switzerland of French, Italian, Jewish, and Hungarian descent, Klinko spent his early years training to become a classical harp soloist. He studied at the Conservatoire National Supérieur de Musique in Paris. Later, Klinko signed an exclusive recording contract with EMI Classics, as well as a management contract with Columbia Artists Management. He received the Grand Prix de Disque for his recording of French harp music, with members of the orchestra of the Paris Opera Bastille. Klinko performed in recitals and as a featured soloist with symphony orchestras around the world. He was also regularly featured in such publications as Vogue Italia, Vanity Fair, GQ, The New York Times, Madame Figaro, Stereo Review, and Ongaku no Tomo. After a hand injury, Klinko decided to become a fashion photographer and retired from his international concert and recording career. During that time, he met Indrani, who later became a regular collaborator in her role as his studio's digital post production artist and photo editor. Isabella Blow discovered Klinko's work while at the London Sunday Times and commissioned cover stories from the emerging photographer. Around the same time, Ingrid Sischy, at Interview magazine hired Klinko for various shoots. Iman and David Bowie followed, giving the up and coming photographer a chance to photograph them for their respective book (I am Iman) and album covers (Heathen). From there, he went on to create some of the most iconic album covers of his time, including Beyonce's Dangerously in Love, and Mariah Carey's The Emancipation of Mimi. Many of Klinko's famous celebrity photographs can be seen in his coffee table book ICONS (Perseus). Lincoln Center in New York presented an art exhibit showcasing many prints from the book and since then art galleries and museums around the world have featured his work. Klinko has appeared on E! News, Access Hollywood, Fashion Television, CNN's Showbiz Tonight and Larry King Live and has been the subject of the reality show Double Exposure on the Bravo network.