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Two lights equipped with a very minimal accessory kit may not be enough for all

the types of studio-flash lit shot you need to take, but at only £395 + VAT for a neatly portable bagged kit, the Elinchrom D-Lite2 package is a purchase few professionals can resist. Although aimed at the semi-pro or amateur enthusiast, the D-Lite2 has exactly the right power – 200 Watt sec-onds (or Joules) – and exactly the right type of control, five ƒ-stops in one-tenth of a stop digital steps. Because the flash can go down to 12 Watt seconds, it enables sensible apertures like ƒ8 to be used with the overheated sensitivity of the average DSLR. While you can turn the typical Canon down to ISO 100, a quick test or two lets you know that this is much closer to a real ISO 200. Pentax and Nikon basic models don’t dip below ISO 200, and many Fuji FinePix SLRs doing good service are limited to ISO 320 or higher settings. A 200 Watt second flash of good efficiency with just half and quarter power settings may insist on giving you ƒ16 or even ƒ22 when a small translucent brolly is close enough to the subject for good lighting. The whole point of large, diffused light sources is to wrap the light round the subject a little, softening shadows without demanding elaborate fill-in sources or reflectors. A typical flash umbrella should be positioned no further than its own diameter away from the sitter in a portrait. Not four feet away – not six feet – for this kit, maybe 2 feet or eighteen inches is the ideal distance from the apex of the the shoot-through (brolly between light and subject) and the face. In my examples on the right, which use a single flash head and no kind of fill in or reflectors, the D-Lite2 and brolly is placed so close it’s only just out of shot. Note, also, the use of the second flash head as a direct hairlight from the back. To get this subtle level of hair light, without the dreaded digital highlight burnout, this head had to be down to minimum power. All too often a neutral density gel would be needed to tame a backlight as close as this, sitting just over the top of a half-width black Colorama paper roll.

The digital SLR studio does not need power – it needs control. In some ways the budget price Elinchrom D-Lites are better

than their pro siblings.

Lite lighting: the Elinchrom D-Lite2

silver brolly is the flash head itself. This is why I prefer to use shoot-through, or translucent white nylon brollies. The convex surface facing the sitter feathers the light naturally, and it's not as dead flat as a softbox. Eye highlights are tiny brolly reflec-tions, or course, but hotter in the centre and nothing like as obtrusive as reflective umbrella highlights. In the past, even with film, I car-ried a 4X neutral density filter to use when studio flash placed as close as I like proved too powerful on its mini-mum setting for a sensible working aperture. However, my outfit was one Elinchrom 500EL and two 250ELs – minimum quarter power, and very efficient, leading to ƒ22 with ISO 160 colour negative film all too easily. The new D-Lite2 heads with their accurate extra lower power setting give access to ƒ5.6 with ISO 100 and reasonably close light positions. It’s very important not to use too small an aperture with digital SLRs. Lenses these days often stop down to ƒ22 or ƒ32, but tests show that digital shots begin to lose critical fine detail at anything below ƒ11. Optimum apertures are generally around ƒ8, and for typical portrait shots this is also a good working setting on the APS-C 1.5X digital format.

The kitWhile a single flash head costs £179 + VAT, the bonus for buying the two-head kit and barely more than the cost of two heads is considerable. Two very well designed robust, full size studio stands are supplied and these have really smooth flip-action telescopic section locks and a neat ‘safe’ end to fit into the head’s socket. Full length (5 metre) mains cables with IEC plug and UK mains give enough cable for positioning the heads from one double wall socket – you won’t end up trailing extension sockets round the room. The flash sync lead is 3 metres, and uses a standard 1/4 inch monojack as its connection in place of the unique locking Elinchrom fitting. A carrying bag for the heads (with front pocket for the cables) unfolds into a semi-rigid design with

The set up is very simple, to demonstrate nothing except the use of the D-Lite2 kit – no influence from backgrounds, extra reflectors or other accessories not included in the outfit. There are not even any light coloured walls around to act as natural reflectors; the setting is a library, with shelves of dark books on each side, a high ceiling and dark floor. It’s the kind of setting you might get in a traditional hotel.

Close kept secretAnyone who sits for a portrait, or sees a demonstration from me, may be surprised by just how close I posi-tion lights. I'm looking for a softly modelled three-dimensional wrap of light from the main source. I avoid reflective flash umbrellas unless they are very big indeed, as the only thing which is well-lit by a typical 75cm

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very thick padding, and an internal septum with cover flaps to separate the heads and reflectors. It has a grab handle, shoulder strap, velcro closure lid with locking straps and is of a quality you would expect to pay £50 on its own. The long bag for the stands is not so padded, but equally well made and divided internally to allow the two fairly small (83cm) brollies (translucent and silver reflective) to keep safe from the stands. Overall the impression is of around £100 worth of accessories for the extra £50. In kits of a former age, a flashmeter would often be included. For the digital user, this is superflu-ous; test shots on the camera, with examination of the histogram, are used in place of metering. There is room in the stand bag for a folding softbox. This kit is also called the Stand 2 Go kit when sold separately.

In useThe digital controls prove very easy to understand and use. The pictograms on the back are large and have obvious meanings, eliminating all language-specific labels. As far as Elinchrom familiarity goes, they may be based on other models, but the interface feels unique to the D-Lite. The only downside of the placing and type of controls is that you can’t easily reach them in a high positioned, downward facing light. However, you are not really advised to use these heads that way. They have no fan cooling, and instead a thermal cutout is fitted. If you invert the head in a softbox or aim it down with a snoot, it will heat up and at some stage, it will take a rest without asking you. The Flash Centre warns buyers very specifically that these heads are not intended for shooting 500 banqueting shots

do they just buy in a product – or even subcontract its making. They run their own production line with the space, manpower and logistics provided. It’s a very flexible and economically efficient solution to competing at this end of the market. Quality control, warranty and service remain the same for this product as for professional Swiss-made Elinchrom. We would ask, anyway, what Swiss-made means today. As with British-made, it probably means assembled. Many components and subassemblies come from China, India and many other hotbeds of electronic manufactur-ing. Just as with your car, your TV, your washing machine and your entire camera system it’s the design, quality control and after-sales service which count most today.

Worldwide bonusWhile the D-Lite2, forthcoming D-Lite4 (already announced, 25 to 400 Watt seconds) and D-Lite (100 Watt seconds max) are not recommended as alternatives to professional heads for pro work, they hide a benefit for pro users who want a very light travelling kit to avoid excess baggage charges eating into margins. They are multivoltage, worldwide compatible, auto-sensing. You can get an IEC kettle lead anywhere, and operate these heads. Look at the price of the Elinchrom BX models (the next world travel friendly option on the list) and you will see why the D-Lites are a bargain on location.

ConclusionThis lightweight kit is probably the best buy right now for the digital photographer entering the world of studio flash. There are alternatives, but none of them can offer the same combination of specifications, build quality and distributor backup. This end of the market is increasingly open to imported flash, with brands originally once sold only in the USA beginning to appear here. My advice is no matter how clever they look, no matter what the bargain price seems to be, don’t go there. Replaceable flash tubes, efficient modelling lamps, 20 years’ record of sales and service through The Flash Centre and their retailers all put Elinchrom right at the top as a brand UK photographers can trust. For information, contact The Flash Centre, 0207 837 5649 (London) or 0113 247 0937 (Leeds), or see www.theflashcentre.com.– David Kilpatrick

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in an hour, or long sets of digital sequences of a model changing pose and moving by the second. The absence of fan cooling makes the heads very compact, light and quiet. In normal use, you won’t hit the thermal cutout point. Just be aware that you can’t see these as a low-cost alternative to the FX/BX or Style, or even the earlier EL classic heads. They will not do the same duty in intensive situations or adverse orientations with closed lighting accessories. As for the stand fitting, it’s scaled down to match the smaller head. The clamp lever releases not to a smooth adjustment, but to a clickstopped range of settings, making the head less likely to do a ‘nodding off’ collapse if you forget to tighten fully. This is a neat touch. The reflector bayonet can not be scaled down, it’s standard Elinchrom, but in place of a rotating collar it has a single point locking slider.

This has a rather stiff resistance for its size, but is just as effective if not as quick or easy to use. The supplied reflectors are of the same gauge metal as previous Elinchrom, and the bayonet cut-outs leave a robust lobe exposed to the dangers of bending. Some low-cost systems have appeared on the market copying the Elichrom fitting, but have very thin metal and the vulnerable bayonet area is easily bent or even broken off with a few fatigue-inducing mounting errors.

Build qualityThis brings us to the question of ‘Swiss quality’. It may well be Swiss quality, but it’s Indian manufacture. If parts of the flash bear a passing resemblance to other Indian made kit, it’s superficial, because the entire circuit is Elinchrom and the produc-tion line is operated by Elinchrom. They do not own the factory, but nor

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Side lighting

HERE the single shoot-through brolly has been placed to Ailsa’s right hand side, slightly forward and of course with its centre well above eye level. It’s very close, and the bottom of the brolly is around cheek level. It is just outside the edge of the framed shot. This position cre-ates a soft nose shadow, and lights both eyes well even without a reflector (which could be added, and would be essential for film). The light is adjusted so that the nose shadow does not fall across her left cheek, but within her upper lip, and does not cast too strong a shade over the lips themselves. The light must be high enough to cast this shadow in a natural manner, but low enough to to be strong on the lower eyelid and underneath her eyebrow. The close light permits both conditions to be met, and also eliminates cast shadows from hair.

Camera position lighting

THE single main flash here is much further away – some six feet, instead of barely over a foot. The flash power has been turned up, and the brolly is directly above the camera lens. This provides a ‘broad’ face lighting which alters the shape of the face considerably compared to the narrowing effect of side lighting. The absence of a catchlight in Ailsa’s left eye is due to her hair, and you can also see how the more distant flash position now casts a stronger shadow of hair on her forehead. At this distance, the flash is not particularly high, but lacks the spread needed to wrap light into the neck area and also puts less brightness under and above the eye. However, it’s a better light for the hair colour overall. In both shots, the hair light coming over the top of the background from Ailsa’s left hand side has remained in the same place, at the same power.

Dimensional quality from backlight

FINALLY, the quick snap of Ailsa with our resident digital camera sensor dust provider (that fur goes a long way!) shows how the simple addition of the second flash head from the rear, rather than as a frontal fill, can benefit the separation and 3D quality of a shot. The light on her left arm is created by this low power backlight; it’s a little less warm in colour and a touch too bright but creates a well shaped arm. It also picks out Tango’s fur against the shadow created on the inside of the arm. Backlight, rimlight, accent light – these uses of the second flash head always win over fill light!

Main Features:12 - 200Ws adjustable in 1/10ths (5 f-stops)Digital Display5v Trigger Voltage (Safe for digital SLRs)1/1,200s Flash Duration (t0.5, Full Power)Recycles in 0.7s (Full Power)Elinchrom Bayonet reflector fittingElinchrom compatible centre tube umbrella fitting

Switchable Audio Ready BeepSwitchable Slave Cell, IR sensitiveStabilised to +/- 1.5%Plug-in Daylight Quality Flash TubeSuper Leuci ES screw fit Modelling LampModelling Lamp Control Proportional/Full/Min/OffAuto Sensing Multivoltage, detachable mains lead