UPDATE January 5 2018
This month I have several sessions where I will use the focusing arm with my Elinchrom 69″ Rotalux Octabox. Elinchrom sells their Elinchrom 75″ Indirect Litemotiv Octa Softbox which is an inverted modifier. But unlike using a focusing arm the strobe is confined to a set distance from the modifier. Oh and not to mention it’s about $1100.00 USD more expensive than my 69’r!
UPDATE December 31, 2017
Over the past two weeks I have been giving my new virtual friend Ulysses my experience using focusing rod modifiers. We’ve gone back and forth over FB Messenger as I answered some of his questions and concerns. It was during this time I realized that some people may not have any idea how a focusing arm paired with a parabolic or other modifier would benefit them. So instead of answering another email I decided to post this (My last post of 2017 btw) to benefit anyone who may have questions about focusing arm modifiers, their benefits and downsides. But are put off by their prices.
I found what I view as one of the most informative lessons on some of the benefits of a focusing rod on a YouTube channel. Karl Taylor and Urs Recher, two pro fashion shooters do an excellent job explaining the benefits of focusing arm modifiers. You can view that video here.
If you begin to watch the video and think or say to yourself “Oh sure if I had the money to buy a $7,000 Broncolor Para 222 Mark I could do anything!” STOP READING NOW and go about your usual business.
I’ve posted elsewhere why I have switched to focusing arms modifiers and this post is about how you can do it with relatively simple ease. And just as important for a fraction of the cost of Broncolor, Briese or Parabolix. Of course the shape of the modifier you use will have a bearing on your results, but unlike people alleging you ‘have to have’ a pure parabolic shape I disagree based on my own actual usage. I love my Parabolix 35D, my Cononmark 120cm and my Westcott Zeppelins which I use with a focusing arm.
The best thing to do is to buy a Parabolix focusing arm from their site. They use a standard Profoto attachment to mount their modifiers to the focusing arm. The arm is excellent and well made. To the arm you simply purchase a Haoge Profoto to Bowens Mount Speedring Ring Adapter.
Viola! You now have a focusing arm that will work with any Bowens modifier! And you don’t have to go through the crazy fabrications like I did when I built my first one. (I just like doing that kinda stuff tho….)
Prior to figuring out that method I fabricated all kinds of things! My other solution was to purchase a Cheetahstand Chop Stick and modify it to accept a Bowens modifier. It took some doing and it works well. Someone mentioned that Edward at Cheetahstand stated that his Chop Stick will work with most Bowens mount modifiers and that’s true….to a point.
For travel it’s a toss up. My DIY Cheetahstand Chop Stick with mount weighs a total of 4 pounds 13 ounces including the rod. The Parabolix weighs 3 pounds 15 ounces. For space the Chop Stick comes apart thereby having the ability to save space when packing. Not so with the Parabolix arm. Weight or space? It’s up to your needs. The Bird Cages which hold the lights are not included in these weights, but I have described their weight above.
So there you have it. This will be my last post about how to develop your own focusing rod. I have sessions to cover and don’t really have the motivation to talk more about this subject. I post this in case you want to do it as well.
As I was growing up my father was always in the garage tinkering. During his lifetime he was a professional auto mechanic who was in a partnership in a Mobil Gas station. I’d work there in the summertime when full service was the norm. Later he became a civil engineer. He and I shared lots of good times in our home garage building things which were usually motors or crazy inventions. One of the aspects of life he taught me early on was “Boy there are people who will bitch that someone hasn’t invented or built this or that. Or they’ll bitch about how something is designed. Basically they’ll bitch about anything instead of trying to figure out how to fix it or inventing something themselves. Don’t listen to those assholes, if you need something that ain’t around, figure out how to build it and build it. I’m not raising no bitch, so just remember that!”
To this day I’m not sure if I never wanted to be ‘a bitch’ or I just plain enjoy figuring out how to do things. It’s one of the main reasons I HAVE TO HAVE a garage. Not to store shit people never use, but to fabricate things. I find it relaxing. And I must admit that my former racing motorcycle which is now the world’s most expensive towel rack does sit in my “Man Cave.” I just can’t bring myself to sell “Ashley.”
Anyway I’ve written elsewhere on this blog that I adore focusing arm modifiers. I won’t go into all of the reasons, but one of the most frustrating things is every single manufacturer of focusing arm modifiers makes it so that their arm only works with their modifiers. Broncolor, Parabolix, Briese, Cheetahstand, Westcott, you name it, they can’t be used with other modifiers. I did find out that the Parabolix line of focusing arms will work with any Profoto mount. Their focusing arm uses the same attachment as Profoto so if one purchases a Parabolix focusing arm it will fit any modifier that uses a Profoto mount.
But many of my modifiers are now Bowens mounts. It’s my preferred modifier mount since I exclusively use Flashpoint/Godox strobes/heads now. As I examined Cheetahstand’s Chop Stick I discovered that I could modify his focusing arm so that it will allow me to attach ANY Bowens mount modifier to the focusing arm! It took quite a bit of modification and a bit of cussing, but now I have a focusing arm that will accept any Bowens modifier INCLUDING HARD MODIFIERS. What? WTF you may be thinking, hard modifiers Mark? Well I’m gonna try them and will report back later. Why not?!
I’m sure some people will ask questions like “Will it support the full weight of X or Y strobe?” What about if the modifier is not a true parabola?” To the first question, I’m not sure and I don’t really care because I’m not a manufacturer of this for retail. I made it to solve a problem. I plan to always use the remote head for the AD600. As for the second question, who cares?
It’s no secret that I have enthusiastically adopted the use of focusing rod light modifiers. I’ve found them so versatile and the light quality they produce to my taste and my clients satisfaction. Sure there are times I love super soft light, but for me soft light, or the constant use of soft light is well….. boring. Indirect light like when using an umbrella produces some of the best contrast, detail of any modifiers I’ve used. the problem is umbrellas have their own issues one of them in controlling spill.
When I first was made aware of the Broncolor Para line of focusing rod modifiers I was captivated. It took quite some time for me to find a rental house that would not only rent the Para 88 octa, but the focusing rod as well. Once I tried one, I was sold. But the price was too cost prohibitive for my client base. At the time $4900.00 USD for one modifier was too pricey. So I made my own focusing rod which I wrote about here. I love the light it produces and the flexibility it gives me.
Since those days I purchased a Parabolix 35D, a CononMark 120cm focusing rod modifier and a Cheetahstand Chop Stick which I use with my Zeppelin line of modifiers. What has always frustrated me is I could never find anyone who produced a focusing rod that would accept ANY Bowens modifier. Each of the manufacturers I mentioned before including Cheetahstand all use proprietary mounting solutions for their focusing arms. 16 rods, or 8 rods, holes a certain size, you name it every manufacturer only fits their own line.
Prior to using focusing arm modifiers, my favorite modifier were my two Elinchrom Rotalux Deep Octas. The quality of lights they produce is delicious. Yet because of the Elinchrom speedring design I could never figure out a way to mount a focusing arm to those octas…until now.
I searched for a bracket that is used for speedlights which can be directly mounted to a swiveling Bowens adapter and found this one on eBay. The next issue was finding a male Bowens adapter that would fit onto the mounting bracket. After much measuring I determined that the Adorama or SMDV Bowens ring would fit perfectly. There is quite a bit of modification that needs to happen and perhaps at some point I will outline those steps. But for now anyone with motivation can buy those two items (which were the toughest parts to figure out btw) and make your own. And NO I will NOT be making/selling these brackets, so please don’t ask.
The one other issue many trolls will like to talk about is if this or that modifier is TRULY PARABOLIC in shape. While those folks are flapping their pie holes along with their constant need to be right, I simply look at how any modifier PERFORMS to my own as well as my client’s satisfaction to determine if it’s right for my taste. I love the flexibility of choice and having a bracket that will allow me to use any Bowens mount modifier with a focusing arm gives me freedom to choose. I’m even going to try hard modifiers with a focusing arm!!!! Who knows I may find out it works great…or not. But at least I have the option.
Hard modifiers. They’re so misunderstood! Most photographers seem to always be chasing soft light, the softer the better. I understand that too, but in my world there is sometimes a need for hard modifiers. On location in high wind, nothing is better to combat the potential disaster of turning your light stand, modifier and strobe into an orbiting satellite than a hard modifier.
Yet there are many other uses for hard modifiers. Yes they CAN throw beautiful soft light. And in those instances where you need to throw and control light a long distance they’re wonderful. I recently had an assignment where I had to light 90 musicians on stage to make the scene appear like a Rembrandt painting which meant making the light even across the stage. It would have been impossible without the use of hard modifiers or Fresnel lenses.
But the point of this post is to advise you that the SHAPE of a hard modifier can easily be confused with how the light pattern will perform. Most of use ‘think’ that a long cone shaped modifier will throw light in a long narrow pattern focusing light in the same shape as the modifier. Back in the day when I was talking to Paul Buff about his long throw reflector he said “Mark, the long throw’s center concentration of light is NOT as intense as my 22” beauty dish. But it does throw the light further.” I thought to myself “Uh sure Paul, you must not know what you’re talking about…” Hahahahaha who was I to doubt the INVENTER of his brilliant products. So I tested them side by side and guess what? He was fucking right of course and I was shocked….at my ignorance.
Adorama sent me some of their modifiers so I decided to test them side by side with others I own to see the light patterns they produce. Having been schooled by Paul I was better educated to ‘theorize’ how each of the modifier’s patterns would perform.
All were shot using a Flashpoint xPLOR600 set at full 1:1 power. The distance to the seamless was 35 feet. Camera was set at 1/125th, f22, ISO 100. This test was performed just before a client’s session so it’s not about the power capabilities of the modifiers, but their light patterns.
As you can see by the light patterns above and the shape of each modifier below, light patterns don’t always follow the shape of the modifiers. Right now my favorites are the Glow 70 Degree Magnum, the PCB Omni and Retro Laser for throwing concentrated beams of light over distance. The Glow 45 and Bowens long throw extend light with a much softer/less concentrated pattern of light.
So here is how I’ve used hard modifiers for different applications:
My point of this posting is to demonstrate the light patterns and possible usage of hard modifiers in your took kit. For the right application I find them an invaluable tool. In the future I will be updating this post with actual shots using the Glow line of hard modifiers.
What is that mount you use to place the AD600 on a boom or lightstand when using the H600 remote head?
I had this article in my review of the AD600/xPLOR600 post. But so many people contact me about the self fabricated brackets I use to mount my xPLOR/Godox 600s on lightstands, I decided to copy the article about the brackets here as a separate post. To my knowledge no one makes a bracket that runs parallel with a lightstand so you can mount your strobe on the stand’s column. If you know of one other than what I describe below, please place a comment on this page so others can buy one.
I fabricated the mount I use because I could not find anything with a 90 degree angle that would not spin on a boom no matter how tight I’d tighten it down. My first try was with my trusty Manfrotto Superclamps which are great. But due to the weight/leverage of the AD600 base it just would not stay put enough for my taste. So I decided to use a truss clamp which never spins. But I had to fabricate the mounting…. (oh and thanks for asking if you can buy them from me, but I’m a pro shooter, not a pro fabricator….)
- ADJ Products JR-CLAMP Stage
- Anderson Metals Brass Pipe Fitting, Barstock 90 Degree Elbow, 1/4″ x 1/4″ Female Pipe
- Two 8mm bolts. One 10mm long, the second 30mm long not fully threaded
- One 8mm nut
The 10mm long bolt goes inside the truss clamp. It is necessary to grind or file down two opposing sides so the head of the bolt will fit in the recessed portion of the clamp and not spin when tightened. The upright bolt is the longer 30mm one that is screwed into the other end of the brass pipe fitting which becomes your light mount. Once you have tightened the bolt into the pipe fitting you will need to cut off the head of the bolt and either grind or file it down. The 8mm nut secures it to the pipe fitting so it does not loosen from the pipe fitting. I notched the stud so the screw from the AD600 would rest in that notch as an extra measure of safety in case the screw from the AD600 loosens.
UPDATE October 2 2017
I have written a post about a dance session I conducted that uses these items. You can view that post here.
I recently created a dance session using a wide range of the Godox strobe system:
- Flashpoint XPLOR 600 HSS (4)
- Flashpoint Portable 600ws Extension FlashHead (3)
- Flashpoint eVOLV 200 (3)
- Flashpoint Zoom R2 Manual Flash (1)
- Flashpoint eVOLV Dual Power Twin Head (1)
- Flashpoint Portable 1200ws Extension Head (1)
My goal was to create the illusion of a stage, a grand hall using light, shadow and atmosphere. This was the very first time I used every single Godox light I have including a speed light. What is wonderful is how seamlessly all of the lights integrate into a system. I could not be happier with this line of strobes.
All shot with a Canon 1DXII, EF24-70 II. Most images shot at 1/500th at various f stops, ISO 100. I have quite a few reviews of the gear I sighted above. The purpose of this post is to simply show how I use the gear rather than update each review. I find actual usage much more helpful for me and hope this helps you as well.
My partner and I went back and forth for quite some time about whether or not we wanted to invest in a long or short term lease on a studio. In the Bay Area real estate is very pricey, much more so than other areas of the country. But that is not the primary reason we opted to NOT put our money into a studio. I think there are photographers who can easily justify a studio which includes much more than just the rent. Sure it would be so much more convenient for me to have a studio instead of lugging gear and assistants to and from locations. But, and this is a BIG BUT for me, I would get bored, completely and utterly in about 2 shoots. Why? I bore easily and shooting against seamless or bringing in props, constantly building sets, etc. would drive me to the point that I may decide to return to a corporate job! (No way really…)
For me the world is the best studio, the absolute best for my work. But sometimes for a variety of reasons my clients cannot arrange to shoot on location so I shoot in rented studios or spaces which are convenient to the client. Flying the talent in, housing them, using Union makeup/hair/wig/prop you name it staff is expensive. Transporting them to a studio far away is inconvenient to many clients. You’d be shocked at how some of the ‘studios’ I work in are crazy cramped or awful from a shooter’s standpoint. But a big part of being a pro is working with what you got.
But there are times when a client wants ‘more’ than just seamless but doesn’t have the budget to house or transport all of the talent to the perfect location. So a rented studio for the day or week, or better yet a warehouse is what I use. This is where light/atmosphere and theatrical type modifiers like gobos can make a scene more effective. Whenever people ask how I create different looks in studio I just say, “Watch movies, look at the light/environment and figure out how to make the scene you’re watching. Imagination is insanely more powerful than any new camera gear. And simply having an idea is not good enough. You need to actually make it happen.”
Recently a client ‘wanted’ to do their publicity shoot on location, but since scheduling of the talent and the availability of the venue didn’t jibe we shot in studio, a rented warehouse. By using atmosphere and special light modifiers the client was pleased.
The whole point of this posting is to help you decide if a studio is something you ‘have to have.’ In my case it is not simply because the type of work I do constantly demands new looks and feelings for my client base. Every shooter has different needs and there are no ‘right or wrong’ answers.
UPDATE: August 2 2017
I have written a separate article about using a Cheetahstand Chop Stick with a Westcott Zeppelin. You can read that article here.
I conducted my first commercial session using only Godox lights and a Cheetahstand Rice Bowl 36″ modified to accept and use my DIY focusing parabolic rod. Since Godox has not yet released the AD600 remote head I used the AD360 on the rod due to its light weight. I am very pleased with the light quality, characteristic and my results. This will be my go to focusing modifier for on location sessions.
I was recently hired to do an on location session for a Seattle Theatre company which needed publicity photographs for “Assassins” which is a play about those who have attempted or succeeded in the assassinations of US Presidents. My primary questions whenever a client asks for imagery is always “What is the mood I’m to create?” In this case the client’s response was “gritty and dark.”
I’ve always been a huge proponent of learning via hands on and have advocated to many on forums or to aspiring photographers to find a mentor. One of the very best ways to learn the craft of photography is to assist a photographer as their assistant.
This is much more difficult than it sounds and for anyone who has reached out to commercial shooters to offer ‘assistance’ you may or may not have encountered resistance and in some cases even reluctance when you’ve offered help. Having been on both sides of the ‘offering’ and the ‘recipient of offers’ I wanted to explain some of my concerns and what I look for in any potential assistant.
This applies primarily to non paid of ‘volunteer’ assistants. Professional paid assistants are invaluable and there is a reason why they can command hi day rates. It’s also very common for me to ask for references from paid pro assistants and meet with them prior to considering them for any session. More on why later….
There are many times when we are thrown a ‘curve ball’ when it comes to professional sessions. Although I try to always come prepared for the unexpected, there are times when I haven’t anticipated every possible scenario which can occur. And besides, my loathing of lugging means I can’t carry every single piece of gear necessary for all occurrences. Such was the case this week during one of my client sessions.
During an arts festival one of my assignments was to do some editorial work of an artist in his warehouse/studio. No one could tell me about the space because at the very last minute the venue had to be changed for legal reasons. My assignment was strictly editorial in nature, no portraits just imagery that would capture his studio and the patrons visiting his exhibit. So I decided to only take two DSLRs and my trusty Fuji X100T along with some lenses of various focal lengths.
I’ve written quite a bit lately about gear, my little inventions and experiences using them. I try to post those tidbits on photography forums in order to help anyone who wishes to try those techniques as a ‘pay it forward’ type of action. I have a love/hate relationship with photography forums or forums of any kind. Why? Because there are trolls who live there and could care less about producing art, but rather reside on those sites ‘to be right’ by showing how much they know. Yet I seldom if ever see a body of work they’ve produced. It’s so easy for them to sit in a dark room eating Cheetos and sharp shooting from an anonymous place. Ever notice trolls never use their real names or don’t have a link to their own images? Don’t get into the trap of listening to what trolls have to say. If they really knew how to CREATE great images, they’d be out doing it instead of having terminally orange fingers and keyboards while just spewing out facts and figures.
UPDATE: June 22 2015
OCD, yup that’s me with light. This summer I have several outdoor dance shoots planned and in my normal way I’ve been obsessing about the light. The Rovelight was an answer to my prayers due to its HSS capabilities, portability and 600WS light output. But just the right modifier has escaped me up until today. I have been researching hard modifiers rather than octas, softboxes, umbrellas and such. You see where I shoot and what I love is wind. Moderate wind that makes hair blow back, wardrobe flow, all of those yummy facets in a photo that suits my shooting style. (Let’s not talk about my portable smoke machine, I don’t want to give any fire department fuel for my future trial…)
This small tutorial has little to nothing to do about camera gear. I’m on a bit of a rant these days about photo forums. The inane banter that goes on there does little to help photographers who wish to improve their craft. In most cases I find the loudmouths are have to be right trolls and there simply to be….right. At least in their own minds.
For seven years I taught men and women how to navigate their motorcycles around California racetracks. I’d hear similar things like “Oh if I buy these pipes/Powercommander/520 chain/blah blah blah it will make me faster.” Invariably those same individuals would leverage their credit cards to buy the latest titanium bits to lighten their bikes. Did their lap times fall….uh not much if at all and why? Because they’d rather BUY and brag about their gear than learn and practice. How about getting in better cardio shape and losing 15 pounds instead of spending thousands on titanium parts to save 5 pounds of sprung weight? How about listening and implementing what your instructor/coach is telling you instead of justifying why your BIKE is holding you down? Oh well….
So if you’re looking for the latest MTF chart or DxO results here, do yourself a favor and close this browser window now. Occasionally I may mention the type of camera I was using and WHY, but beyond that this article is all about improving your imagination and ability to improvise at will. And in my work, that’s what separates the men from the boys. (No offense to women, you often already practice those qualities…but like most things there are exceptions!) There’s a big difference between TAKING or CREATING a photo…