Before I started to use lights of any kind I would proudly (and arrogantly) say to anyone who would listen, “I only shoot with natural light.” I pontificated that only ‘pure photography’ was created in natural light. Truth was I didn’t know shit about using anything other than available light. Sure I had used speed lights ‘some’ but as I look back on my images I thought were great back then, well…… they are pure shit in my view today!
So during a dinner conversation with a longtime friend who knew I liked taking photos asked, “Hey do you know who Greg Gorman is? My brother Seth works with him and you may want to talk to Seth about seeing if you can take one of Greg’s classes.” After picking my jaw up off of the ground I responded “WTF you mean THE Greg Gorman? The fucking guy who has shot about every fucking celebrity I can name? Your brother KNOWS him?”
So after contacting Seth he conveyed to me that later in the year he was teaching alongside Greg during one of his classes. So I signed up. The course was one full week in Albion, CA where Greg has a residence and a studio. I won’t go into the whole thing, but suffice it to say that I owe quite a bit of my success as a photographer to what I learned from him about light during that week.
His whole objective was to teach us (four students) how to see and use light. And for the first two days we used ‘natural light’ meaning the sun along with reflectors and scrims, specifically Sunbounce gear. Because of Greg introducing me to those items along with my real life experience of all the Sunbounce gear I used and have since purchased (way too many to list) I am not only a loyal Sunbounce consumer, but have found that for on location gigs nothing beats them.
I received a Glow Panel which is 39″ x 62″ right between the sizes of the Sunbounce Mini and Pro panels I own and use. The Mini is 3×4 feet and the Pro is 4×6 feet. I have many of the Sunbounce fabrics, 1/3, 2/3 stop scrims, silver/white reflective fabric and some gold/silver combo fabric. I find that I seldom use the gold/silver since I’d rather add warmth in post if needed. And the other fabric I use all of the time is the black. I learned from Greg just how valuable a light detractor is in sculpting light. I’m not certain if Adorama plans to offer a black fabric for this device.
Prior to using Sunbounce stuff, I like others used those pop out type reflectors or white foam core. The issue I’ve always had with those pop up type reflectors is they are crap in moderate wind. One of the things I look for in any reflector is its ability to keep a tight fabric surface. Trying to feather the right amount of light onto talent is hard enough. Having to wrestle with a flexing reflector is ridiculous. And foam core, uh OK it’s cheap but a pain to transport and it never lasted too long in my hands.
The Glow Reflector/Scrim kit comes with both a 2/3rds scrim and silver/white reflector reversible fabric. The frame of the unit is hinged and fully connected via smart hinges. There is a bar that attaches to the frame which holds the unit on a light stand. It’s nice that they include a grip to attach the unit to a light stand. Unless you purchase the Sunbounce Kit, no grip is included.
The fabric is attached via Velcro and is well done and keeps the fabric nice and tight. But I do NOT like to use Velcro to attached fabric to reflector frames. Why? It’s a personal preference, but I have found that when I am shooting on location the time it takes to attach fabric via Velcro to a frame is time consuming. I had tried Photoflex framed scrims and reflectors. They used shock cord to assemble the frames, much like a tent. And the fabric was attached via strong elastic bands at each corner. Convenient to put on and off, but not very tight in holding the fabric tight and easily blown off in wind.
One issue I found with the Glow unit is when placing or removing the cross bar onto the frame, the entire end mounting pieces must be completely disassembled to attach the units onto the bars of the frame. Again more time than I’m accustomed to.
The hinges in the middle of the frame can pivot in two different ways. Only one of those ways is the way it’s intended to pivot in order to fold the frame in half to fit into the carry bag. The other pivot method simply places the frame into a 90 degree angle with the opposing side of the frame. Frustrating….
Now for the good news. If I were to keep this Panel in a studio environment and not have to assemble and disassemble the frame/fabric I’d have opted for the Glow Panels over my Sunbounce units in a second. Why? Well the fabrics are of high quality and the units present a much better value for studio work. At 99.00 which INCLUDES the light stand mounting grip, a scrim and a reversible white/silver fabric, versus a Sunbounce Mini at 378.00 PLUS and additional 153.00 for a 2/3 stop scrim you’re looking at a whopping 531.00! The performance of the scrim/reflector material is equal to the Sunbounce fabrics. But if you need to assemble and disassemble the frame on a regular basis (like I do) there’s no competition with Sunbounce. And as far as those pop up reflectors, I really don’t like their performance in the conditions in which I shoot. Sure they’re damn convenient to ‘pop up’ but their use in wind or in keeping a uniform surface has not been good in my experience. The Glow framed reflector is a much better choice.
I’m posting this just so that I can rate images on my iPad to edit those images later in Lightroom on my office PC. This process shows you how to automate the rating process from Shuttersnitch to Lightroom. If you have no interest in that workflow, no need to read further.
Update June 5 2018
I just ran a test to see if two of my iPads would receive images simultaneously from my Canon 1DX II with the WFT-E6A dongle attached. Sadly no. Only one iPad can receive images through Shuttersnitch at a time. I had thought that since the Canon was simply a transmitting wifi signal both would pick up the images. Not so….sigh.
Update June 2 2018
I just returned from a client shoot for the production of Hunchback of Notre Dame. I took 1820 image during that live performance. Normally I do a backup on my Nexto drive and then wait until I arrive back at my office to do culling and editing. I HATE CULLING. Editing is much easier for me. But on this trip I did all of my culling on my iPad Pro as I waited at the airport and then on the flight back home which is only 2 hours. My wait time at the airport was about 1.5 hours and I worked on culling for about one hour. Then on the flight I worked on the iPad culling for about another hour. So in two hours I was able to cull 1820 images down to 576 and sent my Selection List to my email. Incredible time saver for me. I highly recommend the software I’ve listed in the Original Post.
I’m going to start from the beginning. Back in 2012 I bought an iPad 2 and paired it with my Canon 1D Mark IV using a WFT-E6A Wi-Fi dongle and Shuttersnitch. I did this so I could shoot wirelessly tethered for my clients. For client work, being tethered is part of my workflow. Clients get to see images in real time without having to look at the back of my camera. For my work it’s much better than being tethered via Ethernet cables. I find that looking at the back of my camera by the client can ruin the flow between myself and the talent. It’s not to ensure color temp, focus, pixel peeping etc. during sessions. It’s to see if the shot mood, expression, concept are being executed as we discussed during our storyboard sessions. It’s so efficient to shoot tethered since a client lets me know when I’ve ‘got the shot’ and we can move onto the next scene.
And yes I realize that by shooting tethered via a cable allows me to shoot directly into Lightroom, but I much prefer a wireless tether. But like all things in life you don’t get something for nothing. My preference for shooting wirelessly tethered to my iPad meant that when I returned to the office, I had to download the files and Pick or Rate the images I wanted in Lightroom. I often had the client star the images they liked in Shuttersnitch during the session. I’d then export the Selection Files and manually enter the image numbers into Lightroom. A hassle….
And since half of my client work is via air travel, I’d have to open up my laptop, launch Lightroom and then go through my rating process in the air. I never edit on the plane, only pick the shots I think the client wants or has approved during the session. And if you travel 30-50 times a year you’ll understand using a laptop on an airplane is a PITA.
Fast forward to today, May 2018. After shooting for a new local client, my partner who is an Apple zealot wanted to just walk by the Apple store in downtown San Francisco. Since it was rush hour I mentioned that we should go in and look around to avoid the inevitable traffic. As I started to look around I saw the new iPad Pros which have keyboards built into the covers. I took my iPad Mini out of my bag and compared the weight of the Mini to the 10.5 inch Pro. Wow not much heavier if at all…hum…
So then I wanted to see if the larger iPad would fit into my camera shoulder bag. It was at that point that the salesperson, Justin approached me. “Oh gosh you would have to walk up just as I’m trying to steal this thing wouldn’t you!?” He laughed nervously and I started to ask him some questions. He suggested I type on the new keyboard and that’s when I was hooked. I’m NOT an Apple person, I use a PC. As a matter of fact my iPad Mini is/was the ONLY Apple product I own. So when I was presented with a keyboard for an iPad and a way better screen I started to calculate my credit card balances….
Long story short; I bought the 256 Gig, 10.5”, Wi-Fi, iPad Pro, the keyboard cover and the Pencil. I was determined to find out if I could replace my laptop for business travel with the new Pro since it has a great keyboard. BUT my main priority was to see if I could select images on the Shuttersnitch app and have those selections transferred to Lightroom. IF that could happen I would be very happy. Why? Because working to select images in Shuttersnitch is WAY easier than in LR. AND using an iPad on the plane is way more convenient. I do NOT edit on my iPad, only select image for editing once I’m back in the office.
Keep in mind that for production shooting per performance, it is not uncommon for me to have 1,000 to 2,000 images to cull. And my clients expect turnaround time anywhere from 24-72 hours. For studio publicity sessions the number of images ranges from 500-800 per day and the turnaround time is the same. So the most efficient manner to cull images saves me much time.
So here’s how it’s done, what’s needed: (BTW this works on a Mac as well as a PC. My partner uses Mac and she’s thrilled too!)
- Lightning card reader (I bought this one)
- Lightroom CC or Classic (not the CC for iPad) For your office computer
I use three different brands of cameras. Fuji, Canon and Pentax. With the exception of my Fuji I can write to two different cards at the same time. So I send RAW files to one card and then low res JPGs to the second card. Why? When using SnitchSync you need both your RAW file and a JPG to match your selections when matching Shuttersnitch selections in LR. (Unless you’re using DNG files, then you only need those files) As a FYI using a Wi-Fi transmitting card like an Eye-Fi also works with the Shuttersnitch/iPad combo. It’s what I use in my Fuji and Pentax cameras.
When using a card reader hooked to the iPad, it downloads everything on that card including RAW files into the Camera Roll folder. That includes any RAW files and JPGs. If that doesn’t bother you then there is no need to direct RAW and JPG files to different cards. I always shoot RAW and the files are large, especially with the Pentax 645Z. So to speed up downloading to the iPad I just like to dump my small JPGs onto the iPad. I’ll leave that to your preference.
Please note that I have NOT outlined each and every step. You need to RTFM (read the fucking manual) for each product. It’s not my job to educate you on software.
Once the files are on your iPad then open up Shuttersnitch and create a new Folder
Then Import the images you downloaded into Camera Roll into the just created Folder
Once you select images in Shuttersnitch then export them to Selection List
Email the Selection List to your email account
Copy both your RAW files and JPGs into your main computer into the same directory. If you are using DNG files you only need to copy those onto your computer.
Copy the Selection List into your Clipboard
Open up your installed version of SnitchSync and paste your selection list into the proper field as show here.
Follow the onscreen instructions and you’re all done! The files you have flagged on your iPad are now rated in Lightroom! Note that the demo version of SnitchSync limits the number of Rated files to 5. You need to buy the full version to have all of your Rated images flagged. Hell it’s only about six bucks USD for crying out loud. And I had to check my Spam Folder for the registration number once I purchased it. So if you don’t receive yours right away, check your spam.
This process has been wonderful for me. Your own workflow may prove that this method is not valuable to your needs. But if so, it’s really a godsend! Also now that I have two iPads I will be testing to see if my cameras will send images to both iPads. I don’t see why it won’t work, but will post my findings. Why two iPads? One can be for the client to view and the other for the talent. Why not?!
UPDATE June 2 2018
I installed the optional rear handle onto the Pro and love it. Being able to use the handle to adjust the angle of the strobe when it’s on a stand is so welcomed. Even though I often use a focusing rod modifier I do NOT like to use the rod as a lever to angle the strobe, so I simply hold the modifier to adjust the angle. There is one issue with the item I received. In order to install the handle you must remove the four Allen head bolts and use the longer ones which are supplied. I received two hex wrenches and I originally thought that they were different sizes, but they are the same. The issue is they both are TOO LARGE to remove or install the bolts. Luckily I have a huge tool supply and had the correct size of hex key. The supplier should investigate whether I just received an anomaly pack or if they’ve spec’d the wrong hex key.
The second issue is more of an annoyance than an actual issue. After I installed the handle the Pro would not fit into the cool little case that comes with the unit. Sad, I really like that case…sigh! But more importantly even with the handle installed it still fits nicely into my Pelican Case which is the one I use for airline transport. I recommend the handle, especially when a heavy modifier is mounted to the Pro.
UPDATE April 4 2018
My client has just released the press imagery for Hunchback of Notre Dame so I am now able to share them. The session was held on location in Seattle at the Volunteer Park Water Tower which is four stories. After obtaining the required permits we had to lug all of the grip and lighting gear up four stories and I HATE LUGGING! LOL… Because the remote head was not yet available I didn’t use any focusing arms for this session. My modifiers of choice were the Elinchrom 69″ Octa and the SMDV 110cm octa. I used the 600Pro in the Eli and an xPLOR600 in the SMDV.
UPDATE March 15 2018
During recent client sessions, both of which were on location I had the opportunity to use the AD600 Pro in combination with a number of modifiers. Because the remote head for the Pro is not yet released I did not use any focusing rod modifiers. In one session whose images I cannot at this time, I used the Pro in an Elinchrom 69″ Octa with both diffusion panels installed. I did not go over 1/4 power and was shooting HSS with my Pentax 645Z. The unit performed flawlessly.
In the session I can post images below I used the Pro in a SMDV 44″ (110cm) octa with both diffusion panels installed. The interior of the theatre where I was doing these portraits was very dark so I appreciated the very bright modeling light so that I could easily obtain focus. To date I’ve found the Pro model exemplary in recycle time, modeling light and ease of use.
UPDATE: February 21 2018
Yesterday I was able to utilize the Pro during a commercial session. Here are my observations:
- The modeling light is VERY bright, as bright as my former Einstein strobes.
- IF I use the modeling light at any power that enables the fan, the battery life is much shorter than the AD600. My session was only three hours and at the end of it I had only one bar left on power. Keep in mind that I was using the modeling light at 100% during the entire session. The strobe only went to sleep after 30 minutes of non use. I will need to experiment with power control on this unit, i.e, modeling light, sleep time, etc.
- The swivel mechanism is MUCH MORE ROBUST and far easier to adjust than the AD600. I tend to adjust the position of my lights often and in incremental steps during my sessions and the ability to pivot the modifier is excellent. Not having a ratcheting mechanism makes all the difference.
- The recycling times are extraordinary. Literally no waiting for the strobe to recycle IF you’re not using 1:1 power. One second can seem like a lifetime when I’m shooting, but I seldom use 1:1 in rapid shooting. Normally in studio I’m at power levels of 1/32 to 1/2 at the most. I’m not a “spray and pray” shooter so when I say that I shoot at will, it’s when I see a gesture or expression that I want. And at those power levels it allows me to shoot at will.
- Because the unit swivels so freely I will purchase the optional handle when it’s released. Although I plan to use the Pro with focusing arm modifiers and can use those to pivot the strobe, I’d prefer to use the handle.
That’s it for now. I used the Pro with the Adorama 65″ Glow Easy Lock X-Large Deep Beaded Silver Fiberglass Umbrella. Incredible modifier which I’m finding can rival my focusing arm modifiers in some instances!
I debated waiting to write an entire review of my experience using the new Flashpoint Godox AD600Pro strobe until I had tested most of the items important to me. Because this is my high season it would take me about six months to do a soup to nuts review. So I’m opting to write my findings piecemeal meaning – as I go along. Sorry, but I felt it best to do it this way for this strobe. As I integrate the unit into my workflow I will make mental notes and add my findings to this review.
Also since I almost exclusively use focusing arm modifiers now, I probably won’t have extensive use of the Pro until the remote head is released.
Things that are immediately apparent as improvements over the Flashpoint Godox AD600 units:
- The swivel adjustment is nice and smooth now. No more ratcheting which I hated and modified on my units.
- The modeling light is B R I G H T and adjustable to the output of the strobe. Like my old Einsteins. Love that
- The swivel mount now allows you to place the unit in a vertical (parallel to the light stand) position using a SuperClamp and a stud.
- I like the power button located on the bottom of the unit rather than the side. When I pack my strobes into my Pelican cases I often worry about the units turning on due to the pressure from the foam pads. So I always detach the batteries which airlines don’t like in checked luggage. Also simply pressing the power button now turns to unit off immediately. I like that. You must hold the power button down for 2-3 seconds to power the unit up.
- The Bowens mount seems much more snug than the AD600. But that depends on the modifier too.
Some people ‘may’ feel that the build quality is ‘better’ on the Pro but I never thought the AD600 exhibited poor build quality….except for the irritating ratcheting swivel which has been completely removed as well as improved. BTW the swivel adjusting handle can be moved by pulling and re-positioning it in the event the handle is being blocked by the strobe’s body or any attachments.
I’ve had zero issues with my units, only with the early remote heads where the LED modeling lights would fail after two months. If trolls are concerned about what happens if they drop the strobe, hell any strobe….well best of luck to them.
Of course the real aspect of the Pro will be the light quality/battery life/recycle time. I’m very interested in recycle times and the Masking feature. For color consistency a separate menu choice like the Einsteins is great. But during those times my clients need absolute precise color I have never depended upon strobe color temperature, but instead the X-Rite Digital ColorChecker Passport and a recently calibrated monitor.
I have confirmed that the new Flashpoint/Godox AD600 Pro works in HSS with the Pentax 645Z as explained in this post.
In preparation for a session this week I plan on using the Pro with my 69″ Elinchrom Octa WITHOUT a focusing rod. The session calls for a Vanity Fair style of light, so I will use ultra soft lighting which the Eli 69 delivers in spades.
Further aspects and more will be forthcoming….stay tuned.
Earlier this month while was using my Mavic to both film and photograph for a client, I was flying sideways and ended up crashing into a tree! Total user error and thankfully it was at the very end of the sessions! LUCKILY I had purchased DJI Care Refresh (Mavic Pro) when I bought the drone. They allow you to purchase the coverage within the first 48 hours of purchase. For 99.00 on a 1k item it’s a great value. But just like all insurance the REAL TEST comes when you make a claim. Any company will gladly take your premiums, but filing a claim is a different story. So I got onto the site, filled out the form and guess what? They emailed me a FedEx label! That’s right, they pay for shipping to and from! Incredible. The cost for my ‘repair’ was 79.00. And IF I crash again it will be 129.00! Now this does not cover things like theft, losing your drone, etc. Makes perfect sense. But in my case I could not be happier and DJI has a loyal customer for life.
UPDATE November 11 2017
Still practicing and boy to get cinematic film ain’t easy. But hey if it was everyone could do it! It sure is fun to learn though. Using ND filters really helps.
It’s also nice to know that the Mavic can take RAW stills in the form of the DNG format. Granted not as high res as my MF camera, but still good! What I did learn though is when I set my shutter speed at a low number, usually around 1/125th or lower when I take stills that have motion I get motion blur. Makes perfect sense, I’m just not accustomed to switching from film to stills. Learnings…..
Yep, it was time. Time to try something new, to feel uncomfortable and out of my comfort zone. Film, stills, creativity from a new perspective. How does anyone expect to grow simply by being ‘safe?’ FAA certification is on tap. Using light and motion….
I had a client reschedule one of my sessions, so I decided to do a quality of light test today with this modifier against my SMDV 110 using a focusing rod and my Parabolix 35D modifier. Since the Glow comes with this little metal disk I wanted to find out if it could produce a similar quality of light to my actual focusing rod light modifiers. Spoiler Alert: Yes it can! With one major limitation…..
I was actually away at how good this 95.00 modifier’s quality of light is in real life. The major difference between it and my other focusing rod modifiers is its inability to feather light while using the disk. I almost always feather light using any modifier. I know that many people generally point a modifier directly at the talent, but my taste prefers having the light bounce away from the talent. It produces a delicious wrap that a direct shot just doesn’t accomplish. Because the light source on the Glow is pointing DIRECTLY TOWARD the talent, but is deflected back toward the modifier by the disk (much like a beauty dish), any angle not pointing directly toward your talent exposes the strobe bulb. This creates a severe hot spot and ruins the effects of the modifier. True focusing rod modifiers point the strobe bulb AWAY from the talent toward the modifier. That greatly increases the angle at which the modifier can be turned without exposing the bulb. In addition the housing of focusing rods which hold the strobes have a flange that also shields the bulb from direct line of sight.
One of the “potential issues” I had read somewhere is that the Glow 48 is passing light ‘through‘ the spokes of the housing skeleton. I’m always fascinated how people concern themselves with things like that. In my experience it does NOT affect the quality of light in this modifier.
For the purposes of this test I shot all three modifiers directly at Jenni, no feathering. In the focusing rod comparison, no diffusion material was used on any of the modifiers. The reason I prefer focusing rods is the extra contrast, smoothness and punch they produce in the quality of light. They’re certainly not for everyone, but my clients now insist on this type of light for most of their publicity work. There are exceptions, but it’s what we both prefer. The ability to focus or flood the very same modifier to give different lighting moods/looks is wonderful.
For the SMDV and the Parabolix I had the focusing arm in their mid-flooded position (both used the Parabolix focusing arm and an xPLOR 600 with remote head), meaning halfway out from the apex of the modifier. I did this because the disk on the Glow would only go about halfway from the apex of its modifier. I did notice a color difference between the modifiers as well. I’ve decided to post the images without identifying which modifier was which…until the end. After all we each decide for ourselves what we prefer and I don’t want to influence your view of this modifier. So here we go….
I also wanted to do a quality of light test using both diffusion panels which is the way most of the people will use the Glow 48. I did NOT use the diffusion disk in addition to the two diffusion panels. The inner diffusion panel has a 2 stop circular panel which effectively reduces any potential hot spots. My gold standard in a two diffusion panel configuration has been my beloved Elinchrom 39” Rotalux Deep Octa. I found the Glow achieves 90% of the light I love in the Eli. And considering the Eli is 290.00 PLUS an additional 55.00 for a Bowens speedring AND 86.00 for a hooded diffusion panel (no grid is made for the Eli Rotalux line) that’s a whopping 431.00 compared to 95 bucks. Is that 10% difference worth the extra three and change Benjamins? That’s totally up to how your client feels about the lighting. And if you’re not shooting client work, how you feel about the light quality.
So let’s do a little math:
- Glow 95.00 (46”)
- SMDV 110 (44”) 325.00 (not including a focusing rod)
- Parabolix 35D (89cm) Package 838.00 (including focusing arm)
In order of ease of assembly and breakdown as I used them today (without diffusion panels):
- Glow 48*
- SMDV 110**
- Parabolix 35D
* The Glow is the easiest to assemble and strike IF you don’t use the inner and outer diffusion panels. They must be removed and installed each time you use this modifier.
** The SMDV is hands down the fastest and easiest modifier to assemble and break down if the diffusion panels are installed. You don’t have to remove them when breaking down the modifier. They can remain on the modifier.
- Shot A: Parabolix 35D
- Shot B: Glow 48″
- Shot C SMDV 110cm
I will simply say that the light quality and value of the Glow Deep 48” Quick is REMARKABLE. Add to that fact its cost and it’s a no brainer. It is going into my workflow immediately and I’ll not hesitate to use it when it’s the right tool for the right job. A side note, Jenni the young woman I asked to be my test subject is also a photographer. She was so impressed she plans on purchasing a Glow 48. Hell who can blame her?!
Zarli, a visitor recently asked me two questions, one of which didn’t take long to research and I’m assuming others will have this same question so I’m adding it here. He wants to know the diameter of the changeable speed ring in the unit. The measurement is 144mm or 5 2/3rds of an inch. If the light quality is as I expect I will change the Bowens speed ring to a Cheetahstand low profile ring. I’ve done this for all of my Bowens modifiers when using them without a focusing rod. The reason is the Cheetahstand Low Profile rings allow my Flashpoint strobe bulbs to penetrate further into a modifier giving me a percentage increase in light output. It’s a very easy change and well worth the extra 25 bucks.
Although I have not had time to evaluate the actual light quality of this modifier, I wanted to give my impressions of the Glow EZ Lock Deep Parabolic’s physical build quality of the unit. As is my workflow, until I can test any modifier I won’t be using it on commercial shoots. Since this is my hectic time of year I’m not sure when that will occur. But once it does I will post my impressions here. And I’m not going to get into the fucking bullshit back and forth about whether this is a true parabola. If you’re one of those best of luck and start babbling about geometric facts somewhere else. My world is about creating compelling and excellent imagery, not having to be fucking right. Plenty of other troll places you can go online for that.
At this point it’s way too early to give my impressions of the light quality, simply because I haven’t tried it! But from a construction standpoint I feel that for 95.00 USD it presents a great value. Is it ‘better’ than this brand or that brand? I can’t say, but will say that IF the light quality is great to excellent I will add this to my workflow when it’s the right tool for the right job. More to come…..later.
UPDATE May 24 2018
CalArts has placed their entire Summertime Issue 2018 #3 online.
In January 2018 the Editor of The Pool, an alumni magazine for the California Institute for the Arts contacted me about a feature they had planned for their 3rd edition of the publication. CalArts was incorporated in 1961 as the first degree-granting institution of higher learning in the United States created specifically for students of both the visual and performing arts. It offers Bachelor of Fine Arts, Master of Fine Arts, Master of Arts, and Doctor of Musical Arts degrees among six schools: Art; Critical Studies; Dance; Film/Video; Music; and Theater.
The publication wanted to feature one of their alumni – Antoine Hunter a deaf dancer, choreographer and educator. The editor informed me that Antoine had specifically requested that I create the imagery for his feature which prompted CalArts to commission me for the honored task. I met Antoine when he danced for Savage Jazz Dance Company of Oakland where I created publicity imagery for their troupe.
As with all creative endeavors my workflow was to meet with Antoine over coffee to discuss the mood he’d like to have for his imagery. Once we had our meeting I contacted the editor to discuss his wishes and we scheduled the session in and around iconic San Francisco landmarks. He wanted the imagery to reflect the majestic flavor of Antoine’s home. Beyond that, the artistic elements were left to my discretion which I always appreciate.
In March the editor flew up for the day and we began the session. Even though there was a chance of rain I was confident that the areas I had selected would be shielded from rain if it occurred. As luck would have it, it was a glorious day with wonderful clouds in the sky that I adore. Antoine brought his 6 year old daughter to the event along with his ASL interpreter. Even though we had not discussed shots of him and his daughter, I took them anyway as a memento of that day which he could have for his own memories. I too have kids and having imagery of them never gets old. In the end the magazine used one of the photos which I felt added much to his story. I’ve often found that the images created outside of an assignment are often used and enrich a story.
For all of the images I used a two Flashpoint 600s with extension flash heads to keep weight on the modifier end to a minimum. The modifier I used was a PCB Omni reflector which is my go to outdoor modifier. I had written a blog post about how I converted it to accept a Bowens mount. It is great in wind which is always a concern with my on location shoots. I planned to utilize two of these and had both with me during the sessions. All of the images were created using HSS between 1/1000th and 1/2000th of a second depending on my location and the sun’s intensity at the time. Generally the aperture was f2.8.
My plan was to NOT make the images appear lit, but balanced in natural light yet with a high production value. The only exception was when I created his portrait in a tunnel that is very darkly lit. In this instance I used two of the lights, one as a backlight to rim his figure and the other as a key light. The back light modifier was a simple 7 inch cone on a Flashpoint 600. The magazine ended up using that shot for the cover and I’m really pleased with the results.
I continue to be impressed with the performance, flexibility and quality of my 600 units, both as a monolight or with an extension head. They are key to my work and the innovation in their ability to convert from a monolight to a pack/head or 1200ws head offers me options other manufacturers don’t offer or match at the price point. I often chuckle when I read others who are so concerned about a 1/3 drop of power when using the extension heads. I guess increasing their ISO 1/3 of a stop doesn’t occur to them! LOL!!!! Some people will bitch about absolutely anything rather then spending their time on creating.
Gallery of images. Not all were utilized in the publication.
UPDATE May 15 2018
I continue to appreciate the strength and build quality of the stand. I have been using it to hold my Mole Richardson 412 converted Hollywood Fresnel. The total weight of the Mole with barn doors and 1200ws strobe head is 29 pounds. Add to that the weight of one or two Flashpoint 600s and this thing remains rock solid. The only downside? It’s a bitch to lift that spotlight up! LOL
UPDATE December 22 2017
The more I use these stands the more impressed I have become. Not only do I find they present a better value than Matthews stands, but their wide footprint makes them invaluable for my work. I use one religiously whenever I’m using a long boom arm to suspend lights/modifiers over the talent. I’ve found that by placing my 15 pound counterweight on one of the legs rather than on the boom arm is beneficial for two reasons. First I am not having to lift an additional 15 pounds up while raising the height of the stand. Secondly the lower placement of the counterweight is more effective in offsetting the weight of the modifier and light head than placing the weight in a higher location on the stand.
UPDATE October 19 2017
I’ve had the opportunity to use this stand extensively over the past few months. I will simply say that whenever I need to ENSURE that my light/boom/whatever combination needs to be rock solid it is my go to light stand. I always use it when I’m using a boom arm for an overhead light. Or when I use my 59″ Zeppelin. Do I like lugging it to locations? Oh hell no!!! It’s damn heavy, but the trade off of stability and rock solid dependability to ensure the talent is never at risk of being injured is well worth it!
UPDATE August 16 2017
I am preparing for a fashion shoot and due to the way I will configure my 59″ Westcott Zeppelin on my boom I could not be happier with my Flashpoint Junior Steel Wheeled 12′ Stands! Their huge footprint makes them so stable for things like this.
UPDATE July 17 2017
I recently wrote an article about using all of my Xplor/Godox lights in one shoot including the Junior Stands. You can view that post here.
UPDATE: February 18 2017
Today I ran an eight hour studio session for a client’s upcoming season brochure. I was able to use the Flashpoint Junior Steel Wheeled Stand – 12′ for an entire day. I should explain that this day involved shooting seven different scenes with different talent for each, so moving lights around was constant. I will simply say that the stand performed FLAWLESSLY and I will not hesitate to purchase another and another. The wheels are incredible and roll over extension cords with ease. Granted none of my strobes use cords, but my smoke/haze machines/wind machines do! These stands are highly recommended for its performance and value. Be forewarned these are not sissy stands, they’re heavy and beefy, use them in studio only!
UPDATE May 14 2018
I recently conducted a client publicity session using my converted Mole Richardson 412.
I was finally able to run a session with both the converted Mole Richardson and my gobo light modifier where I use Rosco size B gobos. The Mole Richardson performed brilliantly. Since I was in studio I did not use both AD600s, but rather a single one. Barn doors were used along with a light modifier I am not allowed to display or mention. I used it as a fill for these shots.
The final tweaks have been made to my now converted Mole Richardson Junior 412 2000w tungsten spotlight into a strobe. I have installed a Flashpoint 1200ws strobe head into the unit along with a 9″ reflector as well a diffusion bulb cover. I love the look large Fresnel lenses offer for light and plan to use this not only for portraits, but for dance. The modifications I’ve made allow me to convert the Fresnel BACK INTO a tungsten light. The design of the light is genius. By simply removing four machine screws the entire guts of the light simply drop out.
I wanted to try the converted unit outdoors using the barn doors and HSS. Still more refinements, but I believe this will make a valuable tool in my lighting kit. Both images shot at 1/2500th f2.8 ISO160
Original Post March 27 2018
I’ve been in love with the light a Fresnel throws. As a young man I marveled at Hollywood glamour portraits produces by film and Fresnel spotlights. I purchased and have used two Aputure 4.5″ Bowens mount Fresnel modifiers with much success. But I longed for a larger version of a Fresnel. So I researched models over 8″ in diameter. The only ones I could find were the Elinchrom FS30 and the Broncolor Flooter. 3k and 4.5k respectively in price. There are some new LED Fresnel lights that are great, but I wanted a strobe. So….
I purchased a used Mole-Richardson Junior 2K Fresnel Tungsten Light, 10″ Lens – 412 off of Craigslist and am converting it to accept a strobe. It’s going well and when the project is finished I’ll be posting how I did my conversion as well as some test shots. I’m excited to say the least as it’s going way better than I expected. I wanted to have the ability to switch from my 600ws head to my 1200ws head when needed. I love choices. One of the great design elements of this classic unit is the ability to switch it back to its native tungsten configuration. AND Mole Richardson sells a LED conversion kit that only takes four screws to install. The unit is designed so well. No wonder so many film studios used these things!
My total cost to convert it to accept a strobe including the cost of the unit? 315.00 including the barn doors!
UPDATE May 13 2018
I recently used the Glow 65″ Deep Beaded Silver Umbrella on a commercial shoot. My decision to use this modifier over my normal focusing rod modifiers had to do with the unknown. Although I knew what the client wanted, I had no idea of the area where we were to shoot the session or whether I had to move from spot to spot. Breaking down and setting up a modifier could have presented a potential issue with time, so I opted to use the Glow. I was very pleased with the results as is the client. The beaded texture of the modifier is something I prefer as it adds more contrast to the images.
Wow! I’ve read about ‘deep umbrellas’ for some time now and have tended to “poopoo’d” them. Sure higher end companies like Profoto manufacture deep umbrellas, but for their price point I’d rather go with an octabox. I had been a huge fan of PCB’s PLM umbrellas and still utilize them from time to time, but had made a move to more ‘professional’ (bullshit word btw) modifiers like Parabolix. I love the look of focusing arm modifiers produce. Punchy, yet soft when you want soft. Focused when I want focused light. I now find ‘normal’ softboxes boring in what they produce and when I want to keep spill with softboxes, I’d have to use grids. Not so with a focusing arm modifiers. This deep umbrella prevents “spray light everywhere” situations like normal umbrellas and non gridded softboxes.
Prior to using focusing arm modifiers my go to octa was the Elinchrom Rotalux Deep Octabox 39″. The light that modifier throws is magical. So when I saw the Glow was offered in the same ‘pebbled’ texture silver interior fabric as my beloved Eli 39, so I opted for that model. BTW I continue to use the Eli 39″ in both a diffused and focusing arm configuration. During a client’s session they allowed me to use the Glow 65″ in some ‘test shots’ with their talent. I used it as the key light, camera right for two of the actors. The fill light was camera left and I was using a 69″ Elinchrom Oct which I have adapted to use a focusing arm. In this configuration I had it in the fully flooded position. In another post I have displayed my shot using the 69″ Eli with a focusing rod.
The actors are in costume for the play “The Elephant Man.”
So the question is, would I use the Glow instead of the Parabolix, CononMark or Zeppelins. The simple answer to that question is ‘no’ I have yet to find a single modifier that can do EVERYTHING well. BUT when choosing the right tool for the right job I would not hesitate to use the Glow Deep with pebbled silver interior. As a matter of fact I plan to obtain the two smaller units as well. The ROI and ease of setup and striking of an umbrella is undeniable. What The Glow line has done is mitigate the down sides of the lowly umbrella for a price that presents an unbelievable value. And for me no matter how ‘cheap’ a piece of gear may cost, if it doesn’t produce EXCELLENT light when I’m using it, then it doesn’t get used.
For people on a budget I cannot think of a better modifier to use. And for people who make their living shooting, it’s an incredible tool to add to your bag.
UPDATE April 22 2018
I recently used this unit during a session with a Fresnel. It can be found here.
UPDATE April 18 2018
I recently tested the Flashpoint xPLOR600 Pro on location using my gobo device for an upcoming session. Because of the Pro’s excellent modeling light I was able to see exactly where the pattern falls even in bright daylight. Plus the LED modeling light does not generate enough heat to affect the plastic Fresnel lenses in the unit.
UPDATE March 25 2018
I decided to update this post even though the two gobo modifiers I use are sadly no longer available. The first unit I’m talking about is the SP Image Projector. It uses Rosco size B metal gobos. When it was available it was very inexpensive as well as very effective. I’m updating this post to say that I’ve adapted it to accept any Bowens strobe since I’ve switched from PCB Einsteins to Godox/xPLOR600 units. I also needed to have the ability to rotate the gobo holder so that I can angle the unit to suit my needs. When I was using the PCB strobes Paul’s mounting system allowed me to rotate the unit when attached to an Einstein. Not so with a Bowens mount so I simply used an older Bowens speed ring which allows me to rotate the SP Image Projector.
Apparently both of these gobo modifiers were not popular enough for each manufacturer to continue producing them. Sad. I know that there are companies who make gobo projectors for speedlights so all is not lost if you want to use one. Before I found any of these unit I converted a Leko 1000w tungsten theatrical follow spot into a strobe gobo modifier. I wrote a post about this crazy idea and will be converting it to accept a Bowens mount. Yeah it’s damn heavy, but produces the best light to date for gobo use paired with my 1200ws head. Just kinda impossible to take on an airplane! LOL!
UPDATE: August 4 2015
One of the great advantages of having a portable gobo/strobe combination is the ability to use patterns of light outside of a studio environment. Recently I wanted to create the illusion of a window on a painted concrete wall located in a parking structure. I loved the texture the wall provided so I simply took my gobo device, one Einstein strobe hooked to a Vagabond Mini Lithium battery. An incredible little combination for on location light pattern needs.
For years I have hauled around a full size stage follow spot just so I could use gobos in special photo shoot sessions. For anyone who knows me I seldom complain, it’s just how I was raised. But I will say that on a CONSISTENT basis my primary bitch is lugging gear. I hate it, I literally hate lifting, hauling and dragging gear to and from the airport, onto the car rental shuttle, into the rental counter, into the car, into the hotel, back out of the hotel into the car and then into the client’s venue. And then all of that in reverse. Get the picture? Assistants? Sure, but not on every assignment….
UPDATE April 19 2018
Recently I have favored Fresnel lighting for my on location outdoor sessions. The flexibility of the Fresnel’s ability to focus its beam, it’s matching light quality to sunlight and the stability of the modifier in high wind makes it a winner for my work. The other aspect of my work I’ve been trying to improve is the ability to make a lit scene not look lit. It takes much more finesse to light any scene as if it is just natural light, but with a high production look. Still much more to learn, but the Aputure Fresnel is a remarkable tool. My strobe of choice for this session was the Flashpoint xPLOR600 Pro.
UPDATE February 25 2018
I’ve written an on location post where I’ve utilized an Aputure head.
UPDATE January 26 2018
I’ve recently written a post about my use of the xPLOR600/eVOLV200s with several different modifiers for a session. You can find that post here.
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.
UPDATE September 10 2017
I recently posted an article on my use of all Godox units in one session. The article includes the use of this product. You can view that post here.
My initial findings for the Aputure Fresnel Lens – July 6 2017
Because I work with so many theatrical stage lighting designers and bow to their artistry along with how COMPLEX their jobs become, I am very familiar with the Fresnel lens. It’s a staple of the constant light stage world and was very popular in the early Hollywood celebrity portrait days. Many shooters now love ‘soft light’ the softer the better in their minds. But the use of bare bulb lighting and Fresnel light is very powerful and effective to convey the right mood in a shot. So for a whopping $69.00 I decided to buy the Aputure Fresnel Lens off of Amazon.
One of the things I will find out in actual use is how much light bleed from the vents on the side of the housing cause. I believe that will depend on where/how the strobes are placed in relation to the subject. Since the unit is made to be used with all Bowens mount units the vents are placed to dissipate heat. I don’t imagine that the light bleed from the vents will affect my work unless I’m using the unit for an overhead light which may bleed onto any seamless I’m using. Time will tell and if that is the case I will simply use some Cinefoil to mask off any bleeding light. Stay tuned….
I wanted to determine how much light loss happens using this modifier compared to a bare bulb or 7″ cone. My little test was done outside in daylight. Using an Xplor 600 at maximum power (1:1), 20 feet from the wooden wall, measured with a Sekonic L-358 light meter, ISO 100, 100th of a second. My finding:
- Bare Bulb: f9.0
- 7 inch cone: f9.0
- Aputure Fresnel: f8.0
The f8.0 was when the unit is set at the maximum spread of 42 degrees. Things change when I zoomed the Fresnel to the 15 degree mark which yields f9.0 at the same distance.
Obviously I will be continuing to update this post when I use it on a commercial shoot. In September I have a dance session where I plan to use this unit along with a gobo strobe modifier. At this point I’m very pleased with the construction and operation of the unit. Stay tuned.
UPDATE March 29 2018
Because I’ve changed from PCB Einsteins to Godox/Flashpoint 600s I needed to ‘convert my conversion’ to accept a Bowens mount. It was very easy since I simply bolted a Cheetahstand Low Profile Speedring onto the PCB umbrella reflector. His low profile speedrings allow the bulb to insert further into a modifier. Now I have the ability to not only use the 600ws heads but also the 1200ws head when needed. Very slick!
Why? My view is why not?! A few years ago a friend asked if I wanted an old Leko stage follow spot. Being a bit of a lighting pack rat I said “Sure!” I originally used it so I could apply light shaped with gobos in my still photography for dance. It also allowed me to create lovely rays of light using haze combined with different gobo shapes. In its original state the Leko was a 1000 watt constant tungsten light. Plenty powerful for stage applications, but completely overpowered whenever I used it in conjunction with my Einstein strobes. Even though the Steins can go as low as 2.5WS doing simple math shows you that at 1000 watts shot at 1/250th of a second yields about 4WS, not a ton of power.
UPDATE: March 25 2018
I wanted to do a final test prior to using this modifier. I placed my eVOLV200 into the unit with both the Fresnel and bare bulb heads to see if there was any light output difference. I originally thought that the bare bulb would produce a higher output but I was wrong. Both the Fresnel and the bare bulb produced f32 at 2.5 feet from the front of the modifier. Power level for all shots was full power, 1:1. As I contemplated the output is not even across the face of the diffusion panel. Not unexpected since this is designed primarily for speedlights. Also ANY modifier where the light source is not centered would most likely not produce even output across the face of the diffusion panel:
With Fresnel Head
- Center: f32
- Right (where the strobe enters the modifier)” f29
- Top: f30
- Bottom: f29
With bare bulb attachment
- Center: f32
- Right (where the strobe enters the modifier)” f29
- Top: f30
- Bottom: f29
I also added my Godox AD-S18 Flash Tube Bulb Metal Protector Shovel Cap to see if blocking the flash bulb at the entry point would produce even light. But instead it reduced the amount of light across the entire face! Center was f22.
So I’ve determined for the uses where I plan to use the Sundiscs, I will simply use the Fresnel head on the 200. It’s less prone to breakage than the bare bulb and I have a modeling light when using the Fresnel attachment. Keep in mind all of this was done using a Godox S Bracket to hold the 200.
I came upon an article by Michael Sewell about the Sundisc modifier. His review intrigued me enough to further research the piece of kit. After looking it over on other sites and reading his review in full, I felt it worthwhile to invest in two to see how I could use them in my workflow. My original thought was to use them in those infrequent, but frantic ‘run and gun’ situations where a client needs me to go around different parts of a venue and with very little time with the talent. I also thought that they may be a nice alternative to overhead or side fill lights.
It took about two weeks from ordering to arrival since they are shipped from China directly to the consumer through Sundisc. As with all gear I test them thoroughly before even considering using them on set. Determining the best use of a tool along with how I would configure it is just protocol for my workflow. So the first task is always examining the quality of the construction. The units are well made, seams are well sewn, zippers and elastic are of high quality. The reflective materials are thick and well placed. The Sundisc allows you to reverse the modifier for silver or gold reflection, very nicely done. The elastic loops are designed to hold speedlights, but I found that using a Godox S Mount is much more useful than using the elastic bands. You’d have to use some sort of swivel anyway to mount this to a light stand so I found that an S Mount is just right for my use of the Sundisc.
At this point I only tested the Sundisc with my eVOLV200 using the Fresnel head. The bare bulb attachment would easily work as well. One of the other advantages of using the S bracket is the ability to place the head of the strobe very low in the modifier, thereby filling the entire surface of the diffusion panel. Keep in mind that I don’t think I’d ever use this outdoors or in a mild breeze. I’m not sure how the construction of the disk keeps the sides separate, but whatever is holding them apart works well. Yet even a slight breeze would cause the modifier to twist or turn, so for me I’d only consider using it indoors.
So I decided to try it on Bob to view the quality of light the Sundisc produces.
Some people may ask if the strobe produces any hot spots in the modifier close to the actual flash head. At this time I didn’t notice any hot spots.
During my initial evaluation of this unit I find that the quality of materials and the quality of light it produces is well worth the investment. Obviously during actual use more uses/issues may become apparent than just during my initial overview. I really like how thin the unit is and how small it packs down to transport. It’s very light weight as well which is another plus. The only downsides I see right now is my perceived inability to use the unit in a breeze, but other than that I’m happy to try them on a commercial shoot. Although they will work with my H600 remote heads using a Bowens ring to insert into the hole of the Sundisc, I doubt I’ll be using them that way. Using it as a key light? Uhhh….not sure, maybe? Like I always say, never say never….Time and experience will tell though….
While reading an article that Markus Klinko wrote I found an effective glass diffusion dome to go over the AD600/1200 bulbs. He uses them primarily in Fresnel modifiers and I can understand why. Unlike focusing arm modifiers or diffusion panel softboxes, Fresnel lenses project a beam of light through a lens. So any details or more accurately patterns of the bulb element will be projected onto the subject. I found this in my own experiment with the now discontinued PCB Retro Laser modifier which projects light through a parabolic (a real parabola!). When I was using my 1200ws head that contains two bulbs elements the resulting light showed the separate bulb patterns in my test.
I noticed that the diffusion glass cover he uses is sourced from China so I found one that may be made in China but has a short shipping time. That is the one I’m reviewing which is the Opencloud brand I found on Amazon. It’s also less expensive which is interesting since the one he uses is sold by Opencloud as well…go figure!
I had to remove some of the foam tape located at the rim of the frosted glass cover so that it would fit over the bulb without too much friction.
I decided to test the cover to see if the diffusion reduces the output of the strobe. I placed my Sekonic meter 10 feet away and set the AD600 to 1:1 power without any modifier. Without the cover at 1/100, ISO 100 the output was f14. With the diffusion cover it was f13. Now before you all get your panties in a twist thinking “Wow that is very low!” remember that a 7″ cone reflector is going to amplify the light much more than just firing any strobe with a bare bulb. My point is NOT to show how powerful the strobe is but to test to see if the glass diffusion cover reduces the output, and it does by only a third of a stop.
I plan to use the glass diffusion cover whenever I use my Retro Laser, Fresnel, PCB Omni or any other modifier where the bulb is focused without diffusion where I notice an element pattern on my subject. It’s nice to have this inexpensive option.
Long ago I gave up participating on forums. Why? Because like ex-girlfriends who just had to be right, I cannot stand people who talk, bitch and produce nothing. Or sadly feel their work is good! I do frequent a few sites, the-digital-picture where Bryan and Sean take their time and review camera gear with integrity. Flashhavoc is where I learn about new lighting items. And I recently started frequenting Lighting Rumours which also talks about new lighting gear but have reviews of some of the items. Markus Klinko a shooter whose body of work I admire, also posts some interesting information about gear he uses on that site. He’s a commercial photographer who has a link to his work in his articles which is very well done. One of the aspects of how he approaches gear is that the brand/cost is irrelevant to his decisions. He states he uses Elinchrom, Broncolor, Cheetahstand among others. He looks at the performance of a product, not the brand or price point. I admire that as I tend to do the very same thing in my own selections.
Most if not all fucking trolls NEVER have links to their work, EVER. Why? Well because they really don’t know how to shoot well yet love to hear themselves talk about gear. Their photos ‘may’ be ‘nice’ (my mentor’s word for shit work) but instead they like to bitch about anything and sharp shoot those who are expressing their views.
Working photographers who post reviews of gear they’ve used are people I truly respect. Trolls are the bottom feeders of any craft.
Here are examples of the comments relating the Markus’ quick personal review of the Elinchrom Indirect Litemotiv Octa 190cm. Not all are trolls, but you will be able to immediately identify those who fit that category:
Markus thanks for your personal assessments on Lighting Rumours. It takes time to write these things, I know that first hand. And thanks for supporting the craft of photography.
This article by Ilona isn’t about photography, but it is about fucking trolls. “Ever since the dawn of the internet, there have been trolls. These broken, deeply insecure people love nothing more than to bring others down to their level by preying on their insecurities.” What’s great though is if you’re not insecure it don’t mean shit.
OK so I know this is primarily a photography blog. Most folks come here for photo stuff…I think. But for me life is much more than just imagery. Hell I’ve written about ebike lights, toolboxes, my late Mom….it is after all my blog. So it means I can write about whatever I want and if you don’t wanna read about it, you don’t have to, do you?
I own my home in the Bay Area, one of the most expensive places in the world in which to live. And I plan to die here since I never plan to sell. So I keep up my place, I do the vast majority of housework, cleaning toilets, showers, the yard, laundry and yes vacuuming. Even though my girlfriend lives here her division of labor is cooking, albeit has somewhat dropped off. Since I travel for 50 percent of my work, doing chores is not something I look forward to when I’m home.
One of the things I really like are freshly washed towels and vacuumed carpet. I just like the way freshly vacuumed and clean carpet feels on my bare feet. But hauling out the vacuum cleaner, plugging it in, moving furniture, etc. isn’t something I’ve enjoyed. But I pay that price for a clean carpet so my tootsies can be happy when they get to walk on freshly vacuumed fiber. Weird maybe, but WTF I’m weird anyway.
So about four months ago a friend of mine was in town from Dallas to do a concert. He’s the co concertmaster at the Dallas Symphony Orchestra and we’ve become friends. We shared some talk about what’s been going on in our lives and he mentioned that for Christmas his parents bought him a “Roomba.” “OMG” I yelled,” I’ve wondered about those things but have never known anyone who has one. Plus they’re damn expensive!” He laughed and said he didn’t know anything about the cost, but loved his. He then showed me the app on his phone that shows how it can be scheduled, its vacuuming history, etc. Boring as shit stuff to most, but for me I was intrigued.
So we said our goodbyes and I went home and immediately searched Google for reviews of remote vacuum cleaners. I found this Consumer Reports review and decided on a Roomba 890 based on Nathan’s recommendation and their review. Man they’re expensive, ranging from 400 to 1000 bucks! So I did what I usually do, I looked for refurbs or “Like New” returned units and guess what? A model 890 was available for under 400 bucks so I took the plunge. Amazon has such an amazing return policy I figure if it didn’t work for me I could return it.
The Roomba 890 arrived, I installed the app on my Android device and I was off to the races. I named my 890 “Maria” (which is my gf’s first name (hehehe) and started her. But before all of that I vacuumed my entire house to see what if anything Maria would collect on her maiden voyage. What I noticed is she goes around my home (a single story place) without any seeming rhyme or reason. She got stuck in my bedroom walk in closet when she closed the door behind herself. She sometimes becomes confused in my bedroom having to navigate around all of the light stands and studio crap I have piled in there too. But most times she eventually finds her way out.
After her first voyage I was shocked when I opened her dust bin to find a lot of stuff! Remember I had just vacuumed the entire place so I expected very little to be collected. It may be due to the fact that she can go under furniture where my regular upright has trouble fitting. Or I’m just a shitty vacuum operator! One of the coolest things is how she collects long hair in her rotating brushes. It all gets pushed to the ends so when I remove the brushes to clean them the hair is easy to remove. I don’t have pets, but my gf has long hair. I have a shaved head so it’s certainly not mine. Cleaning her is very easy and I use my compressor to blow out all of the dust when she’s done.
80 percent of the time Maria finds her way back to home base and docks to recharge. In the 20 percent when she can’t find her way back she runs out of battery life and just stops where she ran out. My feet love being on freshly vacuumed carpet, even more so when I don’t have to do the damn vacuuming. My gf thinks I’m crazy, but I could care less. She’s not the one who ever vacuumed the place! On a flight home from Seattle she sat next to a woman who works for Amazon. And as luck would have it she was the one in charge of the vacuum devices division! She told my gf that ‘if you can afford it’ the Roomba line is the best one to buy.’
And just like with all things my gf believes what other people say way more than me. Is Maria worth the price? That’s up to each individual, but I’m happy to pay a bit more than a normal vacuum to eliminate a tedious chore, yet enjoy the feeling of clean carpet under my feet. Having my cake and eating it too…a rarity!
Maria has found a permanent home here. I love her. LOL!
UPDATE March 15 2018
During a recent client sessions, both of which were on location I had the chance to use the AD600 Pro in combination with a number of modifiers. Because the remote head for the Pro is not yet released I did not use any focusing rod modifiers. In one session where I cannot release the images at this time, I used the Pro in an Elinchrom 69″ Octa with both diffusion panels installed. I did not go over 1/4 power and was shooting HSS with my Pentax 645Z. The unit performed flawlessly.
In the session I can post images below I used the Pro in a SMDV 44″ (110cm) octa with both diffusion panels installed. The interior of the theatre where I was doing these portraits was very dark so I appreciated the very bright modeling light so that I could easily obtain focus. To date I’ve found the Pro model exemplary in recycle time, modeling light and ease of use.
A few years back I purchased a SMDV S70 28” softbox when I was using speed lights with modifiers. I was impressed at the quality of the light, but even more so with how it opened and closed with ease! Later Adorama started selling their own version of the softbox under the GlowPop brand. They use the very same mechanism as SMDV for opening and closing the unit. I bought one of the GlowPops for quick run and gun shooting and liked the light weight both units provided. I changed both of those modifiers from the speed light bracket to Bowens brackets since I no longer used speed lights.
I recently wanted a more robust modifier that would set up quickly and have a better attachment system than the SMDV or the Glow Pop. Both of those hold the speed light or Bowens bracket onto the speedring with VERY SMALL SCREWS and on both the GlowPop and SMDV units I own, they have stripped out. We’re talking Phillips screws so small you must use a jeweler’s screwdriver to remove or install them. That’s small!
I’m also in the process of ‘paring down’ the number of modifiers I’ve collected over the years. My personal rule of thumb is if a modifier like my Zeppelin 47” with its heavy mounting bracket can be replaced by something within 10% of its size I’ll do it! You see I use focusing arms for many of my modifiers so I seldom use the diffusion panels that come with the modifiers. After doing some research I found that SMDV sells an A110 softbox that measures 44”, close enough! Plus it’s much lighter and a great shape for ‘parabolic’ focusing using a focusing rod. And their signature opening and closing mechanism makes it even sweeter to replace the Zep.
The largest GlowPop made is 38” and still uses those tiny damn screws to hold the bracket onto the speedring. The SMDV makes a 44” which fits within my personal parameters when I’m considering replacing another modifier for various reasons, in this case my 47” Zep.
So here are some of my initial tests using my trusty buddy “Bob” to ascertain the light qualities/spread/focusing capabilities of the modifier. If you are not familiar with focusing arm modifiers I suggest you search the web. This post is simply about my own findings with the SMDV 110. As I use this on real client sessions I will be updating this post. If at some point I opt to use the SMDV 110 with its included diffusion panels I will post those images as well.
So remember this is ONE LIGHT, ONE MODIFIER and simply angling the modifier to the left or right or focusing or flooding the light produces dramatically different looks. It’s just ONE of the reasons I love focusing arm modifiers. And the SMDV 110 is perfect for my needs. Well made, well designed and the quality of light it produces makes it a great choice for me. Oh and the weight and ease of assembly is just icing on the cake!
UPDATE March 4 2018
Yesterday I was commissioned to create imagery of a dancer for an upcoming magazine cover. It was all on location and I was using xPLOR600s one with a H600 remote head. All of the locations were outdoors. In the first location I was completely outside with no walls or ceilings around me. The Flashpoint R2 Pro C worked flawlessly. When I moved into an area where two vertical walls were present that’s when my troubles began. The strobes would not fire. I had to restart my camera (1DX Mark II) as well as restart the R2 Pro. The strobes would then work for about 4 flashes and then the same issue would occur. I got my shots and then moved to the final location. Again one without walls, but during the last portion I was shooting in a tunnel which of course has walls and a ceiling. In all but the aforementioned venue the R2 Pro worked flawlessly. I’m not certain what would have caused the misfiring. I have my trigger set at the 0-30 meter setting and the strobes were well within those distances. Strange….
I am literally at a complete loss for why the R2 would misfire in my second location. So as a backup I now plan to carry both the R2Pro and an X1 whenever I go on location. I am using rechargeable alkaline 1.5v AAs in the unit which were fully charge. I have another outdoor on location shoot this coming Friday so I’ll be taking both.
UPDATE December 9 2017
I just returned from a two day studio session using the Flashpoint R2 Pro C on my Pentax 645Z. The unit performed well and I discovered that when using the transmitter with another non Canon (C) camera the Standby feature does not function as it does on the camera it’s designed for. I have the R2Pro set to Stby in the menu and when mounted to my Canon when I half press the shutter the R2 comes back to life. Not so with my Pentax. I must physically press any button on the R2 unit to revive the transmitter. Other than that (no TTL or HSS) it works well.
UPDATE November 15 2017
I recently had the opportunity to use the Flashpoint R2ProC during a commercial session. The short story is it worked flawlessly. My issue with the XT32C sometimes misfiring when standing right next to my key light did not occur at all. I have the unit set to 0-30m distance in the Custom Functions. The most significant feature I can highlight at this point is being able to view most if not all of my strobe settings at once. It’s wonderful. I did run into one issue that is totally user error when attempting to use the ALL button to change all of my light settings…
I had left A-E lights active but for this session I was only using two lights. I became frustrated when trying to adjust all of the lights at once since the unit seemed to only allow a 2 stop range down or up. What I realized when I got home is that by having more than the number of strobes I was using active on the screen, the unit will only go up or down based on the lowest or highest setting of a group.
Let’s say group D which you’re not using is set at 1/64th. If you scroll power down and have your units set to 1/128th as the lowest setting all of your adjustments down are limited to just one stop. So the answer when using the unit is ONLY KEEP ACTIVE those light groups you’re actually using. I tried to find this in the user guide but it is not listed. Now you know.
I have assembled some of my initial impressions and comments about this transmitter. It will be a few weeks until I can actually use the transmitter in sessions. But that won’t be before I run it through some of my own usability tests. I must admit that I was hoping Godox would develop a transmitter like this. I want to say straight off that in life there isn’t a single thing that is perfect for everyone. I laughed out loud when I read one person was concerned about the angle of the R2 Pro which they felt is ‘too angled’ and forced them to tilt their camera ‘too much’ to see the display. Another person complained about the R2/X1 controller having no tilt and hitting him in the forehead when he looked through the viewfinder. All things can be improved including human attitudes. The important thing is if a piece of equipment is right for YOU. And of course every manufacturer can and should improve their products, and the R2 Pro is living proof of that concept!
For many years I enjoyed the use of the PCB’s CyberCommander with his Einstein line of strobes. Sure the CyberCommanders involved a bit of a learning curve, was not the most elegant interface…BUT it was so well designed from a function/operational standpoint those aforementioned issues seemed petty. I loved being able to view the power settings of all of my strobes in one look. The range of the CyberCommander was excellent and the variety of controls I had at my fingertips made my job so much easier and more importantly was my ability to focus on the talent, not the lights.
One of the things I noticed right off about the R2 Pro was the battery level indicator. (BTW neither the R2/X1 or the XT32 have battery level indicators) I had just put fresh rechargeable Enloop AAs into the unit and in a matter of seconds it went from 3 bars to 2. Strange…so I changed to a new pair and it was the same. I then got out two fresh Duracell Alkalines and guess what? Three bars stayed. Since I had not yet read the manual and figured I needed to put batteries into the unit to follow along I began to search for the answer in the user manual. Page 09 states:
“AA alkaline batteries are recommended…..Low Battery Indicator When the battery power is weak, less than 2.5v…replace them to assure a strong wireless signal and reliable flash triggering.”
Well there you have it. Alkalines are 1.5v and rechargeables are 1.2v. So right off the bat 2.4v is BELOW the 2.5v they recommend if batteries need replacement. This is certainly not a deal breaker even though I use rechargeable batteries for all of my gear. I will research if anyone makes 1.5v rechargeable batteries. And I will have to find out through testing if 2.4v affects the transmitter’s ability to consistently fire my strobes. If not, then it’s back to using alkaline batteries in this unit. It’s also very interesting that the battery indicator does NOT come on immediately when you boot up the unit. There’s about a two second delay before it appears. I surmise that the unit is ACTUALLY testing the battery level before displaying the remaining voltage…..interesting.
I should also state that I am NOT a speedlight user. I may use one now and again, but my work does not lend itself to speedlights. My work involves the use of strobes so I won’t be testing/writing much if anything about the unit’s compatibility with speed lights. Sorry. I’m not a review site, but like to post what I observe to help other shooters who may or may not operate with the gear I talk about. While I’m on that subject I realize that this unit has TCM, TTL Converted to Manual. Never had that, seldom if EVER use TTL. I’m the old school light meter kinda OG and with digital hell I don’t really need to use my light meter all the time. I can get pretty close because I do this so much and adjust my lights/aperture/ISO/Speed after looking at the shot and Histogram. So I will get around to ‘testing’ the TCM at some point and report my findings. It seems like a cool feature though…
Initial operational observations
HSS and Second Curtain Sync
The R2 Pro requires you to select HSS, Second Curtain Sync or nothing. Unlike the R2/X1 and the XT32 which automatically switch to HSS above Canon’s sync speed, you must enable HSS on the unit or the camera will not go above the sync speed, at least on the 1DX. With the X1/R2 when the shutter is set at 1/30th or slower the camera automatically goes into SCS. The XT32 does not and you must set SCS in the camera’s flash menu when using the XT32. On the R2 Pro C you must set SCS on the transmitter or the flash will remain in first curtain sync. Unless I plan to use SCS I found that leaving the controller in HSS allows it to function in both HSS or normal sync.
In the Group view you must press the MOD button which lights all of the group’s modeling lights. Only then can you turn OFF individual modeling lights for multiple strobes. If you do not turn on all modeling lights in the group view then selecting a specific group with the physical buttons on the left side of the controller does not show the MOD choice on the menu. Sounds confusing I know, but once you get a unit you will see. I prefer the ability to decide which strobe’s modeling light is on or off and the unit has that ability.
Like the modeling light I prefer to control individual units beeping, but it appears it’s an all or nothing choice with the R2 Pro. Certainly not a deal breaker! The nice thing is this unit has a Menu button which easily accesses the former “Cf” function area. That’s where you can enable or disable the sound along with other functions.
Individual Group On/Off function
There are often times when I want to turn an individual strobe on or off and this can easily be done with the R2 Pro. You simply go from the Group view to an individual Group and toggle through the choices of M, TTL or Off using the physical Mode key. Easy!
This is in the Menu area and it’s welcomed. There have been a number of times when I was using my XT32 that I’d get misfires while standing right next to my keylight! It was not all the time, but sporadically and at random times. Now in the Menu area is a DIST choice of 1-100m or 0-30m. In studio and on location I tend to shoot within the 30m distance so it’s nice to have that choice. I’ll be testing to see if I get any misfires when close to strobes. I’ve never had an issue with either my X1/R2 or XT32 at long distances.
Good god I love having an ALL button that is physical so I can easily turn all of my lights up or down keeping ratios I’ve set before the same. I’ll use this feature all of the time.
Something I’ll miss….
On the XT32 when you change Channels in the upper right hand corner is a little diagram of how the old school dip switches correspond to your channel selection. I know most of you don’t use those old dip switches anymore. But for me when I use my Pentax 645Z and the old FT-16 USB receivers to get HSS with xPLOR/Godox strobes I am often changing channels. It’s pretty idiot proof for me to just look at the diagram and switch those little dip switches. Oh well… I’ll just carry my XT32 as a backup anyway.
These are just my initial impressions of the long awaited R2 Pro! And the topics I’ve outline above are the features that are important to me and my work. I have yet to test the unit other than to see how HSS/SCS work and they perform just fine with both the xPLOR/eVOLV line of strobes. I’ll be posting more as I have the time to test the units and finally in commercial work. So stay tuned.
UPDATE February 26 2018
OK so after having used the Coolbox on location for a few weeks I have an improvement I’d like to see them make on the next version. The lifting handle opposite of the wheels is way too short. Why you ask? Well it’s fine for lifting the box in or out of the car, but leaning down due to the short handle as you roll it is a pain. It’s because the handle is made primarily for lifting and not rolling the toolbox. My ‘fix’ was to attach some rope to the handle opposite of the wheels so that I don’t have to lean down so far when rolling the toolbox. A friend of mine purchased one for her husband who’s 6-2 and he refuses to use it due to the oversight in designing the pulling handle. She wants to sell it! For now that’s it though!
In April of 2016 I along with many other folks contributed to the Indigogo program for Coolbox listed as the “World’s Smartest Toolbox.” I was made aware of the campaign by my photo partner. She said “Mark, check this out! So much of what they plan to build into this thing meets our needs!” So of course I plunked down my 199.00 plus 50 bucks in shipping and supported their campaign. Their original delivery date was scheduled for July 2016, a mere three months from my payment…not bad. Fast forward several months, then several years and nada, no Coolbox. But they kept communicating which was much better than the Kickstarter fiasco I invested in for a Kraftwerks bullshit device that never appeared.
Today, January 15 2018 I received my Coolbox and am thrilled with the product. I know it’s built for many different purposes, but for a working photographer who does studio shoots in a number of locations, this thing ticks so many boxes. I have used two canvas tool bags to carry my grip equipment which includes Super Clamps, DIY truss clamps, gaff tape, extension cords, you name it. I also take along a portable Bluetooth speaker to keep things lively during sessions, having the talent tap into the speaker with their favorite tunes on their cell phones. I shoot tethered to an iPad and as such take a stand specifically to hold the iPad so my clients can view the images in real time. Extension cords for smoke machines along with power reels so I have plenty of outlets. Then USB charging ports to power my phone, recharge my iPads, etc. Well guess what? Damn near ALL OF THOSE things are built into the Coolbox!
So the only bit of bad news? As of this post, January 15 2018 I see on their website that the Coolbox is backordered. Bummer. But if you feel it will fit your needs, GET ONE. As time goes on I’ll be updating this post to report if I’m still in love….