Interfit’s EXD200 Lighting Kit; Small But Powerful Monolights For The Digital Age
I 'll admit to it--ever since I was first introduced to the Interfit flat panel strobes a few short years back, I've become enamored of this company's products. And I still use those lights. Every year since, Interfit would introduce new lighting gear, but these newer monolights were either too big or too basic for my needs. Then along came the EXD200. Compact, lightweight--just what I needed, especially considering that a two-light kit came in a package I could easily schlep around, should the need arise. I found that these 200 ws units were surprisingly efficient for a variety of subjects, from tabletop to portrait.
Digital To The Core
A quick glance at the EXD200's back panel tells quite a bit about this monolight--namely, that it's digital all the way. When you start to introduce microprocessor control into a light head, you open up a world of possibilities. The numerical LED display moves in 0.1-step increments to indicate output. There are also function indicators--audible as well as visual. The buttons themselves have a positive, tactile feel to them and are easier to work with, I believe, than touch pads. What you won't find are rotary dials and mechanical switches (well, except for the on/off switch). If you miss these mechanical controls, Interfit offers other more conventional designs.
Sync voltage on the EXD200 is 5v. That means that it's safe to connect these lights directly to the X-sync terminal on most digital and film SLRs. That paved the way for me to plug the supplied sync cord into my EOS 5D and 20D.
Next, we have an interesting feature. Occasionally, we'd like to bypass the use of the PC cord and find a more expedient way to trigger the EXD200. When using TTL flash, whether external or built-in, the dedicated strobe may emit a pre-flash burst to help gauge the exposure. That short burst is enough to trigger any studio strobe with built-in photo-optical slave sensor. The EXD200 cleverly provides a workaround. It can be set to fire after a first (conventional flash sync), second, or even a third preliminary burst to prevent false triggering. In this way, you can use the TTL flash as fill, combining the illumination from both light sources. If you don't want the accessory shoe-mount flash to contribute, simply aim the flash head away from the subject. And if push comes to shove, use a remote triggering system. Interfit offers an optional single-channel and four-channel radio transmitter set. Out of the box, the EXD200 comes with both optical and IR slave sensors built-in, although an optional Interfit IRX transmitter is required for infrared triggering. Slave sync can also be switched off.
What's In The Kit?
The kit normally includes a padded case. I'd recommend the roller case they sent me, to add to the kit's mobility. The case I got is large enough to hold two lights, stands, and all the included accessories. The circular flash tubes came pre-installed. Two 60w tungsten bulbs, used as modeling lights, also came in the package. Be careful when screwing these into the heads--avoid getting finger oils on them, as that will shorten the life of the bulb (use cotton gloves such as those used in the darkroom). Also, don't substitute other bulbs as the efficiency of the flash output revolves around these bulbs. The kit also included two standard umbrella reflectors. The standard reflector (dish) fits easily on the flash head and is designed to be used with or without umbrella attached. In addition to the electrical and sync cords, there was a shoot-through umbrella and a small softbox in the package. Softer than a typical bounce umbrella, a shoot-through umbrella provides a soft light that wraps around the subject, whereas the softbox produces a soft light with a harder edge but practically no spill, so it largely goes where directed. That's enough to handle quite a bit.
The EXD200 uses a different fitting from that used on the Stellar lights that preceded the new compact series of monolights, which includes the entry-level EX150 with analog control. Still, there are enough options to keep you busy, among them a barn door kit (to control light spread/spill) and snoot (which provides spotlighting)--both come with a set of lighting gels (tinted acetate sheets).
These lights were a joy to use. Okay, I would have liked a handle to make them easier to grab hold of. But given that they're small enough to practically fit in the palm of your hand, a handle would only add to their size. Enhanced by the head's light weight, a rubberized exterior gives the head its modern-day allure and helps you get a firm grip. Mounting the EXD200 on the light stand was quick and easy and attaching the standard reflector simply required a twist of a knurled collar to lock it in place. Aligning and securing the square softbox to the head requires a bit of careful maneuvering, but this well-crafted light modifier is well worth the effort. Assembling the softbox took practically no time.
- Photographer Uses GoPro to Demonstrate the Collodion Process Invented in 1851 (VIDEO)
- Always Remember to Take a Good Look: How to See What’s Right in Front of You as a Photographer
- FilmToaster Scanner Review
- Tamron SP 85mm f/1.8 Di VC USD Lens Review
- Help the Rescued Film Project Process & Restore a Treasure Trove of Film Shot in the 1950s (VIDEO)