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Would I feel the limitations of a slower sync speed?

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I'm looking at camera bodies with sync speeds from 1/160s to 1/250s.  I want to shoot CFWA of reefs, invertebrates, and occasionally some fish portraits underneath kelp forests where conditions are usually a bit dark and murky.  Beyond cutting down on ambient light, my concern with max sync speed is motion blur.


Can anyone comment on seeing motion blur when shooting strobes at 1/160s?  Also, would this be more visible on a high resolution sensor like the Sony A7CR?

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I shoot Sony APS-C, so I'm locked at 1/160 sync speed. 


I don't really find it limiting. I mostly shoot with it locked there, and just adjust aperature or iso to dial in my exposure. Strobes are in TTL. 

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1 hour ago, feathersfinsphotos said:

Can anyone comment on seeing motion blur when shooting strobes at 1/160s?

Very good question.  There will always be an exception, but in my experience I have not had an issue.  I frequently will utilize 1/100 - 1/160 based on the ambient exposure I want.  

Per Ikelite, “The metadata from thousands of published images shows that shutter speeds of 1/125 to 1/160th of a second work well about 90% of the time underwater. These speeds are fast enough to prevent motion blur from camera movement, as well as the movements of most animals that are in a relaxed state.”


With that said, HSS is becoming more available for underwater.  When you look at your next strobes or trigger, perhaps look to models that include the ability for HSS which will overcome the 1/160 barrier. 


Hope this helps! 

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Fast sync speed is better than slow sync speed

The scenario where you need it is macro not wide angle where you are already super stopped down and at ISO 100 and even reducing the strobe power you may have too much

HSS is interesting for certain backlit shots it is not a solution for close ups

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If shooting sunballs are your thing, then faster sync speeds are desirable. Among other things, a faster sync speed means you need less strobe power to adequately light objects in the foreground without clipping the sunball.

Edited by Jim Laurel
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