Well, I'm not gonna throw the thing away. I have it, so I might as well put it in the drawer in case I need to light something up in the future.Some people just prefer available light photography. But of course, my flashes are always available too, to fix it right.
Review of the $56 Neewer VK750 II speedlight flash
- Thread starter WayneF
- Start date
Thanks @WayneF for taking the time to explain this. I have read it a few times and think I pretty well understand what you are saying. I did look at the Yongnuo that was posted, but it is just the flash without any of the remotes or diffusers, etc. The Neewer kit with the wireless remote is $77 vs the Yongnuo 565 EX is $86 and no additional accessories. For the $77 price it seems like it is a better deal with the ability to have the flash utilized remote from the camera at times (even though manual mode only). The wireless trigger states it is 3 in 1 trigger system. It is really not clear to me whether it is either or shutter control and flash. I did see a reference to plugging into the camera, but it wasn't clear to me.
I am trying to picture possible scenarios. 750 flash is set up remote with the receiver attached. The Transmitter is connected to the camera with one of the cords. As I understand it, the remote transmitter will focus the camera (auto focus mode) and will fire the shutter, but... will it send the signal to the receiver on the flash?
As to the manual mode, trial and error for correction will work for what I think I want to use it for. Being able to check on exposure immediately with the Digital world is much better than when I played with film and guessed using the chart on the flash unit for distance and setting only to find that it overexposed or underexposed the shot. Ha!
Lastly, is it better to get this kit or just the flash by itself for learning? Keeping the flash on the hotshoe seems like it would limit the ability to get a good picture (pun intended) of some in depth flash work.
This is what the kit includes: Neewer VK750 II Photo I-TTL Auto-Focus Dedicated Flash + Wireless Camera Flash Trigger and Camera Remote Control Function + 2 Cables(N1-Cord+N3- Cord)for Remote Control + Hard Flash Diffuser + Soft Flash Diffuser + LensCap Holder
I am trying to picture possible scenarios. 750 flash is set up remote with the receiver attached. The Transmitter is connected to the camera with one of the cords. As I understand it, the remote transmitter will focus the camera (auto focus mode) and will fire the shutter, but... will it send the signal to the receiver on the flash?
As to the manual mode, trial and error for correction will work for what I think I want to use it for. Being able to check on exposure immediately with the Digital world is much better than when I played with film and guessed using the chart on the flash unit for distance and setting only to find that it overexposed or underexposed the shot. Ha!
Lastly, is it better to get this kit or just the flash by itself for learning? Keeping the flash on the hotshoe seems like it would limit the ability to get a good picture (pun intended) of some in depth flash work.
This is what the kit includes: Neewer VK750 II Photo I-TTL Auto-Focus Dedicated Flash + Wireless Camera Flash Trigger and Camera Remote Control Function + 2 Cables(N1-Cord+N3- Cord)for Remote Control + Hard Flash Diffuser + Soft Flash Diffuser + LensCap Holder
No, for flash, the transmitter on the camera does not use a cable. It is in the hot shoe, and the hot shoe triggers it (same as if it were a hot shoe flash), causing it to send radio trigger signal to the receiver on the remote flash. But it is a simple on-off trigger signal, which cannot send complex TTL information to the flash, so it is manual flash mode only. (Before someone pipes up to say same, yes, there are other brands at greatly more cost that do try to approximate a TTL function in a remote trigger. But not for $25.)
Guessing, I ASSUME (because of brand and appearance and price) that the kit trigger is this FC-16 one:
Amazon.com: Neewer FC-16 Multi-Channel 2.4GHz 3-IN-1 Wireless Flash/Studio Flash Trigger with Remote Shutter for Nikon D7100 D7000 D5100 D5000 D3200 D3100 D600 D90 D800E D800 D700 D300S D300 D200 D4 D3S D3X D2Xs: Camera & Photo
This separate trigger kit shows more cables than the big kit, but that might just be the picture? You only need the right cable for your camera model.
Radio triggers have a transmitter unit and a receiver unit. Some are separate and dedicated TX and RX units like this one, or some (Yongnuo RF-603) are identical units with a switch to select which function to be. If you have two remote flashes, you need either two receivers, or, usually the second flash can be set to simple S1 optical slave mode, triggered in sync by the flash of the first manual flash.
For flash use, the transmitter on the hot shoe, and the receiver on the flash foot. No cable.
For camera remote shutter use, the opposite, transmitter held in hand with finger on button, and receiver parked on the hot shoe (just for convenience, it can also dangle on cord, the hot shoe is not "used" for shutter), with a cable to the camera socket to activate shutter. Half press of transmitter button should cause camera focus, same as always. The cable has to match the cameras socket, which vary with model. And my bet is that this mode will NOT also trigger another receiver on a remote flash.
I guess it depends on price. My notion is that the flash diffusers are worthless, too tiny to do anything (not really any larger than the flash head). Soft light needs BIG, like an umbrella. The larger one might soften macro use a bit (a little larger would be better), but it's pointless at six feet. Just inexpensive items to add to the kit count.
Opinions may vary, but when you try to examine the actual difference it makes, it is a very hard go. The main actual difference is to require a bit more flash power, which slightly raises the color temperature, a bit more red, warming, which we tend to like. But bounce flash is vastly better in that and all other ways.Another Opinion: Unless your goal is studio portraits (umbrellas), my guess is that we all use much more walk-around hot shoe flash (especially bounce flash indoors, which is the really good stuff, for good lighting, and for convenience). External remote flash seems more an exception, being a fixed setup, needing a stand or something to hold the flash, and then it sits, it does not move when you move around. This becomes a different subject, more studied, but is also good stuff, and it can't hurt to have the capability. I am not knocking remote flash in any way, the opposite, umbrellas are fantastic, but in practice, we are more likely to use walk-around bounce flash on the camera hot shoe. Very good, very convenient.
No, the radio trigger in the hot shoe surely blocks the flash door from opening.
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So Wayne, if I might pick your brain, as you have the experience and I'm just starting to dabble...
LONG version: If I were to purchase a couple of these to go along with my SB-700, do you think it would be an acceptable combo in a two umbrella + hair light set up, or two umbrella + backdrop light? This might help me approach my desired speedlight studio set-up sooner rather than later.
My main curiosity is tied to whether I should actually try go with a matched set or if it's ok to mix and match flashes (whether or not the power differences would be drastic enough to create uneven lighting). Granted, I guess I'd be tweaking the power compensation depending on spacing and/or circumstances anyway, so this is probably a moot question. LONG RUN, I'd like these to be good enough to last until I can afford a better strobe kit, which would be a while, but still get some decent "studio" style of shots.
SHORT version: Is it ok to mix and match speedlights?
LONG version: If I were to purchase a couple of these to go along with my SB-700, do you think it would be an acceptable combo in a two umbrella + hair light set up, or two umbrella + backdrop light? This might help me approach my desired speedlight studio set-up sooner rather than later.
My main curiosity is tied to whether I should actually try go with a matched set or if it's ok to mix and match flashes (whether or not the power differences would be drastic enough to create uneven lighting). Granted, I guess I'd be tweaking the power compensation depending on spacing and/or circumstances anyway, so this is probably a moot question. LONG RUN, I'd like these to be good enough to last until I can afford a better strobe kit, which would be a while, but still get some decent "studio" style of shots.
SHORT version: Is it ok to mix and match speedlights?
Sure, mixing is OK. Even mixing speedlights with larger studio lights is OK (but then you do see a recycle speed difference, we have to wait on the slowest one). An umbrella routinely should be "as close as possible" for softest light, but speedlights in umbrella are at higher power, and slower recycle.
Best advice I can offer: I think you'll surely want to plan on a light meter, to set the individual manual lights. We can eyeball one single light, but not three. The ratio between them is important, and metering lets you know what you're doing. You could wait to try without the meter first, but you will surely love the umbrellas, and may end up doing a fair amount of it, the family over the years, and the meter is sort of a life time investment. It's good to KNOW what's happening.
And maybe most important, the meter lets you easily duplicate results next time. See comments at Why would I need a handheld light meter? ... near page bottom, at section "To illustrate the common way a hand-held meter would be used for multiple manual lights". Also up a bit higher, see about tenth stops.But the point here is, we set them all to different metered levels anyway, no advantage to be the same unit. The advantage of same light everywhere is that the control menus work the same way.
The VK750 is a good flash, and you'd probably want a radio trigger on one of them, and the other two can use S1 optical slave mode to trigger in sync from the flash of the other. I use a PC sync cord instead, to the fill light. Camera is on a tripod, and fill light is above camera, so the trailing cord is absolutely no issue. Optical slaves easily trigger all the others.
The Commander is sometimes knocked because it uses a very weak flash to communicate with the other lights, which does not have much range. But optical slaves are whole different world, their trigger signal is the full working power of the final flash, and indoors in a big living room, I have had absolutely zero problems with optical slaves, placed anywhere, without concern.
Speaking of Commander however, another alternative (not really any better, IMO), and it is spending your money, but you have the D7100 with commander. The SB-700 can use it. The VK750 cannot. But the Yongnuo YN-565EX can, for about $100, double price. It will do all the VK750 can, plus this, plus slightly more power. The VK750 and SB-700 should be about the same power, and the Yongnou a bit more, which would be of some advantage in a umbrella.
Note however, mixed with manual lights, we CANNOT use Commander in any fashion, particularly Not with optical slaves. Don't even think about it.
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You'd place the main light much closer of course, barely out of sight in picture, subject can reach out and touch the light stand pole. As close as possible (just out of sight). Close makes it be big (to the subject), and big makes it be soft. The Fill light has to be back by the camera (so the frontal lights umbrella does not block lens), but it is metered to be a stop or so down anyway. Still, you may want your strongest light here.
Keep the camera back about six feet from subject, or more (for proper perspective). But the main umbrella as close as possible, for soft and power.
Working at f/8 or f/5.6 is very nice for portraits. The f/2 stuff is nonsense.
For the differences noted, and because a D7100 can do it, I'd spend the extra $100 for a pair of YN-565EX. But the VK750 is a nice flash, comparable power to SB-700.
Reviews of both on my site.
But either system (commander or radio/slave) will do the job, and really, you don't want TTL with studio portraits anyway. Manual setup speed is slow, but you want to carefully set each light to the desired ratio, to KNOW what they are doing, to KNOW they are doing what you set them to do.
But still, the D7100 can do it all, it can't hurt to also have the flash capability. The Commander is extremely awkward for more than two lights, but is great for two in the quick setup TTL jobs, just take the picture and be gone. But critical portrait work will want studied manual flash. It is good to have both capabilities.
Also for lighting starters, see 45 degree Portrait Lighting Setup
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Pretzel, my apologies, I have stated some incorrect information (deleted now). I got to thinking about how those meter readings could possibly be right, and I can't find any justification. Brain was not in gear either.
EDIT: And then it got worse.
So I have fallen back, and now have put careful results for these flashes at Three Flashes Metered
EDIT: And then it got worse.
So I have fallen back, and now have put careful results for these flashes at Three Flashes Metered
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Thank you for your review. According to the manual and correspondence I had with Neewer customer support (not very good I might add), this flash should have high speed sync. I have tried everything I can think of but cannot get it to function. Any comments or suggestions would be appreciated.
Which page number? How is it worded?
Page 47 under "Basic Functions"
Number 10.
"The flash LCD will hint "H" word when set camera to "auto FP" on (Pay attention: software support shutter release 1/320 sync)."
Those are the exact words plus there is a screenshot of the LCD with the H indicated in the upper right hand corner.
Well, the H is not showing, right?
You are right of course, but it doesn't do HSS, and HSS is not in the Feature list on page 30.
The manuals are NOT the best aspect of the Chinese flashes. Manuals are often fairly poor, sometimes indecipherable, and sometimes not really relating to the specific flash model.
Worst in this case, the Guide Number chart on page 55 shows numbers for a fully powered flash, and page 30 even says GN 58 too, but the VK750 is a little less power than fully powered (it is only comparable to a SB-700 power, but not to a SB-910 power).
It is a rather nice basic flash though, and the price is certainly right.
You are right of course, but it doesn't do HSS, and HSS is not in the Feature list on page 30.
The manuals are NOT the best aspect of the Chinese flashes. Manuals are often fairly poor, sometimes indecipherable, and sometimes not really relating to the specific flash model.
Worst in this case, the Guide Number chart on page 55 shows numbers for a fully powered flash, and page 30 even says GN 58 too, but the VK750 is a little less power than fully powered (it is only comparable to a SB-700 power, but not to a SB-910 power).
It is a rather nice basic flash though, and the price is certainly right.
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I just got this Neewer flash for my D5200. Newbie question here, but when shooting off camera in manual mode, using indirect flash (bounce off ceiling), what should you set the flash's focal range to? Do you just set it to the lowest value for max light dispersion? Does it even matter? Or is there some formula based on how far away from the ceiling the flash is?
This is a "I don't know", but it is really the same question for bounce flash on the hot shoe. The bounce is a longer path, so whatever lens zoom is set on the flash has more distance in which to spread out wider than the lens coverage. IOW, lens zoom seems "wide enough". Twice the path distance should spread twice as much, which I think of as a safety factor for subject coverage.
I'm not aware there is any good answer, but more spread shouldn't hurt, other than power dilution. Assuming power is not a concern, I usually just use 24mm on the standalone bounce flash (lazy). Once in a while, looking at the scene, or a high ceiling, I get the notion that a more narrow spread might work better (might concentrate more light on the actual subject), but I don't think there's any way to describe that case (maybe when sufficient power is a concern). Every case is surely different, but you could try a different thing or two in such a test case, and compare the results.
I'm not aware there is any good answer, but more spread shouldn't hurt, other than power dilution. Assuming power is not a concern, I usually just use 24mm on the standalone bounce flash (lazy). Once in a while, looking at the scene, or a high ceiling, I get the notion that a more narrow spread might work better (might concentrate more light on the actual subject), but I don't think there's any way to describe that case (maybe when sufficient power is a concern). Every case is surely different, but you could try a different thing or two in such a test case, and compare the results.
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