Update July 11 2018
My motorcycle pal Chris sent me this screen grab of an article about the evolution of technology and how that relates to motorcycles and now ebikes. Very cool that it specifically mentions the Sur Ron Light Bee.
Update July 9 2018
Not really an update on the bike, but had fun jumping Wall-E yesterday until something went wrong that I cannot remember because I got knocked out for 45 seconds. And for those who think I’m silly to have mounted a first aid kit to the front forks, this is the reason why. Not my first concussion on a bike, but the first for the Sur Ron. At least I didn’t get airlifted to a trauma center after crashing at 145 MPH in turn 10 at Thunderhill Raceway! LOL. No one saw the actual crash, but I must have gone over the bars. The only damage really was the right foot pedal arm got a bit bent and the right bracket of the Fisher FabHouse headlight got a bit tweaked. Other than that no damage. I think that because the mass of the Sur Ron is so low (110 pounds) damage is low during a crash. Kinda like when I crash my mountain bike, little damage occurs….
I certainly look much worse than the bike…thank goodness as I was too handsome anyway! LOL!!!!!
Update July 8, 2018
When I was riding street bikes one of the most used features of the tank bag on my bikes were the bungee cords on the top of the tank bag. It was so convenient to shove my gloves under the little black cords or clothing I wanted to shed when the weather turned warm. So I decided to fabricate something similar on my Sur Ron (Wall-E as he’s been named….)
The tough part was figuring out how to mount everything. My workflow is to NOT permanently alter things by drilling or cutting native materials. Wall-E’s ‘tank’ is plastic and I could have easily placed eye hooks through the plastic by drilling into the cover and bolting the other end from the inside. But I opted instead to use hooks to secure the bungee cords. The first issue I had is what the hell are those flat kinda hooks called? Well they’re known as ‘gutter hooks’ and I found the ones I needed through Wolfman luggage. (The same company who I purchased an off road tank bag for Wall-E BTW) Then in examining the slope and angle of Wall-E’s battery cover, I determined that I’d need to secure the top gutter hooks to the plastic by using some sort of tensioning strap. I decided upon some Reusable Fastening Cable Straps off of Amazon specifically the 18” one. I bought the bungee cord and tightening lock from REI.
I simply ran four zip ties through the gutter hooks and then crossed the bungee through the zip ties. I had originally thought about just running the bungee through the gutter hook slots, but they are too narrow and would not allow the bungee to smoothly slide. On the back gutter hooks, I securely attached two other zip ties to keep the ones I used for the bungee cord from moving back and forth.
What I really like about this set up is that I can still see the battery indicator and lift the plastic cover to remove the battery if needed. And since it’s always on Wall-E if I stop somewhere to grab a sandwich, or need to shed clothing I can simply stuff it under the bungee contraption……score! And a final convenience is I can leave this on the bike even when I’m using my Wolfman tank bag! (I have a photo of that bag and a link to it down toward the bottom of the post.)
Update: July 1 2018
Update: June 27 2018
This posting appears with my permission on ElectricMotorcycle.com
Today I installed the Luna Cycle 60t stainless steel sprocket. My desire for more lower end torque over top end prompted me to purchase one of Eric’s units. Went on easy as can be. My only concern is that the included chain extension takes the chain adjusting screws to almost the end of their reach. Not a big deal, but I will probably remove a link to keep the rear axle in the middle of the adjustment range. The added torque down low changes the personality of the Sur Ron more to my personal taste. Exiting a corner and the ability to climb steep hills has always been good, but now it’s great!
Tonight I wanted to see just how much the 60t sprocket reduced my top speed. (like I need ANY excuse to ride Christy!) Luna states that it will max out the top end at 28MPH. Another user stated he obtained a top speed of 32 MPH. Tonight I got 36 MPH measured via a GPS app on flat ground. The hill climbing with the larger sprocket is incredible especially for a bike this small and this light. For what I use my bike for anything over 30 MPH is plenty. My top track speed on my RC51 was 168 MPH so if I want top end I’ll ride that bike! LOL
I’m not sure what the angle degree it is to get up to this spot, but it’s easily over 30 degrees. No question if the Sur Ron would climb this hill, not even a slight hesitation. Remarkable.
I am pleased with the modifications I’ve done to my Sur Ron. I added a First Aid kit to the front. Why? If you’ve never crashed while riding alone in a remote area then you have no experience in being injured and alone. Enough said. I continue to be impressed with the Sur Ron and plan to mount the 60t rear sprocket I purchased from Luna next week. Don’t need top end, need more torque…. Stay tuned. The fenders work very well to keep mud from being flung onto the controller and the rear linkage and shock body. One definite improvement I’d like to see either Sur Ron or a third party make happen…a better seat! I tend to ride an average of 20-25 miles at a time and man my ass hurts! I’m not a big fella nor do I have a big ass, but the seat makes my ass hurt. Even when I wear bike shorts with padding! And if you think it’s because I have a peddle kit, think again grasshopper! LOL
After….(my mods to make her my own)
I realize this is my photography site. But I like to post things I’m passionate about and two wheeled vehicles DEFINITELY fit in that category. They have occupied my thoughts and activities my entire life. So for you photographers looking for my latest assessment of a strobe, modifier or something similar, keep moving along. And for the two wheel crowd who are visiting and wondering WTF is a photographer doing posting about the Sur Ron Light Bee on this site? Life isn’t about just one thing is it? And like my photography posts this is all about Paying it Forward. The experiences I’ve had and the modifications I’ve made to “Christy” are to enhance my use of the Light Bee and may not apply to your needs/uses. But if some of what I’ve done helps others, so much the better.
So before getting into my impressions of the build quality, performance and value of the Light Bee and Luna Cycle’s customer service, I’m going to post a bit of my background. I’ve ridden two wheeled motorized vehicles almost all of my life. I’ve raced motocross, TT and long haul desert events. Saddleback Park (RIP), Barstow to Vegas twice, Carlsbad, and Indian Dunes were just a few of the places my dirt bike days covered. Roger De Coster, Brad Lackey, Charlie Bower were my dirt bike heroes. I owned a Yamaha DT125, a Penton 125, a Bultaco Pursang (250) and a Maico 250 with leading link front forks. On road courses I campaigned a Honda RC51 1000cc vtwin. I belonged to Keigwins at the Track and was one of their original instructors. Laguna Seca, Buttonwillow, Thunderhill and Sears Point were our venues for both track days and training racetrack tactics.
As I aged I finally surmised I’d never contend in World Superbike and felt that my reaction times had gotten to the point where I may endanger my fellow racers so I stopped racing. Chasing a mid-level AMA racer and crashing in turn three at Laguna and then a helicopter ride to the Enloe Trauma Center in Chico after crashing at Thunderhill Raceway convinced me. I still did track time for a year and a half after that chopper ride though…..
And street riding, well I loved it in the early days, but after 28,000 miles of track riding/racing it just no longer appealed to me. So I got into mountain biking because I missed the ‘offroad life’ and bought a Specialized Hard Tail with Rock Shock forks. It was sure fun, but I missed the tinkering and fabricating a ‘real’ motorized two wheeled ride offered me. So I began looking into eMTBs and bought a Haibike Fullnine RC in 2016 from Motostrano in Redwood City. I’ve written a post about my experience with “Sofia” in another post on this site. You can read that here.
I wanted a ‘bit more’ in terms of speed and power so I started researching other ebikes. Not necessarily legal either…. I found two possible bikes, one made right here in San Francisco called The Bolt (which has now changed to Monday Motorbikes and they have moved to SoCal). At the time it was not really available for sale. I’m not sure if it is now since their website is not very clear about sales only preorders. And I could find very little non marketing material by real users of the bike. Plus the bike is really designed for street riding. And if I’m going to do that I would just use my now street legal RC51. But again, I’m not keen on street riding anymore. ESPECIALLY with all of the fuck heads who think texting is OK because they can multi task. Bullshit. Let’s play slap face texting. You text on your fucking phone while I slap your face and let’s see just how quick you can react to block my hand. Enough said.
The other bike that was VERY intriguing to me is the Neematic. A trellis frame, 50MPH top end and ‘seems’ well built. But at 8500 Euros and still vaporware I didn’t have much hope for the bike actually being produced in quantities that would actually hit US shores. And as of this blog post (June 2018) I still cannot determine if it’s being produced. And no actual user reviews of the unit…..bad. Not really much new marketing materials either…..suspicious.
I cannot recall how I happened upon the Sur Ron Firefly as it was called when I first happened upon it. But I sure as hell am glad I did!
The Meat and Potatoes
OK so like you I searched a LOT on Google about the Sur Ron. Lots of video reviews were done and the ones I especially appreciated are from Homes Hobbies on YouTube. John (ahem he must get a LOT of shit about his name…LOL!) has such informative and useful information I highly respect his channel. The other resource I found helpful is by Sur-RonUSA and I’ve followed several of his recommendations on my own bike. I also researched Luna Cycle and had originally planned on flying down to LAX to visit their location. I grew up not far from LAX (Crenshaw) and know right where El Segundo is, but after reading TONS of information about the Sur Ron I opted to nix that idea. Why? Because reviews from actual users about both Luna and the Sur Ron convinced me to just pull the trigger. Eric and his crew at Luna seem like no nonsense, no bullshit fellas, the kind I like. As a matter of fact Eric reminds me of Paul Buff, a guy who doesn’t give a good hot shit about what established makers think of what he’s doing. He seem to only care about innovation and quality, much like Paul (may he rest in peace). And like Paul he has built his own company albeit a bit smaller and younger than PCB.
I can tell that Luna is a young and growing firm, having the same growing pains all young companies experience. But what instilled trust in me parting with 3500.00 USD plus tax and shipping was the level of response I received from his crew. And the other web posts that talked about his other products, those developed well before he became the sole US distributor for the Sur Ron. His video on the teardown of a Sur Ron was the final selling point. Having wrenched on Honda, Yamaha, Suzuki and Kawasaki motorcycles has shown me how brands stand above and beyond each other. Small things like bosses welded into frame points rather than loose connectors are the small things that show build quality. The video and the fella’s comments illustrated that. And when I received my own Sur Ron I confirmed the quality of the build. It’s a Honda level quality build and that’s saying a fucking ton.
Shortly after I made my purchase I noticed that Luna had discounted the pre orders by 200.00. I wrote to them to ask if I could get that price. They responded immediately that my account was credited 250.00 for any future purchases. Again, excellent customer service, well done and timely.
Luna shipped my bike via FedEx Freight which is different than the way I normally received FedEx packages. I was told from Luna that the driver would contact me via phone to confirm a date/time when my bike would be delivered. As I waited for the day my bike showed it was to be delivered, I received no call. And their website never showed “Out for Delivery.” So I called FedEx and was transferred from the number I normally call to their Freight division. I was pissed when I was told that the bike which showed it was to be delivered on a Friday would not be delivered until the following Wednesday. As a young man I had the patience of a teenage male’s stiff dick and as a more elderly person now I have a little more patience….of a 28 year old hard on! LOL!!! Just be aware that when you get notification from Luna that FedEx has picked up your bike, CALL FedEx Freight. Their number is 866-393-4585, don’t call their normal package delivery number. Don’t just trust their website, call!
My Sur Ron was well packaged and included the installed Pedal Kit which I had ordered. As a matter of fact had Luna not offered the pedal kit I would not have purchased the unit. In reality the pedals don’t really do much to propel the bike forward. And of all the elements on the bike the rotating spline on the pedal kit is the weakest link. It is not well machine and has a significant amount of play while rotating. Why get the pedal kit at all? I’m not going to answer that for you, but it should be obvious why you’d want them…..enough said.
One of the YouTube videos I watched shows the guy cutting the shipping straps, but I found that they make handy tie downs so instead of cutting you may want to just untie the ends and release the buckles.
I suggest that you immediately remove the battery and begin the charging process. My Sur Ron arrived with an 83% charge in the battery.
I believe this is v2 of the charger. In Homes Hobbies video he mentions that Sur Ron had revised the charger from the one he received which I don’t believe had the fins or fan. This charger remains dead cold as it charges, as does the battery.
The Pedal Kit includes the pegs too, so not to worry. A simple tool kit is included which takes care of mounting the front wheel.
Luna’s Mountain bike pedals are nice large flat and studded pedals. One of the issues I found is on the left side of the pedal kit the threads are not reverse threaded meaning counter clockwise tightening. Since the pedals rotate counterclockwise on that side it can loosen the 14mm nut. I found that putting Blue Locktite thread locker on the nut/bolt thread helps prevent this. Also the two hex head bolts on the right side of the pedal kit must be tightened to get any friction on the pedals. Mine shipped loosely fastened.
The user guide refers to a ‘fuse box’ located in front of the ‘air switch’ and an extra fuse. I could not locate a fuse box or an extra fuse. I believe the air switch is a breaker switch, much like you have in a modern house.
In this shot the breaker switch is the red switch just below the ignition/USB plug. I’m not sure what the white connector is with the black electrical tape’s function is for the Sur Ron.
The suspension is damn impressive. Compression and rebound on both front and rear. I converted my RC51 to full Ohlins forks and shock just to get those features!
Compression for the front really works. Just adjust a click at a time.
Rebound on the same fork leg as the compression adjustments dial is located at the bottom of the right fork.
Rear shock’s compression damping is on the top of the remote reservoir. Rebound is located on the bottom. I’ve adjusted the spring preload. It comes fully extended, so adjust to your weight/riding preference.
During my first rides I had an issue where my Sur Ron would either cut off engine response to the throttle or not respond at all to the throttle when leaving my garage. The level of battery power varied anywhere between 100% to 70%. The lights and the display stayed on, just the response to power died. After writing to Luna it was suggested that it ‘may’ be the brake safety sensors. After contacting John Homes at Homes Hobbies he instructed me how to remove the brake cut off sensors. I removed the threaded collars that are just below the brake lines on each of the hand levers. I noticed that on the front brake (right) the very small set screw was backed very far out. I’m assuming that may have caused my no throttle issue. I have no idea how those sensors work, as they don’t seem to be pressure sensitive, but rather magnetic. In any event after removing the brake sensors I have not had any issues with the throttle not responding.
I replaced the sleeve bolts and filled them with Instamorph (BEST shit EVER!!!) to ensure moisture doesn’t get into the master cylinder levers.
These are the brake sensors in the levers. I could not locate any moving parts which may indicate they are magnetic sensors.
I found that both the rear and front brake lines were about 5 inches too long. So I shortened them to what I feel is the proper length so they don’t catch on brush or branches. Like mountain bike hydraulic disc brakes the Sur Ron uses Mineral Oil for hydraulic fluid. I have tons of that from changing my ebike brakes. Just use a sharp pair of cutters to cut the lines and buy some brake Olive and connector pieces. Bleed the brakes and you’re all set!
Removing the brake sensors and trimming the brake lines made Christy’s front end very tidy!
I also took the advice from one of the site’s I’ve listed to increase the height of the stem by simply reversing it upside-down. Doing so adds about an inch of reach at no cost. Very slick! The Quad Lock bracket simply holds my cell phone when I ride.
I like riding in the rain and the resulting mud. OK so I never outgrew the toddler phase of my life, so what?! LOL. But after racing off-road I know firsthand the toll packed mud can take on suspension or cooling fins. It’s never pretty. So I’ve installed a fender on the front of Christy and am installing a rear off-road shock guard to keep mud off of the shock body, linkage and spring.
Front Fender by Mud Hugger. Rear is fabricated by me. I simply took a 5.5 inch piece of 90 degree aluminum and cut/bolted it to the existing bosses on Christy’s swing arm. Just buy an addition 5mm x 12mm long bolt for the right side boss which is empty. I attached a Honda mud flap to finish the job.
I will be riding solitary most of the time. I don’t know others who own bikes like this so I feel it’s important to carry some basic tools with me along with a first aid kit. I use to tell students at the track, “Hey I know it’s fucking hot today. It’s fine to not wear your back protector. Just wear it when you know you’re going to crash!” The Sur Ron uses fasteners that are basically mountain bike nuts and bolts so I’ve lashed a multi tool pouch with a MTB multi tool to the right side seat frame.
And I plan to go on extended rides, sometimes at night. So I want to carry snacks or extra layers of clothing. So I simply bought an off road tank bag by Wolfman. It’s perfect for my needs and stays damn secure on Christy’s ‘tank.’ And yes that’s a water bottle on the right side of the frame. I hate wearing a backpack so I installed some removable boss fittings onto the frame to attach a water bottle cage. Does it stay secure? Yes it does!
What Luna and Sur Ron have here is what I consider to be an absolute winner. The build quality of the bike is incredible. I have no idea how either of those companies make a profit off of these bikes. The margins must be very slim. The fun factor is incredible and I’m sure there will be loads of performance upgrades.
In terms of performance upgrades I’m a real bitch about tire pressure, brake performance and suspension over horsepower. I had read somewhere that a user was going to change the stock Sur Ron brakes to Magura MT5s. I installed those on my eMTB, but I find the stock Sur Ron’s are great and don’t plan on any brake conversion. Great feel and modulation on the stock units.
Sure like anyone else I like ‘more power’ but after racing I KNOW that it’s what you can USE and for me races are won or lost entering and exiting turns. Late braking and getting on the pipe coming out of the corner is where it’s at. Additional horsepower is great, but at the expense of greatly reduced battery range would be an issue for me. I’ll keep Christy for what I think are for the rest of my days. And after that my daughter wants Christy! She’s pissed that I let her ride it on Father’s Day. Now she’s figuring out how to budget her funds to get her own…..or when her old man will die and leave her the bike and all of my damn tools!
My son had the opportunity to ride the Sur Ron and he loved it. Since he wants to get a street bike I discovered just how valuable this bike is for a new rider. Learning on dirt (the way I did) is MUCH better than on the street with a heavy bike. Teaching him throttle control, body position, sliding, hard braking, etc. on this thing is brilliant! The feel and the mechanics of bike riding are much better done on the dirt too. So cool!
I had purchased a Thule Easy Fold bike rack prior to purchasing my Sur Ron for the two ebikes we own. Both are Haibikes one a Full Nine and the other a Trekking. So I wanted to find out if I could use the Easy Fold to transport the Sur Ron and guess what? It can which means I don’t need to have or rent a truck to take it to off road parks or trails! SCORE!
I continue to be impressed with the EZ 48, so much so that it was only one of four modifiers I took for a personal editorial project down to El Segundo to shoot Luna Cycle. (I have an upcoming article on that trip along with photos of course….) The other two modifiers were my Fresnel and two the soon to be released SaberStrip v2.0 which comes out later this month. This project was editorial in nature over ‘beauty‘ in the traditional sense. (I find beauty in loads of things that may not seem obvious.) I know a good many of you (including myself) like to ‘learn’ about modifiers and how they apply to shooting beauty or product. But for me the real test of a modifier is just how versatile it can be in a variety of situations.
The light quality is always my first concern and the EZ has that down pat. The ease of assembly and if it is the right tool for the right job is my second consideration. For the two images below it fit both all three of those criteria perfectly.
I have found that the value and quality of light presented by the EZ is remarkable.
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.
Like most other folks and way before I began shooting as a full time pro, I had a day job. It was during this time I discovered a very unique light modifier called the SaberStrip. What was so intriguing to me is its shape and the quality of light it produces. I was a bit suspicious when I first received my Strip because it seemed like ‘just a high quality shipping tube’ with some rip stop nylon as the modifier’s cover. Also this was back in the day when I was almost exclusively using speed lights, but had two PCB Einsteins for my ‘studio work.’ And this was well before the advent of built in radio receivers in speed lights, so I had to use a pigtail cable connected to my speed light inside the tube to attach it to the Phottix Transmission receiver I was using at the time. A bit of a hassle, but it was the only thing that existed at the time, which was ‘high tech’ for that era.
Although I loved the quality of light it produced, for me the power or rather lack of power of the speed light relegated the Strip to my closet. I tried to fabricate my own ‘Strip’ for my Einsteins, but found out it was not as easy as I thought. So I basically gave up and moved on to other things.
In 2013 I decided to create a series of images about the hands of artists which included both performing as well as creating artists. Since I wanted to shoot the talent in their natural environments I found that all of my ‘normal’ modifiers would not work well due to space. In some cases I had literally 10 inches or less to place a light and modifier to light the talent! So as I was rummaging through my gear closet I happened upon my Strip that I had doomed to its lonely existence in the back of my modifier closet. Eureka! That’s the perfect tool for this job and since most of the venues I was shooting in were very small I would not need a ton of light power so my speed light would do just fine.
By happenstance the Director of the Peninsula Museum of Art saw one of my images and asked to see the rest. She then asked if I’d consider having a solo exhibit at the museum the following year. I politely told her no and when she inquired as to the reason for my decision I simply replied “I don’t think my work is good enough for a museum and I think it would be very narcissist to do that.” She simply smiled and said OK. Later one of the artist I know mentioned that he had heard I was offered a solo museum exhibit but turned it down. Werner asked me if I ever go to museum exhibits to which I responded “Why yes, I love going, why?” His response was typical Werner, direct and to the point; “Well quit being so fucking selfish and let others enjoy and be inspired by what you’ve created Mark!” I’m seldom if ever at a loss for words but I had nothing to say. So I contacted the Director and agreed to display my work which I titled “29 Hands, 15 Artists.” With the exception of one of the images, all were lit with my Strip and a speed light.
Fast forward to today, 2018 and I was made aware of SaberStrip’s v2.0 version of the Strip which accepts an eVOLV200! In March 2018 I was shipped two advanced copies of the modifiers to test to see if I could offer any feedback. Here’s what I’ve found so far:
The 200 is inserted into the bottom of the modifier through what I call the “Tractor Tire” the designer fabricated it to attach the 200. I believe his design is to offer strength to the mount. I simply like to think he liked Tonka Trucks as a kid! The knurled knob on the left in this photo is the turning knob that screws the 200 in place. The other nice design feature is you can eject the battery of the 200 without removing it from the modifier, a very thoughtful design element.
Sorry for the shitty camera phone blurry image. The red thing you see at the top of this shot indicates that the screw is NOT attached to the 200 which is a very nice feature. One of the things that I found to be a design issue, it’s very easy to over tighten the screw. There’s no need to do so because it makes it VERY difficult to unscrew the unit from the mount. I learned the hard way and had to use a screwdriver and hammer to loosen the screw.
It’s also not possible to let the eVOLV slide down into the tube because there are ribs on the interior which keeps the strobe from sliding too far into the unit. I believe he may have other plan since those interior ribs seem to be reinforcements for four exterior metal nipples. Barn door or grid accessories for the future? Perhaps.
I painted a directional arrow on the housing to indicate which direction to loosen the mounting screw.
What the interior looks like in the v2.0 Strip. You can see the reinforcing supports which prevent the eVOLV from sliding too far into the tube.
Although most people will not have to do this, I ground down the mounting peg that is cast into the housing. This allows me to easily insert the peg into female mounts I use to place the modifier in either a vertical or horizontal position. Although the v2.0 Strip works extremely well in stands which offer the mounting peg to be in a vertical or horizontal position, not all light stands offer that option. When I travel to other cities I often have to rent stands and not all rental houses have adjustable spigot locations on their stands.
This is why I needed to shave down the diameter of the molded peg. It would not fit as cast. I find these female spigots invaluable in my gear bag.
I plan to use these to mimic a ‘ring light’ because I can now leave the modifier and strobe very close to the talent and back away to shoot with a long lens. Not possible with traditional ring lights. Also since the eVOLVS have modeling lights in the Fresnel head I now have a modeling light in this configuration. Sure, not brightest modeling light, but way better than none.
Canon 1DXII EF135 lens ISO 100 both AD200s set at 1/8 power. 1/5000th f2.0
In those instances where I want to place the v2.0 Strip close to the ground I will simply use a Godox S bracket as a base. This configuration will be perfect for dance shoots as fill lights or anytime you wish to place the units very low onto a flat surface.
|SaberStrip v1.0||SaberStrip v2.0||w/2 eVOLVS and SS|
|Light||Flashpoint Zoom R2||Evolv200|
|Flash weight||17 oz||31 oz|
|Distance to Sekonic||5 feet||5 feet|
|Time to Recycle||6.8 sec||1.57 sec|
|Length of fabric||29″||29″|
|Width of fabric||2.25″||2.25″|
|Length of modifier||38.5″||34.75″|
|Diameter of modifier||3.5″||3.5″|
|Saberstrip Weight||19 oz||27 oz|
For me the most significant stats are the recycle time and power. It’s the very reason I stopped using my original speed light Strip, it just lacked power. And in my work a one second delay feels like 12 years. Human expressions change in a nanosecond and invariably it’s the money shot I wanted, but missed because the strobe was recycling. Two full stops and five seconds faster in recycle time makes this modifier an incredible tool.
The ‘tube’ freely rotates around the mount so it can easily and conveniently turn the fabric to any position needed. There’s also a very small 1/4 inch 20 screw hole in the ‘tractor tire’ housing. I’m not sure why the guy put one there but it’s damn convenient. I plan to place a female mounting stud in there so I can either mount the Strip with the built in male stud or a female one. It should be noted that if you place a long ¼ 20 screw into that hole it will stop the free rotation of the tube. So IF you are the anal type and want to lock down the tube’s rotation you can do that with this screw hole.
This coming weekend I have three personal project shoots and I plan to test the light quality and applications in those sessions. I’m not sure how many times the Strip v2.0 will be my key light, but now that the recycle times and the power available through this meets my needs I’m sure it will always be in my bag.
Having a stand, a strobe and a modifier all in one easy to transport package is great for run and gun shooting, especially outside in moderate to high wind. My preferred stand for these is the Neewer Light Stand, 114 inches/290 centimeters Stainless Steel Heavy Duty with 1/4-inch to 3/8-inch Universal Adapter. It has a removable spigot that can be configured for either a vertical or horizontal female mount which is perfect for the new Strips. They are well made, strong and inexpensive.
The number of ways to mount the Strip seems endless. My current favorite grip mount for the Strip is the Matthews Mini Grip Head. I modified it by drilling out one of the holes to 9/16th of an inch which fits the Strip’s 5/8th inch stud.
What I like:
- High quality Construction
- Built in male mounting stud
- Ability to rotate the modifier around two axis
- Accepts the Evolv200
- Well balanced, having the strobe at the mounting end of the modifier
- Very wind resistant
- Will fit into very tight spaces
- Male stud needs to be the 5/8th inch size standard of all spigots
- Wheel that attaches the strobe needs to have directional arrows.
- Wheel needs to prevent over tightening
During the weekend of April 21st 2018 I had my first opportunity to use the v2 Sabers in studio. I wanted to determine if paring them in a horizontal way would give me the ring light type of affect. I’ve always loved the look of a ring light shot, but have been frustrated that the distance of the light to the talent is limited by the focal length of my lens. Using my ring light further away to compress the talent’s face meant that the light is also further away, causing a harsher look. But using two Strips horizontal to the ground with the ability to adjust the distance between them allows me to leave the light source close to the talent, yet move further back to use a longer focal length. Having my cake and eating it too is wonderful!
The images below show how this worked on Jessica and I’m very happy with the results. Shot with a 135mm prime lens.
The flexibility of being able to angle the pitch of the Strips and distance between them is wonderful. More control than a ring light. As a fill/rim light I have not experienced a better modifier. Reflectors make great fill or rim light modifiers, but I have always preferred strobes for that task. It allows me finer control of my fill light.
By changing the angle of the top Strip in the image of Jess with her arm above her head I am able to cast a bit of a shadow on her eyes while filling in under her eyes to prevent shadows. That flexibility allows me to create nuance shadow/highlights with the Strips.
Here I am using the Strips as a fill and rim light. All of these images are three light shots. My 10” Fresnel is the key light, a gobo modifier is used on a light to create pattern on the background and the Strip is used as a fill/rim light.
The control of the Strip as a fill light is quite lovely and can be used as subtle or as bold as you wish. Here are two more images I created using two SS’s in parallel as a ‘ring light’ but in my view with a much better result.
Oh and large groups in moderate to strong wind? I was recently at a client to cover the high school musical awards and prior to the event kids assemble outside. It’s often a fun place to get group shots before the show. The issue is always crowded sidewalks and of course crazy high school kids. I shot this image with ONE SS and one eVOLV200 at HALF POWER.
I recently visited Luna Cycle in El Segundo to do some documentary photography of the staff. In the vast majority of cases the SS were used due to their flexibility and light quality. As in my 29 Hands Exhibit I was able to use the SS to light the talent in places where it would be almost impossible to fit a modifier in the space I had available and achieve a quality of light I wanted. Below is an example of one of the shots.
My apologies as I know you won’t be able to ‘unsee’ the image that follows, but to date it illustrates the rim lighting capabilities of the Strip. During this session I was to shoot two Drag Queens. The fella on the left is 6-1 without heels and with his 4” heels it makes him 6-5! I used the Strip as a rim light and if you notice the illumination from head to toe it’s quite remarkable. Could this be accomplished with a gridded light? Of course it could. But due to the very slim shape of the Strip it allowed me to get as close to the back drape as possible keeping spill to a minimum and certainly much less than a softbox without a grid.
Outdoors with the Strip is quite good. It is ‘almost’ impervious to wind, high wind. It is more wind resistant than my go to outdoor modifier, the PCB Omni. The disadvantage is since the Strip uses the AD200 it is a full stop less powerful than the AD600 I use with the Omni or my Aputure Fresnel head. But to circumvent that disadvantage I often use two Strips as a key light when outdoors. And in those instances where I want a very large light source I use three Strips configured in a Y shape. I find it’s the equivalent to a 45” octa with 600ws of power. Ever use something that size out in moderate or high wind? And I use all three on a single stand.
My partner recently conducted a head shot session using two of the Strips. She used one as the key and the other as a rim light. It was very windy under the concrete bridge where she was shooting and the Strips barely wobbled. The light quality is excellent and easily replicated her preferred modifier, a Glow 36” Octa. But in that kind of wind, especially the gusts that occurred an octa would have been quite the handful. She does prefer the catch light of the octa, a personal preference to which many people may agree. I happen to feel that round catch lights are the default, yet in natural light a catch light is anything but round…..
As you can see the quality of light produced by the Strip is excellent. Two lights, both Strips. One as the key light the other as a rim light.
Is it the perfect modifier? Nope, but as of right now there is no perfect modifier. Just like there’s not a perfect camera, lens or person. Is it the most versatile modifier I currently own or use? YES! For me the v2 Saber Strips are revolutionary and I have not even scratched the surface of how they can be used. Thank goodness for the AD200 lights and Scott’s development to incorporate them into the Saber Strips! Scott has mentioned that the v2 versions which use the eVOLV200s will be available in late July 2018.
While visiting Luna Cycle I contacted Josh from FFH to see if I could pick up one of his lights while I was in the LA area. He was kind enough to drop it off with one of the Luna staff so I brought it home with me and installed it. Later tonight I will be testing the light quality and the pattern, but based on his videos I’m sure I’ll be pleased.
These images are screen grabs from FFH’s Facebook video which shows the difference between the stock Sur Ron light and the FFH at 3200 lumens.
Installing the light is straightforward with some caveats. First the plugs supplied with the light are NOT simply plug and play with the Sur Ron plug harness for the stock light. I ran some tests to determine which color wires go with the FFH and the Sur Ron:
- Blue to Red
- Brown to Black
Connecting the wires in this manner allowed me to use the stock Sur Ron plug located under the ignition switch. Simply cut both connectors off of the stock head light and the FFH and join the wires as I’ve outlined above. (They include two crimping connectors, but I chose to solder the connections and shrink wrap them. It’s just my personal preference for all things electrical.) Then plug the stock connector into the wiring harness on the Sur Ron and you’re all set. I’d like to see FFH supply the correct connector to the Sur Ron in future editions.
The light is held with two milled aluminum 31.8mm brackets which are mounted on the handlebars. They’re well made, but I’d like to see the female receiver on the mount tapped into the bracket rather than using a lock nut. I have other mounts like this one and having one bolt rather than a bolt and a nut makes for a cleaner installation process. But the parts fit perfectly on the Sur Ron handlebars and I like the light being just a bit higher than stock. NOTE Josh let me know after reading this review that FFH had originally threaded the female side, but it could be cross threaded due to differing variations of 31.8mm bars, which would have the bolt enter at the wrong angle, hence their switch to a locking nut.
Unlike all of the other lights I own the FFH light uses what I call a ‘step less’ switch. Sure you have to press it to activate, but until you press the button, the light remains off. I much prefer this to the stock light which is always on; because there are times I don’t want to be seen from the front with a light I cannot control. This is a 3200 lumen light at its brightest setting, much brighter than the stock headlight. The reason I call it step less is based on FFH’s instructions:
“Your light has 5 separate modes which you activate using a single button. Select any mode by quickly tapping the desired number of times regardless of the current mode.
- Dim – 80 lm 1 tap
- Bright – 770 lm 2 rapid taps
- Super – 2900 lm 3 rapid taps
- Ultra – 3200 lm 4 rapid taps
- Flashing – 770 lm 5 rapid taps
- Turn off Hold the button down for 2 seconds
FFH Ultra light features and functions
Our ultimate high power LED light for those of you who want to see and be seen. We built the 12 volt Ultra specifically for use on the Sur Ron and it’s capable of an ULTRA bright 3200 lumens.
Over the years of development we found that color spectrum was important. The Ultra 3200 uses 5000K CREE LED’s to give riders the best depth perception and visibility.
To get this much light in a small 6oz. package creates some heat so the light protects itself from overheating. If the light is in Super or Ultra mode and there’s not enough airflow it will automatically set itself to the Bright mode. Once there is enough airflow the light will go back to Super or Ultra.”
As an example if I’m in the Bright mode and want to go to the Ultra mode I rapidly press the button four times, not two which would be like other lights. There is no click or tactile feedback to the button press, so just be aware of that.
The light pattern of the FFH is just my cup of tea. Just like in cameras marketing people brag about megapixel count and in light it’s lumens. But so many lights I’ve used for my bikes have gigabillion lumen counts (marketing BS) but the pattern sucks because it’s pinpoint. I want a light pattern that is wide AND long in distance and the FFH has that in spades. I am so pleased to hear that Josh has taken into account the color temperature of the light 5000k, which is very close to the 5800k photographers like, sunlight! And it’s true the depth of field view is wonderful with his light. Bumps and irregularities are easily seen in the dark. The other element that pleases this photographer is one of the two lenses used in the FFH headlight is a Fresnel! I believe that is what he uses for the width portion of the light and the other lens is the more focused one for distance.
The following are my actual photos of the FFH at three different levels:
The light pattern is both wide and deep which is something I so appreciate in a trail light. I can see why Luna has the FFH listed on their site. It’s a remarkable value at its current price point of 199.00 USD. I’m very happy to have purchased this light which is invaluable for night time trail riding. If you just want to be seen by traffic on the road, the stock Sur Ron head light is fine. But if you want a great headlight not just to been seen in traffic but to increase your trail night vision, buy the FFH. It’s really that well-made and designed. If you do order one, make sure to specify that it’s for a Sur Ron 12v bike.
I purchased one of the LightSaver AD200 Flash Bumpers to determine if it offers more protection than the Flashpoint Silicone Skins which I have been using for the past year. I watched their demo video as they drop a protected AD200 from about five feet onto a carpeted floor. He was out of stock on all but his black units so I ordered the last one he had. It arrived on time and after installing the unit on my AD200 here are my observations:
I always appreciate when anyone develops a product that addresses a need. And in the case of LightSaver I believe he’s done that….to a degree. But by not having cut outs for one of the major access points I utilize often makes it a no go (meaning not purchasing another one) again. At 25.00 listed on his main page (but 20.00 on his buy page…?) versus 9.95 for a Silicon Skin I’ll opt for the latter. Again it’s all about personal preference. And as far as dropping ANY gear it’s a risk we all take. My main plan is to sometimes rest my modifier/AD200 combo on the AD200 when I set it down. And the Skins do a fine job of protecting the units under those instances.
OK so anyone who knows me KNOWS that I love haze/smoke/atmosphere for my personal project shoots. Heck even some of my clients are AWARE and ask me to add atmosphere to a shoot. The quality of light when you add particulate to the air and shoot light through it is delicious and magical. Anyway….
Although I don’t consider myself a survivalist per se, I do live in the San Francisco Bay Area – AKA earthquake territory. Yes I was here during the ‘89 Quake and it scared the shit out of me. Because of the desire for fried chicken on that fateful day my wife and infant daughter were not on the Cypress structure that collapsed and killed so many people. So I know that being prepared is the intelligent thing to do. I have a Yamaha 2000 gas generator, water purifiers, things to cook with and extra food. But for my photography purposes, I like to use my generator to power my Chavet smoke machine when there’s no power available, like in the middle of the Mohave Desert or on the Coast of California.
In my backpacking days I relied on my Suntactics USB solar charger made right near where I live! For such a small device I love its lightweight and high wattage output. I wrote a review on my experience using it on this blog. You can find it here. But when I needed AC inverter plug in power that small solar charger just would not do. I’ve recently discovered that the National and State Park services frown heavily on the use of gasoline generators in forest areas. And with very good reason given the rash of horrid California fires. So I started to investigate solar power stations and decided to purchase the Goal Zero Yeti 1000 from my beloved Costco. These days there are very few brick and mortar shops I frequent, but Costco is one of them. And after doing some research I found that the GZ Yeti 1000 was 300 bucks less at Costco than anywhere else.
So I’ve tested the GZY1000 with my Chavet smoke machine and it works very well. When heating the Chavet pulls almost 1100 watts, well below the rating of the GZY1000. But since I tend to be practical I didn’t want a 1k machine just sitting around until I was on location so I started to figure out how to use it on an everyday basis. My partner and I own ebikes and ride them almost daily. We put about a thousand miles each on of our bikes annually. It’s just plain fun and we’d ride more if it wasn’t for work. This summer we plan on taking the bikes camping so we will need a way to recharge the packs. And many camping areas no longer allow gas generators….thank god. They’re noisy and people who are totally inconsiderate run them at shitty hours.
So I thought I would buy a solar panel, one that is easily transportable. I opted for the Goal Zero Boulder Briefcase 100 for my portable panel. But then Amazon (damn them) had a Gold Box deal on the Renogy 100 Watts Panel for $99.00 so I bought that one too! Much less expensive than buying the 200 watt GZ briefcase. I’ve installed both panels on my roof and hook them into my GZY1000 to power the things on my patio. That includes a water feature, my outdoor refrigerator, the patio bistro lights along with the power outlet station on my patio table. The GZ portable panel is mounted so that it can easily be removed from the roof and the Renogy is in a permanent position. I have a small hot tub and tried to power it with the GZY1000 and it does well UNTIL I power the jets to their highest level. Then the GZY1000 just shuts down, which is the safety feature. So for July I will see just how much PG&E (utility company) money I save by hooking just the hot tub to the unit and not using the highest jet setting.
If you’re looking for a solar power station I cannot recommend the Goal Zero highly enough. There are other units available, but for a much higher cost. For me the value of this unit is wonderful. Putting the unit to use daily makes much sense to me rather than just keeping it for emergencies or shoots. Besides some of the money I spent can be recovered by not paying PG&E!
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.
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.
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.
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….
Like all things I believe in ‘the right tool for the right job.’ That includes MANY facets like packing ability, weight, ease of set up and most important, light quality. I tend to be brand agnostic on most of my gear except for the strobes I use. I’m not here to impress other photographers, but to impress my client base. I’m not a teaching shooter or gear reviewer by trade.
So for a recent assignment I was asked to photograph a group of symphonic musicians in the lighting style of the Dutch Masters. Their entire 2018-19 marketing campaign is based on that style. Not a big deal BUT in addition to that session I was asked to photograph a live concert, some still life imagery and various other portraits. Which meant my airline luggage limits would be severely tested. And moving around the entire venue to capture all of what the client needed was also a consideration. So instead of packing multiple Parabolix, Elinchrom or Westcott modifiers – I opted to take my Glow Pop modifiers. Why? Well they are light weight, easy to setup/break down, small to pack and using them the right way produce excellent light.
I had manufactured my DIY focusing rod for any Bowens modifier so I took that with me to use with the 38″ Glow Pop. Soft light, no problem, hard light, no problem, controlling spill no problem, controlling feathering no problem. Keep in mind I use most of my modifiers WITHOUT any diffusion panels. My partner does use the Glow Pop with the included diffusion panels for both head shots and film production.
Final shot, Glow Pop camera left using an AD600 with the H600 remote head on my DIY focusing rod mid focused. Camera right is a single AD200 using the Fresnel head and barn doors. Pentax 645Z is the camera.
Of course all of us decide what tools are best suited for our own needs. I find that the Glow Pop line of modifiers presents a very good value.