HELP! I have just about driven myself crazy trying to decide whether to buy a D100 or a FujiS2. I have been a loyal Nikon fan for more years than I care to remember. I currently own an F5, F100, N80 and N65 in addition to a bunch of lenses and strobes. I'm retired now so I can't plunk down money for one of the more expensive units so it seems that the D100 or the Fuji F2 are my only choices. If some of you more lerned folks could help me I will be forever in your debt. My questions are: 1. Does anyone have any current info on the prices of the soon-to-be released Nikon and Kodak offerings?
2. There appears to be no consensus on whether the D100 or Fuji is better. Is that a fair conclusion?
3. I have a lot invested in studio strobes, since Nikon has no "x": terminal I guess I am forced to give more consideration to the Fuji offering unless someone can tell me that Nikon has solved the problem. Does the optional speed grip solve this problem?
Any help, pointers, advise etc. would be greatly appreciated, but please hurry!!! I can feel my brain turning to mush.
As far as the studio strobes is concerned, one can purchase an inexpensive accessory from Nikon that provides an X-synch through the shoe mount of the camera. I believe it is the same attachment used on the N80. I use a Quantum slave to fire my studio strobes.
Russ: Thanks very much for the information. I will look into the device tomorrow. Thanks also for being kind enough to respond. I guess my questions were not interesting enough to merit many responses.
Andreas: Thank you. I can see that you took a great deal of time making your decision. Right now I am leaning in the same direction. Thanks also for the info on the specific adapter. My poor head is still spinning but your information is a great help.
This isn't an elegant solution, but it saves buying anything. I taped a processed dense negative over the on board flash of my Coolpix. The photocell on my White Lightning strobes will pick up the non visible wavelength light and fire, but the onboard flash does not get picked up by the camera. Just a thought.
Guy: Thanks for taking the time to respond to my inquiries. Thanks also for the unique solution to my studio strobe issue. How the heck did you come up with such a unique solution? I would never have thought of that in a million years. Gonna try that. Thanks
I think I came up with the idea for myself, but I have read it in other places after I started doing it. I teach college physics and it is part of the job to kind of invent stuff for labs. I guess I am kind of conditioned. Probably though it was just the idea of paying 1000x the parts cost for some photo gizmo.
Guy: Since you obviously have more brain cells left than I, I would sure appreciate knowing about any other unique solutions you think up in the rhelm of photography. Talking to you is like playing scrabble with my girlfriend. She whips my butt, not because she knows more words, but because I never even THINK of the words she uses. In your case, you think of solutions to problem that I even have problems articulating. I am sure that the rest of the folks in this forum would welcome hearing from you on a frequent basis. Thanks again
The street price for the Kodak is supposed to be lower, ($4K) and also for the Canon (especially now that the Kodak has been announced). The Canon is a top line model so it won't come down as low as the 14n. Guestimates are $7500 for it.
The Kodak looks like it would be a great studio camera and I think the S2 is probably a better studio camera than the D100, but not dramatically so. Be happy to live in times where you have such hard choices!
> 3. I have a lot invested in studio strobes, since Nikon >has no "x": terminal I guess I am forced to give more >consideration to the Fuji offering unless someone can tell >me that Nikon has solved the problem. Does the optional >speed grip solve this problem?
The PC Sync problem has been greatly exaggerated. Besides adding an inexpensive hot-shoe PC Sync adapter, you can also use the internal flash adjusted to lowest setting (-3EV) and wrapping a piece of hard paper in front of it. My favor is using my SB-28DX in Manual mode adjusting output to its lowest (1/64) and pointing the flash head away from the subject, usually straight upward.
The only thing you have to do is to change a custom function to disable D-TTL in order to triggle the strobes. Works like charm.
You can use an AS15 hot shoe/sync cord adaptor, costs $20 or £18. Or as you suggest with the flash set at 1/64 and directed out of the scene to trigger the strobes. Or, as I prefer, use the flash on an SC17 remote cord as a secondary fill light or again pointed elswhere as a trigger. All methods seem to work admirably. Cheers Mike
Kaiser offer an accessory to fit hotshoes that provides a sync’ output for studio flash and has a duplicate but unpowered hotshoe above it which is very handy for using my old bowens infrared trigger on top of the D100. The Kaiser works a treat and cost a fraction of the Nikon accessory shoe. I have not been brave enough to trust firing my studio flash system via a sync’ lead - since my pal managed to fry his D100 with some ancient Strobes. You need to be certain that the sync’ voltage is well-within Nikon’s specifications. The idea of some ND over the D100s tiny pop-up flash sounds very promising. I might give it a go, as the Bowen’s trigger is the size of a packet of cigarettes and always, always flops about as I shoot.
My advice would be to stay with the investment you have in your existing glassware and go with the Nikon or one of the marques which can carry Nikon glass.
Although the AS-15 is meant to be used with the D-100, depending on the voltage of your strobe, it might fry your camera. Another synch adaptor is made by Wein. This attachment regulates the voltage so there is less chance of having your strobes high voltage hurting our cameras. It's a little more expensive, and buying 5 of them <one for each camera, and to keep in 2 camera bags> hurt a little, but I haven't had any problems with using them with all the different set up's we have,
I have used my D-100 and F-80 (=UK N80) with two Prolinca IR triggers for studio flash, each connected to the hotshoe. They work really well, and save a lot of battery life compared with using the built-in speedlights as triggers. The trigger takes two AA batteries and lasts for several hundred shots with NiMH rechargables.
The Prolinca triggers cost around 40 UK pounds each.
In any case, I agree that optical triggering allows more freedom to move in the studio, and avoids any chance of spurious power surges trashing the camera. My F-80 once locked up completely when connected with a sync cord, half way through the shoot, and the only way to clear it was taking out the batteries. Ever since I have used optical triggering.