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Category : using modifiers

14 Aug 2018

Glow EZ Lock Deep Parabolic 48″ Quick Softbox Updated 8-14-18

UPDATE 8-14-18

Our client Hillbarn Theatre just released one of their publicity posters for the upcoming production of West Side Story. This image was shot using a Flashpoint XPLOR 600PRO and the Glow EZ Lock Deep Parabolic 48″ with disk and inner diffusion panel as the key light. Rim light was a Saberstrip v2 using an eVOLV200

UPDATE 8-1-18

I did a re-shoot for a client’s West Side Story publicity imagery since they have actually cast the roles. I decided to use the Glow 48 with the metal disk and inner diffusion panel installed instead of my focusing arm modifiers for this session. I wanted a slightly softer yet still punchy look for the mood the client wanted created. I continue to be amazed and happy with the light quality and the ease of set up with this modifier. My only niggle is that it can be tough to push it open because of the size of the modifier. I have to stand to one side and really push down to get it to click. Ah first world problems eh? LOL.

Glow 48 camera left slightly behind the talent and feathered. Saberstrip v2 as the very slight rim light camera right.

Glow 48 camera right as feathered key light pointing away from the talent to just skim them. Saberstrip v2 camera left as rim/fill light.

UPDATE 7-3-18

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.

Light test. This is when I knew I needed to add a light to illuminate the sign behind the chair for the talent.

In this photo of Ashley and her ‘puppy’ the EZ was the key light camera left sandwiched between the couch and some other boxes. I only used the disk reflector and the inner diffusion panel since I wanted a more specular light for these shots. The Luna Command Center sign was lit with one SaberStrip v2.0

How the scene appears without the use of strobes.

You can see the EZ reflected in Kyle’s sunglasses, a rookie mistake on my part, but that’s OK too. A SaberStrip v2.0 was used camera left as a very soft fill. Again the EZ used with the metal disk and inner diffusion panel only.

I have found that the value and quality of light presented by the EZ is remarkable.

UPDATE 5-25-18

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…..

The comparison group. Left to right, SMDV 110, Glow EZ 48″, Parabolix 35D

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.

Light pattern of the Glow with the disk in it’s fully extended position which I call Mid flood.

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….

The setup. The reflector is a Glow Reflector Panel and Sun Scrim Kit 39″ x 62″ which I will review later. The light used in the Glow 48″ is a Flashpoint 600 Pro.

Shot A

Shot B

Shot C

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.

Glow 48″ with both diffusion panels installed, 600 Pro Strobe, feathered light. Hair/rim light is a Saberstrip Light.

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):

  1. Glow 48*
  2. SMDV 110**
  3. 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 Modifiers:

  • 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?!

UPDATE 5-19-18

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.

The low profile speed rings I use.

You only need to remove one of the #2 Phillips head screws along with the thumb screw and loosen the other two to remove the speed ring.

Here it is with the speed ring removed. As you can see I didn’t have to remove all of the screws.

Figures a photographer would have a shitty photo of the ruler!

Just to show I can replace the Bowens mount with a Profoto mount. I have these Profoto speed rings to replace them when I’m using my Parabolix focusing arm which is the exact diameter of Profoto’s speed rings. Obviously I won’t be able to do that with this Glow modifier due to the rods. BUT the movable disk is intriguing me…..

Original Post

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.

Ok…

Even though it’s marketed as a 48″ modifier, my measurements show it’s 46″ at the widest portion. Not a big deal, but if you’re looking for 48″ I didn’t find that to be the size of the opening. The outer fabric is a high quality rip stop nylon. I had read on some site that an individual didn’t like the yellow stripes and that their clients may disapprove. To each their own, but my clients could care less what my gear looks like, what I wear, what wine I drink, the brand of toilet I use ….blah blah blah. What they DO care about is my imagination, putting it into an executable and relevant concept along the quality of my imagery. 

I love it when retailers include a grid. Especially a high quality one like this. The squares are 1.5 inches and the grid fits very well in the rim of the modifier. No slop.

Just the other side, but I wanted to note that my 600 Pro holds this thing snugly and securely.

I always appreciate when the modifier fabric easily covers the speed ring. Not all do, but this one does. More about that zipper below….

I’m not sure why they’ve included a small zipper. Because of the rod that remains in the center of the modifier I cannot use a focusing rod where I would run a remote strobe head cable out of this opening. Perhaps it’s to make expanding the unit easier when opening. Because it’s DAMN TIGHT to open which is a good thing to keep the fabric nice and tightly stretched. Cussing level (4 of 7) to push the thing open.

I like to remove the rod ends from a modifier’s pocket to see the quality of the end caps. These are great and the pockets are deep enough so the rod ends don’t fall out unless you pull them out like I did to examine one. Also the width of the Velcro is nice and wide, about 2″. Even when I don’t use a grid, feathering light is much easier when a modifier has a wide dark edge.

The fabric is a shiny smooth silver made of a high quality rip stop nylon. I tend to prefer pebbled silver, but until I actually test the light quality I cannot say how it will perform to my taste.

In addition to the grid you get an inner and outer diffusion panel. As you can see they use a 2 stop circular piece of fabric on the inner panel to prevent hot spots.

A personal pet peeve of mine is when makers use those blasted infant clothing snaps on diffusion panels. Sure they’re fine to snap together, but a real bitch to take apart. I was pleasantly surprised that these are both easy to snap together AND APART. Cussing level 0 of 7!

This is the interior of the unit when expanded. The lock is very secure and almost identical to the Cheetahstand quick strip boxes I use. Very secure.

So Adorama includes this little disk which slides onto the rod using friction applied by a rubber ring. I “think” this “may” have a similar affect as my focusing rod modifiers. The marketing material states that the disk can be used this way or inverted to spread the light in a different manner in the modifier. I will test this when I have the chance.

I “believe” that the disk this close to the strobe “may” yield a more specular look to the light like my focusing rod modifiers. When I have my focusing rod strobes close to the center of the modifier I call it ‘focused’ which is much like this configuration.

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.

11 Aug 2018

Luna Cycle – Eric Hicks – UPDATE August 11 2018

UPDATE August 11 2018

I wasn’t always a commercial photographer. Prior to this wonderful life I was a ‘suit’ a corporate guy in several different industries. Energy, broking, retail, software and entertainment were the majority of my career areas. Yes unlike most I switched industries rather than just positions because I became bored…LOL. But what was common to all of those industries for me was the marketing and PR portions. Every company from the Fortune 100 one I worked for to the smaller ones spent loads of funds on marketing. My positions included being a loading dock forklift driver to the COO of a Fortune 100 company.

So I’m always suspicious of marketing hype. I know firsthand its purpose, to bring in more revenue through increased sales or new customers; or both! So when I read that Eric from Luna Cycle was touting taking care of early adopters who would buy the Sur Ron, I thought to myself “OK another marketing ploy, but good for him.”

I was happily proved so WRONG about Eric’s early adopter promise. He recently released a limited supply of X Controllers for the Sur Ron which was reviewed by Matt Richards. The controller offers many benefits like regenerative braking and charging, increased performance, etc. I respect Matt much like I respect John Holmes (no not THAT one!) and Jackson who have all produced Sur Ron videos. I’ve stated elsewhere on this blog that Jackson’s video of the teardown of the Sur Ron is what pushed me over the edge to get out my credit card and buy a Sur Ron.

Most people who follow my photography blog know that I am an early adopter for lighting gear. NEVER has a company such as Godox supported us early adopters like Eric. All of my lighting gear is produced by Godox and I switched from a US based company I was loyal to for years. As a matter of fact, early adopters are seldom rewarded like Luna Cycle has done:

“Luna will also be announcing some exciting new upgrades which will only be available to people who buys their from us.” TRUE

“Luna customers who bought their Sur-Ron from us can trade in their old controllers for a $220 store credit. After you receive your new sine wave controller simply send your old one back to us and you will receive the credit.” TRUE

Sur Ron X Controller

What I have experienced with Luna Cycle is that Eric is TRULY supporting the EV segment of this community. Not just with cute marketing slogans and bullshit, but with action. Sure like any new and growing company, especially in an emerging industry there are the same issues all growing companies experience. Supply chain issues, CS issues, employee issues, etc. I’m irritated by what I view as ‘entitlement attitudes’ by some, meaning trying to take a remarkable offer like an actual cash credit for turning in an old controller into ‘hey just take that 220.00 off of the 490.00 price right now’ kind of bullshit. How in the world does anyone expect any company to make a profit off of an already discounted product? Oh perhaps they’ve never owned their own business or been responsible for a company P&L, yeah that must be it. I hear the same shit from photographers when a company makes an incredible advancement in a product. “Oh I’d buy it if you had just made it microwave my gluten free food and also built a washing machine into the strobe that it would do and fold my laundry like my mommy. And have the whole thing weigh less than a pound. I don’t see why you couldn’t do that!”

My bottom line; I will continue to support Luna for as long as I see their business practices and incredible foresight into products elevate the EV industry. And support the honor in which they treat their customers. Why? Because I have never seen or experienced their type of ‘Marketing.’ Amen

Original Post

I try to complete a personal project twice a year to stay sharp and exercise my creativity. I say ‘try’ because often my plans don’t happen due to client work. And as a small business if I don’t work, well I don’t eat so some year’s personal photo projects take a back seat to food. In the past I’ve focused on dance, as you can view on my Conceptual photo page. Tango and ballet have been my focus simply because I love the athleticism and art of dance. I have two long term projects which are currently in their fourth year; Our Perceptions, Ourselves” and “A Book by Its Cover” which are yet to be released.

In each of these cases I have known the individuals well prior to the shoot, have interacted with them on a regular basis and have befriended each of them. And the photographic elements created illustrate beauty in what I classify as its common form. But for this particular project I wanted to step outside of my own comfort zone and focus the project on people I don’t really know at all. And to capture beauty in a way that some may view as ‘nontraditional’ yet I view as gorgeous in a very different way. Two elements from which I will never vary for personal projects are; my love of visual storytelling and my passion for the subject matter.

Yet unlike my previous projects where I have a passion for the subject matter the talent performs (dance), in this case the subject matter is something I’ve done, riding/racing motorized two wheel vehicles. A huge difference….no one should ever see me dance!

I was drawn to Luna Cycle because I was intrigued with a product they import called the Sur Ron Light Bee which is an electric dirt bike manufactured in China. Luna is the exclusive USA distributor for the Sur Ron. I ended up buying one primarily due to Jackson’s video review of the Sur Ron’s build quality on Luna’s site. I then began to roam through Eric’s site to see more about the company and his products. I became intrigued about Luna Cycle more than the Sur Ron.

I’ve had the privilege to get to know some of the people who I view as geniuses in their fields; Paul C Buff of PCB and Steve Jobs when he worked for NeXT after being canned from Apple. What struck me about Eric from his YouTube videos is he seemed to possess the same drive, passion and determination of those men. And just like those two, he seemed to be a bit odd, out of the norm, the kind of mind and personality it takes to move an industry out from what has always been accepted as what’s ‘right.’

So I wrote an email to Eric giving him my pitch for an editorial photo shoot on the dates I had available and waited…nada. So the day before the final first day of my availability I wrote to him once again. I stated that since I had not heard back from him and airline fares are terrible booking the day before I was not going to make the trip and proposed that we could do it another time if he was interested.

In a very short time thereafter he wrote back to me and apologized for not responding sooner. He offered to cover my flight and lodging costs if I could still make it down to his El Segundo location for the shoot. So I booked my flights for the very next day and off I went on this adventure.

Upon arriving at the Luna Cycle location I recognized the area based on the YouTube videos where the staff and Eric demonstrate the speed of the Sur Ron against other much larger gas bikes. I rang the Nest Video Doorbell and waited….nothing. Yet as soon as I started to walk away I heard the door open and there was Eric. Just as he looks on video, crazy hair, intense eyes and those famous pajama pants, the kind my own kids harangue me about if I leave the house wearing them. After explaining that I really had to pee (I was actually going to search for a place around the outside of his building where I could piss) he offered me a cup of coffee from his way above my pay grade expresso machine. And that’s where the fun started….

As I began to look around the one of two warehouse/factories he operates I was simply blown away at the scale of the building in which we were standing. I really had no concept of what it takes to build or assemble ebikes so it was all new to me. In the middle of what I will call his ebike building is a large sectional couch which Ashley (his business and life partner) told me is where ‘Eric and I hang out’ along with a product photo ‘studio’ where an ebike was placed among some constant lights and a backdrop screen Eric built.

Eric explained to me that his first career was as a chess teacher and that he himself is a Chess Master. He went over his philosophy that ‘talent’ is not what he considers to be the key element in creating exceptional people, but rather hard work separates the wheat from the chaff. I agree with his theory since I’ve known a ton of ‘talented’ people who, because of a lack of effort let their skills go to waste. It was then I realized that just like my experience talking with Paul or Steve, Eric is EASILY distracted. Think “SQUIRREL!” and you’ll get the picture. Although I don’t classify him in the same category as these men, my friend David who is the Principal Horn for the Berlin Philharmonic is also easily distracted. We just call David Squirrel! LOL. I just think it’s the nature of the beast for people of this caliber, or so it seems to me. One of the staff members came over to ask Eric a question and I took that opportunity to fade away to meet other members of his team.

The first man I spoke with was Kyle, another person I recognized from the Luna YouTube videos. I was struck by how tall he is, well over six feet. I say this because as I saw both he and Jackson (who I met later but only briefly) sitting on the Sur Rons and it didn’t appear as tiny as it actually is in real life….odd. He’s responsible for quite a bit of the ebike assembly and testing of the Luna Cycle line. Prior to working at Luna he worked for Specialized and some other bike makers in the Bay Area. One hell of a nice guy who’s also very intelligent, he was a joy to speak with and get to know.

Then there is the logistics area where bikes/parts are prepared for shipment. It was one of my favorite places to shoot while I was there. I was so happy to use my SaberStrip v2.0 for these shots. If it weren’t for that modifier combined with the AD200 it would have been a real bitch to light!

Agustin who is the company’s do it all handyman!

Their kids were hanging out with mom so I had to do a family shot!

“Cut the shit with those fake photo smiles girl! Give me some love!”

Yeah now that’s the kinda smile I like.

She only looks serious….in real life she’s a pure peach….and she likes photography!

And then of course there’s Smudge Ball the company’s mascot. He was closely guarding the batteries!

Venturing across the parking lot to Luna’s other building felt I was going into a whole different world. This is where the actual manufacturing of the batteries and other hardware is conducted. The piece of equipment I was completely enchanted by is their laser cutter. It is massive and occupied a room just by itself and rightfully so. While I was there Eric and his team were cutting ½ inch stainless steel as if it were warm butter cut by a hot knife. This is where I had the opportunity to roam around and find little gems of discarded or in process parts I lit with the AD200 with the Fresnel head attached. And for me this is where the true beauty of a factory lives. “Seeing” through light is wonderful. Even more so that it is in and around epic light….a laser!

Eric kept asking me about the AD200s I was using.

Shoving an AD200 in these to light them from the inside out was fun.

 

The master as he operates his laser.

Showing Eric Mark’s “Photo Voodoo” where he watches the image fly through the air to my iPad from my 1DXII

The battery room

One of the interesting parts of this trip was discovering that Eric and Ashley share a very similar life path as I do with my partner Tracy. We both work in the very same industry, work together and live together. I don’t know many other (none actually) couples who can share time 24/7 without a homicide occuring! Oh sure just like me and T, Eric and Ash have ‘their moments.’ It just would not be natural to not, now would it? I consider them the Ying to my Yang. An older white guy with a young Asian gal versus and older Asian guy with a young white gal! Hahahahahaha!!!!!

And finally it would not be a Mark project without portraits.

Eric relaxing in his office playing chess on his PC.

What I discovered during this project is Eric has created a segment in the ebike market that has the potential to turn the market upside-down. Because of Eric’s innovation and ability to execute ideas into actionable forward thinking products he may become the leader in the market. I simply say ‘may’ because there are many other factors which come into play, as Steve or Paul can attest. Unlike Apple and their widely accepted consumer products, the ebike market is not a segment every person will want to join, it is a more specific market like Paul’s lighting segment. But just as Steve created the iPhone and Paul the monolight, Eric has the capability to create a never before seen ‘thing’ in the ebike market that we could not imagine, but afterward cannot imagine living without. Sounds familiar eh?

But in my mind the raw elements are there, an innovative mind, irreverence for the ‘norm’ and a work ethic like most can only imagine. I wish Luna the best and feel lucky to have been given a glimpse into his world.

02 Aug 2018

Evolv200s, Xplor600s, 600Pro, Saberstrip v2s on location

People always get so nervous when they see how I hold my cameras! I hate straps. LOL!!!

Shooting as a pro means there are times when you have to prove yourself once again with an established client. Not doing a great job either in the finished product or through your service simply means you’re not used again. One of my long standing clients, Village Theatre recently changed Artistic Directors. Jerry Dixon, their new AD planned to attend two of the three on location publicity shoots all to be held in different cities in greater Seattle area. The first session for the play Curious Incidents is also the play he is directing. No pressure eh? LOL

The second aspect of this day that is always a bit concerning was that I NEVER SAW ANY OF THE VENUES IN ADVANCE of the day! Sure the Marketing Director sent me some camera phone photos and links to the MOPOP (Museum of Pop Culture) areas where she wanted to shoot, but I had never been there. Nor had I been to Spangler Book Exchange/Reread Books, the quaint bookstore where we were to shoot the Matilda publicity or the alley in Everett where I’d shoot the Howard Barnes publicity. Add to that the additional element of time. For each venue we were limited in time based on either the schedule of some of the talent or due to the venue’s prior commitments.

The only element I ever insist on from clients is to answer; “What is the mood you want from each session?” Why? Well because the expression of the talent(s) and the LIGHT is something I have to plan for BEFORE I hit the job….which leads me to….

The Marketing Director kept asking me “Mark, I need to know your power requirements for each venue so I can work with each of the operations managers to plan power for your gear.” Since I exclusively use Flashpoint strobes, guess what….they need no outside power!!! SCORE! I hauled seven, yes seven strobes from SF to SEA in a small Pelican case. 49.5 pounds…just UNDER the 50 lbs. limit! Three Xplor600s, one 600Pro and three Evolv200s! I split the four 600 batteries between me and my partner’s carry on camera bags instead of inside checked luggage to save weight (btw I always put gaff tape over the contacts of the batteries just in case…). All of the stands were rented in Seattle and for the smoke I advance shipped smoke grenades to the Marketing Director. It takes planning folks….LOL

For modifiers I took three v2 Saberstrips which use Evolv200s with their Fresnel heads. I cannot speak highly enough about both the Evolvs and the new Saberstrips. Together they create what I view as a revolutionary combination in camera lighting. Yeah they’re that good. I knew that both the MOPOP and the bookstore sessions would be VERY CRAMPED in terms of space. Using “traditional” modifiers or strobes would be a total pain in the ass. Sure it could be done, but would easily have been a 10/10 on my cussing scale. I knew I wanted a softer light for both the MOPOP and bookstore feeling, but a hard light in the alley. So I took three Fresnel modifiers for that session. All of my modifiers fit into my SKB hard sided golf case which I use to transport my light modifiers when traveling out of town.

So here’s how it all worked: (All of the BTS images are by my partner Tracy Martin)

Session 1, Curious Incident shoot at MOPOP

The Marketing Director wanted an image in MOPOP where the talent appears to be ‘inside’ a dream. So placing modifiers INSIDE this structure for the style of light I wanted to achieve would have been next to impossible without the Evolv200 and the v2 Saberstrip.

One of the final images before editing.

Using the Evolv200 and the Saberstrip to create the feeling of an overhead light source WITHOUT the need for a boom arm is wonderful. Almost all of the other modifiers I own would need to be tilted at an angle to face toward the ground without a boom arm. The Key light is a the Explor600 Pro with a Fresnel head modifier to my right next to the tower structure.

Final shot. Balancing the light to not overpower the hand held flashlight was key for this image. Had I only used the Fresnel pointing at the talent it would not give the impression of an overhead light which was key to this shot.

Session 2 for Matilda at ReRead Bookstore

About 20 people were in this tiny quaint bookstore just for this shoot! I think the actual customers were highly entertained. (They were taking iPhone photos of us! LOL) Here the Marketing staff and the talent review some of the images on my iPad.

Marketing looks over the shots in real time. As you can see the Saberstrip was invaluable in this session. Soft light, yet so good in tight spaces! I love it!!!

Jerry the AD attends to the details. I feel we made a great team since I sometimes miss the small but so important details when I’m in a session.

Ah I cannot say enough about the value of the Evolv200s paired with the v2 Saberstrips!!!!

A few of the Final Images

Session 3 for Howard Barnes in an alley in Everett WA

I laughed as I watched people walking by! They had no idea what to make of what was going on. Oh and that puppet freaked me out!

The Director of Howard Barnes is my light test fella. This is the alley in ‘natural light.’

The talent just yucking it up while I balance the smoke lights. Oh and if you’ve ever worked with smoke it’s great when there’s no wind…..LOL

A few of the Final Images

So cool that wind was coming up from that ground grate so her tail would fly!

Four Xplor600s and two Evolv200s lit this shot. Whew!

I was so shocked to see an article written by James Spangler the owner of ReRead Books where we shot the Matilda publicity! All if not most photographers know that getting feedback is rare so this was both a nice and humbling surprise. My whole point on this post is to highlight the incredible leap in technology and innovation in the field of photographic lighting. Sure all of us can figure out how to do something even if it’s tough. But to have others who are helping to ease the stress of creating beautiful light is wonderful!

01 Aug 2018

Saberstrip v2.0 – A REVOLUTIONARY modifier – Update August 1 2018

Update August 1 2018

I recently used the v2 Saberstrips in on location sessions in Seattle. Man I could not have done it without them! You can read about it here.

I have also completed a publicity shoot using two Saberstrips for a West Side Story publicity image as shown below.

Two v2 Saberstrips in parallel to the ground. I just love the look of this light configuration.

Original Post

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.

My first test was with Bob outdoors for a ring light style lighting test.

Canon 1DXII EF135 lens ISO 100 both AD200s set at 1/8 power. 1/5000th f2.0

Canon 1DXII EF135 lens ISO 100 both AD200s set at 1/8 power. 1/8000th 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.

Comparison

 SaberStrip v1.0SaberStrip v2.0w/2 eVOLVS and SS
LightFlashpoint Zoom R2Evolv200 
Flash weight17 oz31 oz 
Power levelFullFull 
Distance to Sekonic5 feet5 feet 
Shutter Speed1/100th1/100th 
Aperturef5.6f11f13
Time to Recycle6.8 sec1.57 sec 
Length of fabric29″29″ 
Width of fabric2.25″2.25″ 
Length of modifier38.5″34.75″ 
Diameter of modifier3.5″3.5″ 
Saberstrip Weight19 oz27 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

Improvements

  • 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.

Erica is 50+ and just the use of a shallow DOF and the two SS lights produced this image WITHOUT the use of Photoshop.

Two SaberStrips v2.0

Three SaberStrips v2.0

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. 

1/100th f5.0 ISO100, SS v2 is the modifier and the strobe is the AD200 set to half power. Can you say incredible? It’s crazy.

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.

This is the ‘natural light’ scene where I was to photograph one of the young ladies who performs logistics for Luna Cycle.

Removing some of the boxes and shooting the light through the bookcase produced the image and quality of light I was after.

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.

24 May 2018

Flashpoint 600 on location – Antoine Hunter in CalArt’s Magazine “The Pool” Updated May 24 2018

UPDATE May 24 2018

CalArts has placed their entire Summertime Issue 2018 #3 online.

Original Post

In January 2018 the Editor of The Pool, an alumni magazine for the California Institute for the Arts contacted me about a feature they had planned for their 3rd edition of the publication. CalArts was incorporated in 1961 as the first degree-granting institution of higher learning in the United States created specifically for students of both the visual and performing arts. It offers Bachelor of Fine Arts, Master of Fine Arts, Master of Arts, and Doctor of Musical Arts degrees among six schools: Art; Critical Studies; Dance; Film/Video; Music; and Theater.

The publication wanted to feature one of their alumni – Antoine Hunter a deaf dancer, choreographer and educator. The editor informed me that Antoine had specifically requested that I create the imagery for his feature which prompted CalArts to commission me for the honored task. I met Antoine when he danced for Savage Jazz Dance Company of Oakland where I created publicity imagery for their troupe.

As with all creative endeavors my workflow was to meet with Antoine over coffee to discuss the mood he’d like to have for his imagery. Once we had our meeting I contacted the editor to discuss his wishes and we scheduled the session in and around iconic San Francisco landmarks. He wanted the imagery to reflect the majestic flavor of Antoine’s home. Beyond that, the artistic elements were left to my discretion which I always appreciate.

In March the editor flew up for the day and we began the session. Even though there was a chance of rain I was confident that the areas I had selected would be shielded from rain if it occurred. As luck would have it, it was a glorious day with wonderful clouds in the sky that I adore. Antoine brought his 6 year old daughter to the event along with his ASL interpreter. Even though we had not discussed shots of him and his daughter, I took them anyway as a memento of that day which he could have for his own memories. I too have kids and having imagery of them never gets old. In the end the magazine used one of the photos which I felt added much to his story. I’ve often found that the images created outside of an assignment are often used and enrich a story.

I didn’t expect the magazine to use this photo of Antoine. I took it and converted it to black and white out of my own preference. I’m really happy they chose to use it as the opening image for his article.

For all of the images I used a two Flashpoint 600s with extension flash heads to keep weight on the modifier end to a minimum. The modifier I used was a PCB Omni reflector which is my go to outdoor modifier. I had written a blog post about how I converted it to accept a Bowens mount. It is great in wind which is always a concern with my on location shoots. I planned to utilize two of these and had both with me during the sessions. All of the images were created using HSS between 1/1000th and 1/2000th of a second depending on my location and the sun’s intensity at the time. Generally the aperture was f2.8.

My plan was to NOT make the images appear lit, but balanced in natural light yet with a high production value. The only exception was when I created his portrait in a tunnel that is very darkly lit. In this instance I used two of the lights, one as a backlight to rim his figure and the other as a key light. The back light modifier was a simple 7 inch cone on a Flashpoint 600. The magazine ended up using that shot for the cover and I’m really pleased with the results.

I continue to be impressed with the performance, flexibility and quality of my 600 units, both as a monolight or  with an extension head. They are key to my work and the innovation in their ability to convert from a monolight to a pack/head or 1200ws head offers me options other manufacturers don’t offer  or match at the price point. I often chuckle when I read others who are so concerned about a 1/3 drop of power when using the extension heads. I guess increasing their ISO 1/3 of a stop doesn’t occur to them! LOL!!!! Some people will bitch about absolutely anything rather then spending their time on creating.

Gallery of images. Not all were utilized in the publication.

14 May 2018

Converting a Mole Junior 412 Fresnel – UPDATED 5-14-18

UPDATE May 14 2018

I recently conducted a client publicity session using my converted Mole Richardson 412.

Works well for close in head shots. Strobe in fully focused position.

Full body shot, strobe in fully flooded position.

UPDATE 4-21-18

I was finally able to run a session with both the converted Mole Richardson and my gobo light modifier where I use Rosco size B gobos. The Mole Richardson performed brilliantly. Since I was in studio I did not use both AD600s, but rather a single one. Barn doors were used along with a light modifier I am not allowed to display or mention. I used it as a fill for these shots.

Canon 1DXII ISO 100 1/250th f4.0

Canon 1DXII ISO 100 1/250th f4.0

Canon 1DXII ISO 100 1/250th f4.0

UPDATE 3-31-18

The final tweaks have been made to my now converted Mole Richardson Junior 412 2000w tungsten spotlight into a strobe. I have installed a Flashpoint 1200ws strobe head into the unit along with a 9″ reflector as well a diffusion bulb cover. I love the look large Fresnel lenses offer for light and plan to use this not only for portraits, but for dance. The modifications I’ve made allow me to convert the Fresnel BACK INTO a tungsten light. The design of the light is genius. By simply removing four machine screws the entire guts of the light simply drop out.

Simply removing the tungsten bulb, reflector mirror and power supply is all I had to do. Then I fabricated a mount and limiting arm to mount the 1200ws strobe head. The hole in the upper right allows me to push the connector through the box.

I covered the hole by using a garbage disposal rubber cover.

The Flashpoint 1200ws head. If I don’t need 1200ws I simply hook up one xPLOR600 strobe body. The 9″ reflector fits perfectly in the housing.

You can see the dual elements in the 1200ws bulb here. I have the head in the “Spot” or focused position in this shot.

To ensure the light is as smooth as possible I’ve installed a frosted glass cover over the 1200ws bulb.

On the front and back of the Fresnel are mechanical levers which allow me to move the light from Flood to spot. Here it is n the Flood position.

As you can see the light is now in the Spot position.

Here I wanted to see how sharp the shadows are produced by a Fresnel.

Testing the Mole Fresnel as the key light with a gobo for background pattern of light and an Aputure Fresnel for fill.

Bob without any fill light.

Bob with fill light from the Aputure Fresnel mated to an eVOLV200.

All done and ready for my first shoot. Total cost: 327.52 USD for a 10″ Fresnel that accepts a modern strobe.

UPDATE 3-29-18

I wanted to try the converted unit outdoors using the barn doors and HSS. Still more refinements, but I believe this will make a valuable tool in my lighting kit. Both images shot at 1/2500th f2.8 ISO160

600ws head being used.

Barn doors configured as a vertical slit. Fully flooded zoom position on the modifier.

Barn doors open wide as to not affect the light. Mid focused Fresnel. Love the ultra sharp shadows Fresnel lenses produce.

Original Post March 27 2018

I’ve been in love with the light a Fresnel throws. As a young man I marveled at Hollywood glamour portraits produces by film and Fresnel spotlights. I purchased and have used two Aputure 4.5″ Bowens mount Fresnel modifiers with much success. But I longed for a larger version of a Fresnel. So I researched models over 8″ in diameter. The only ones I could find were the Elinchrom FS30 and the Broncolor Flooter. 3k and 4.5k respectively in price. There are some new LED Fresnel lights that are great, but I wanted a strobe. So….

I purchased a used Mole-Richardson Junior 2K Fresnel Tungsten Light, 10″ Lens – 412 off of Craigslist and am converting it to accept a strobe. It’s going well and when the project is finished I’ll be posting how I did my conversion as well as some test shots. I’m excited to say the least as it’s going way better than I expected. I wanted to have the ability to switch from my 600ws head to my 1200ws head when needed. I love choices. One of the great design elements of this classic unit is the ability to switch it back to its native tungsten configuration. AND Mole Richardson sells a LED conversion kit that only takes four screws to install. The unit is designed so well. No wonder so many film studios used these things!

My total cost to convert it to accept a strobe including the cost of the unit? 315.00 including the barn doors! 

Focused

Flooded

22 Apr 2018

Fabricating a Fresnel w/gobo for a strobe – Update April 22 2018

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.

Light pattern was created with a Rosco gobo titled “Construction.”

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. 

My DIY mount to allow the use of Bowens strobe units. The thumbscrew allows me to rotate the gobo unit.

Rosco Size B window gobo. The heat from a theatrical follow spot caused the discoloration. I bought my gobos used.

I can rotate the SP unit at will to suit the mood or scene.

Keeping the gobo level in this test shot.

The SP Image Projector which sadly is no longer available.

I have used the SP Image Projector along with an appropriate gobo in many a commercial shoot. This was to portray Lee Harvey Oswald in the play “Assassins”

I used the SP Image Projector along with a jailhouse door gobo in a commercial shoot. This was to portray a convicted felon in prison in the play “Assassins”

The Bowens Universal Spot Attachment is yet another gobo strobe modifier that is no longer available. It uses the smaller Rosco M size gobos. What was so nice about this unit is that there is no fabricating to use it on a Bowens mount strobe.

For my project “Tango in the Mohave” I used the Bowens Spot Attachment with a cathedral window gobo paired with the Flashpoint Portable 1200ws Extension Head. Remarkable combination. Funny back story, when Eva, the dancer in this photo saw it on my iPad during the session she asked “Mark, where is the window? I didn’t see it when you were taking this photo.” LOL so cute!!!

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!

Yeah it’s crazy as shit, but when you’re motivated and you want something, well….

UPDATE: August 4 2015

_PEN7955-Edit

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.

Original Article

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….

My SP unit with a multi circle Rosco B gobo as an accent light shot with an Einstein strobe with haze in the air. Key light is an Einstein camera left shot through a PCB Extreme silver PLM.

(more…)

10 Apr 2018

OneEyeLand 2018 B/W Awards

I’m proud to have been named as a Finalist in the 2018 OneEyeland B/W awards under Nudes. I’m especially thrilled since Howard Schatz was one of the judges. I’ve LONG admired his work so I’m honored! My submission was one of the images I created for my “Tango in the Mohave” series with Eva and Patricio.

Tango in the Mohave

 

25 Mar 2018

Initial Sundisc 60cm portable impressions – Update 3-25-18

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.

Godox AD-S18 flash tube shovel.

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.

Original Article

Sundisc

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.

The Godox S bracket fits perfectly snug inside the Sundisc.

I have modified my S brackets, removing the rubber from the compression bracket. It allows me to insert my eVOLV200s with the silicon skins attached.

Silver interior. Here you can see the elastic strap designed to hold a speedlight in place.

Close up of the elastic band. Although it is of high quality and well sewn, the band allows the Sundisc to ‘flop’ over once you tilt your speedlight beyond 80 degrees. I want to have the ability to adjust the modifier to any angle without it flopping over.

It’s extremely easy to reverse the Sundisc from silver to gold. A great design.

All of this would easily fit into a small backpack! Perfect for any run and gun imagery or portraiture.

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.

Bob’s set up. The Sundisc is about 5 feet away from him.

Very good quality of light, much like a nice softbox.

My eVOLV200 modeling light is turned on. As you can see by having the strobe placed low in the modifier, it allows the light to more fully fill the disc. By using the elastic band inside of the unit to hold a strobe or speedlight it places the unit about 4-6 inches into the modifier and creates a dark area at the bottom when triggered.

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.

This is most likely how I will use the Sundisc, as a hair or fill light. It’s very light at only 14 ounces and placing it on a boom with my eVOLV200 and S bracket will allow me to be very portable. Not to mention using a boom arm that is light weight.

Testing it as a hair light. Since like me, poor Bob has no hair so I let him use my custom made top hat!

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…. 

15 Mar 2018

SMDV Alpha Speedbox-A110 Updated March 15 2018

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.

Waiting for the talent. It looks much brighter in this phone camera image than it actually appeared in real life!

Pro with SMDV 110cm camera left. Just out of frame camera right is my Sunbounce Mini reflector using the white side.

Pro with SMDV 110cm modifier directly in front of the talent. I’m shooting from below the modifier with the Sunbounce reflector under her face just out of frame.

Original Post

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.

This is a HUGE improvement made by SMDV! No longer using those silly little jeweler’s size Phillips screws to hold the bracket onto the speedring! Plus it gives me the flexibility to change from Bowens to Profoto if I want to use my Parabolix focusing arm with the 110. Yay!!! Those small plastic tabs replaced the pair of tabs to close the softbox on the smaller  SMDV units. I find that just like the smaller units with only a pair of tabs, it is best if you apply downward pressure on the softbox as you press the tabs to release the rods.

I appreciate both the silver material SMDV uses on this unit along with the tension the 12 rods put on the material to spread it evenly. The unit is well made.

Using the light in its fully flooded position.

Bob in the fully flooded position. The modifier is directly behind me and I’m standing in front of the modifier. It resembles the look of a beauty dish in this configuration.

Light is fully focused in this shot.

Bob in the fully focused position. The modifier is directly behind me and I’m standing just under the modifier. This provides a much more specular look as well as a more slimming light to his face.

Fully flooded and I have rotated the modifier to Bob’s left which darkens the left side of the modifier so that the light is bouncing off of the right side which is the ‘key light’ in the modifier. So the left side is the ‘fill light’ that fills in the right side of Bob’s face. Confused? Research how focusing arms work on the web….

Same as above, but the light is fully focused.

I didn’t shoot Bob in the mid focused position, but this is what it looks like. You can see that the light has a much different quality in this position.

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!

25 Feb 2018

On location with the AD200s and AD-B2s

I was asked to create some trombonist’s imagery for his upcoming Fall 2018 CD release. I’m not a fan of doing classical musician’s portraits simply because most of the time they just want a head shot with their instrument….YAWN! I often refer them to other photographers as I have little interest in that type of photography. But both the musician and his marketing director agreed to allow me the freedom to art direct the shoot so I agreed. 

Having worked with a number of symphonies I am well aware that there is a good natured (sometimes not so good natured!) rivalry between strings, percussion and brass players. So I thought that creating his portrait on the beach over a string instrument bonfire would be so appropriate and fun! Most important – it matches his personality! I had an old cello I had cut to photograph the interior for a different shoot years ago along with a prop violin that I was willing to burn. They flew into San Francisco from Nashville and we were off to the beach!

My decision for photography gear was to use my AD200s and the AD-B2s I own. Plenty of light and easily transportable since I had to lug all of the gear onto the beach. (I HATE lugging!) For the modifiers I used Aputure Fresnel heads as I love their focusing ability and those modifiers would match the style of light I wanted for the session. They’re also dead easy to gel and grid too.

How the scene appears just before sunset in natural light.

Quick light test before all the fun begins. His marketing person was going to eat all of the marshmallows before we began! She apparently LOVES them! 

It’s always fun to let the talent look at my iPad which is wirelessly tethered to my camera. I find it helps relax people as I’m setting up the session.

Yet another light test to ensure the marshmallows are well lit! Hahahahaha

Ah the smell of burning string instruments! What could warm a brass player’s heart more than that?

A fun shot for the back of the jewel case.

The AD200s mated to the AD-B2s are remarkable pieces of gear. So portable and so versatile. I love the flexibility they allow me both in studio and on location. Why not use my AD600s? I believe in using the right tool for the right job. The 600s would have been overkill from a power standpoint and much heavier to lug onto the beach.

05 Feb 2018

Adorama Glow ParaPop 38″ Review

38″ Glow Pop. In this image it’s shown with the speedlight mounting bracket, but I use the Bowens mount attachment since I never use speedlights.

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.

The client used the image for a billboard off of the Central Expressway in Dallas, TX

Darren and Adam, two of the fellas from Genius House Media happened to be filming there that day. I adore these guys so I asked them to be part of a light test and goof around with still cameras! LOL as you can see we had a great time.

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.

26 Jan 2018

5 Different Modifiers, 2 Strobes over 2 Days

A trombonist and his PR rep flew in from Nashville, TN to conduct two day photo sessions for his upcoming CD release in the Fall. We had spoken over the phone and via email about the theme for his shoot. I didn’t feel that a traditional musician with instrument would suit his personality. Nor did I believe it would show any creativity, so we agreed on two separate sessions. One on location and one in studio.

Day one was conducted on location at Ocean Beach in San Francisco just before sunset. During his trip it was the only day when rain was not forecast which meant IF the weather people were correct, the sky would have wonderful clouds, one of my favorite elements for outdoor sessions. As luck would have it, the sky and weather were perfect…whew!

BTS shot. Here I used one AD-B2 with two eVOLV200s shot through an adjustable Aputure Fresnel Lens as the key light. Another single eVOLV200 using its included Fresnel head was used to augment illumination of the fire/cello/violin fire.

For each shot on both days I used a total of six different modifiers, but only two different strobes. xPLOR600s, and eVOLV200s. Using AD-B2 and 600ws extension heads gives me flexibility like no other system. It’s one of the big reasons I have switched over to this system.

Two eVOLV200s mounted in a single AD-B2 shot through an Aputure Fresnel modifier was the key light. A single eVOLV200 using its native Fresnel head and barn doors with gel was used to augment illumination on the fire/cello/violin bonfire. Canon 1DX Mark II 1/400th.

Canon 1DX Mark II 1/400th using two eVOLV200s inside the AD-B2 shot though the Aputure Fersnel head.

Day two was shot in studio using four different modifiers on four xPLOR600s, two using remote heads. The modifiers were:

  • An Elinchrom Rotalux Deep Octa using a DIY focusing arm in its fully flooded position as key light
  • An Adorama GlowPop 38 with both inner and outer diffusion panels as a rim light
  • An Andoer Metal Conical Snoot on a boom to illuminate the martini glass with mini trombone
  • A Cheetahstand 40 inch (100cm) QS40 Silver Beauty Dish with diffusion panel installed as the model’s leg light

Although I use a wide variety of modifiers from many different manufacturers I only use Flashpoint/Godox strobes. Why? Well because their performance, value, quality and flexibility gives me options that I’ve not been able to find anywhere else. The battery life of either of those units is incredible. I have yet to exhaust the battery during an all day session.

22 Dec 2017

DIY Bowens Focusing Rod – Updated 12-24-17

UPDATE 12-24-17

Today I installed an Adorama Glow Pop 38″ octa into my DIY focusing rod in anticipation of purchasing the new SMDV Mega 160 Speedbox as well as the SMDV 110 cm octa.

Glow Pop using the Cheetahstand Chop Stick.

Side view with Glow Pop

Light in fully flooded position.

Light in fully focused position.

Original Article

It’s no secret that I have enthusiastically adopted the use of focusing rod light modifiers. I’ve found them so versatile and the light quality they produce to my taste and my clients satisfaction. Sure there are times I love super soft light, but for me soft light, or the constant use of soft light is well….. boring. Indirect light like when using an umbrella produces some of the best contrast, detail of any modifiers I’ve used. the problem is umbrellas have their own issues one of them in controlling spill.

When I first was made aware of the Broncolor Para line of focusing rod modifiers I was captivated. It took quite some time for me to find a rental house that would not only rent the Para 88 octa, but the focusing rod as well. Once I tried one, I was sold. But the price was too cost prohibitive for my client base. At the time $4900.00 USD for one modifier was too pricey. So I made my own focusing rod which I wrote about here. I love the light it produces and the flexibility it gives me.

Since those days I purchased a Parabolix 35D, a CononMark 120cm focusing rod modifier and a Cheetahstand Chop Stick which I use with my Zeppelin line of modifiers. What has always frustrated me is I could never find anyone who produced a focusing rod that would accept ANY Bowens modifier. Each of the manufacturers I mentioned before including Cheetahstand all use proprietary mounting solutions for their focusing arms. 16 rods, or 8 rods, holes a certain size, you name it every manufacturer only fits their own line.

Prior to using focusing arm modifiers, my favorite modifier were my two Elinchrom Rotalux Deep Octas. The quality of lights they produce is delicious. Yet because of the Elinchrom speedring design I could never figure out a way to mount a focusing arm to those octas…until now.

I searched for a bracket that is used for speedlights which can be directly mounted to a swiveling Bowens adapter and found this one on eBay. The next issue was finding a male Bowens adapter that would fit onto the mounting bracket. After much measuring I determined that the Adorama or SMDV Bowens ring would fit perfectly. There is quite a bit of modification that needs to happen and perhaps at some point I will outline those steps. But for now anyone with motivation can buy those two items (which were the toughest parts to figure out btw) and make your own. And NO I will NOT be making/selling these brackets, so please don’t ask.

The one other issue many trolls will like to talk about is if this or that modifier is TRULY PARABOLIC in shape. While those folks are flapping their pie holes along with their constant need to be right, I simply look at how any modifier PERFORMS to my own as well as my client’s satisfaction to determine if it’s right for my taste. I love the flexibility of choice and having a bracket that will allow me to use any Bowens mount modifier with a focusing arm gives me  freedom to choose. I’m even going to try hard modifiers with a focusing arm!!!! Who knows I may find out it works great…or not. But at least I have the option.

My focusing rod bracket which accepts any Bowens mount modifier. The focusing arm is by Cheetahstand and called a Chop Stick.

The Pro L Bracket Adapter Flash Speedlite Holder for Bowens Mount I bought off of eBay.

Glow Speed Ring Adapter, the male part of the bracket.

Front view of the completed bracket

Rear view of the completed bracket

Bracket in the foreground next to my Parabolix 35D

Elinchrom Deep Rotolax installed using the Flashpoint remote head in a fully flooded position.

How it looks from the back side.

My test shot of Maggie. Focusing arm is in the fully flooded position.

16 Nov 2017

The Hard Truth About Hard Modifiers

Hard modifiers. They’re so misunderstood! Most photographers seem to always be chasing soft light, the softer the better. I understand that too, but in my world there is sometimes a need for hard modifiers. On location in high wind, nothing is better to combat the potential disaster of turning your light stand, modifier and strobe into an orbiting satellite than a hard modifier.

Yet there are many other uses for hard modifiers. Yes they CAN throw beautiful soft light. And in those instances where you need to throw and control light a long distance they’re wonderful. I recently had an assignment where I had to light 90 musicians on stage to make the scene appear like a Rembrandt painting which meant making the light even across the stage. It would have been impossible without the use of hard modifiers or Fresnel lenses.

To date this was the most difficult lighting set up I’ve accomplished.

But the point of this post is to advise you that the SHAPE of a hard modifier can easily be confused with how the light pattern will perform. Most of use ‘think’ that a long cone shaped modifier will throw light in a long narrow pattern focusing light in the same shape as the modifier. Back in the day when I was talking to Paul Buff about his long throw reflector he said “Mark, the long throw’s center concentration of light is NOT as intense as my 22” beauty dish. But it does throw the light further.” I thought to myself “Uh sure Paul, you must not know what you’re talking about…” Hahahahaha who was I to doubt the INVENTER of his brilliant products. So I tested them side by side and guess what? He was fucking right of course and I was shocked….at my ignorance.

Adorama sent me some of their modifiers so I decided to test them side by side with others I own to see the light patterns they produce. Having been schooled by Paul I was better educated to ‘theorize’ how each of the modifier’s patterns would perform.

All were shot using a Flashpoint xPLOR600 set at full 1:1 power. The distance to the seamless was 35 feet. Camera was set at 1/125th, f22, ISO 100. This test was performed just before a client’s session so it’s not about the power capabilities of the modifiers, but their light patterns.

Bowens long throw

Glow 45 Long Focus

Glow Magnum

PCB 18″ Omni

PCB Retro Laser

As you can see by the light patterns above and the shape of each modifier below, light patterns don’t always follow the shape of the modifiers. Right now my favorites are the Glow 70 Degree Magnum, the PCB Omni and Retro Laser for throwing concentrated beams of light over distance. The Glow 45 and Bowens long throw extend light with a much softer/less concentrated pattern of light.

Glow 70 Degree Magnum Reflector

Glow 45° Long Focus Reflector

Bowens long throw reflector

PCB Retro Laser (Discontinued)

PCB 18″ Omni reflector. How I modified the Omni for a Bowens mount can be found here.

So here is how I’ve used hard modifiers for different applications:

PCB Omni using a Priolite MBX1000 hotsync.

Outdoor on location portrait using the configuration above.

Same configuration, but using the PCB triple layer sock over the Omni to light the three bakers. The triple layer sock produces such wonderful soft light from the Omni.

Omni, two xPLOR600s combined to use the 1200 ws head for my Tango in the Mohave session.

PCB Omni

PCB Omni key light. Rim light and smoke light in behind talent.

Omni with two xPLOR600s with the 1200 ws head. As you can see from the shadows the sunlight which I used as a rim light was very bright and intense.

My point of this posting is to demonstrate the light patterns and possible usage of hard modifiers in your took kit. For the right application I find them an invaluable tool. In the future I will be updating this post with actual shots using the Glow line of hard modifiers.

04 Oct 2017

Fathom Entertainment

UPDATE November 8 2017

My client has used several of the publicity imagery in and around the greater Seattle area on billboards and bus banners.

My partner Tracy Martin completed and the client has released the film she created for their upcoming fall production of Holiday Inn. The film is a behind the scenes look into the making of the production which includes my publicity photo shoot for the show. This film will be shown nationwide through Fathom Entertainment in movie theaters. In the film you will catch short glimpses of the gear I used which includes xPLOR600, eVOLV200s, Parabolix 35D, Cheetahstand’s Quick Lantern among other items.

02 Oct 2017

Dance lighting setup

UPDATE October 12 2017

In my review of Cheetahstand’s Quick Stripbox and Lantern I have shown my lighting setups for a different dance troupe. You can view that post here.

Original Post

I was recently hired to do an annual studio dance session by one of my long time clients. I’m posting this to show how I use xPLOR, eVOLV, Cheetahstand, CononMark, etc lights and modifiers in a session. This was an all-day session lasting approximately 6.5 hours of nonstop shooting. I had charged both the Xplor and eVOLV lights to full the day before. I never even ran close to running out of battery power on any of the strobes. All of the strobes showed half full at the end of the day. My Canon 1DXII showed 25% battery life left at the end of the day to give you some reference. I was using the WFT-E6A wireless transmitting dongle on my camera to wirelessly tether my rig to my iPad so the client could view the images as they happened. Using the transmitter uses more battery life than without.

There seems to be quite a bit of ‘talk’ that certain brands of modifiers/lights/etc. must be used in order to ‘be a pro.’ Nonsense. How one uses gear, how one engages with the talent and how one uses their imagination are the most important part of imagery to my clients. So I post this in hopes that it will help other shooters who are interested in multi light set ups, but not hung up on brand names or scientific theories about what makes a true parabola or other talking points. When people ask me what is the one thing I would have for gear over everything else, I always say your imagination. Years ago I was blessed to be able to spend time with Annie Leibovitz and I asked her “How do I shoot more like you?” Her response? “Don’t shoot like me Mark, shoot like you. It’s the only way to develop your own style.”

I used a four light setup most of the day. My key light was the CononMark 120cm inverted octa using an xPLOR600 with a remote head. I opted to not use my Parabolix D35 because the size I needed for the day required a larger modifier. And I’ve been very happy with the quality of light from the Cononmark. My two rim lights are Cheetahstand Quick Strip lights using xPLOR600s and the top overhead light is an eVOLV200 mounted into an AD-B2 housing. The modifier is a Fresnel adjustable head. For dance I always use a 140″ wide seamless. In this case I’m using black to give a grittier look to the imagery.

I use children’s ABC flash cards to help me know what light is in what group.

The great thing about battery powered strobes is I can roll the key lights or others wherever they’re needed when I want a different look for light

I had to be creative in sandwiching my eVOLV200 against the ceiling!

Some of my final images.

  

05 Sep 2017

Why I use: xPLOR/Cheetahstand/Parabolix/Cononmark/etc

UPDATE December 9 2017

I recently conducted a two day session using two eVOLV200S mounted to an AD-B2 unit shot through a Cheetahstand Quick strip box. The strobes were used as second key lights combined with my xPLOR600 with remote head shot through a CononMark 120CM focusing octa modifier. The units performed well and the stopping power of the units is excellent. I shot all sessions using a Pentax 645Z whose sync speed is limited to 1/125th of a second. During jumping action shots the strobes froze the action of the talent jumping. I’m continually pleased with the performance of both the eVOLV and xPLOR  units. It should also be noted that I was able to complete two full days of shooting without charging either the eVOLV or xPLOR units.

The two eVOLV200s in the AD-B2 can be seen behind the Cheetahstand Quick Strip box in the center of the seamless.

Full body shot of the talent as she performed a leap into the air.

Full crop of the necklace to illustrate the stopping power of the strobes.UPDATE October 20 2017

My client has incorporated some of my publicity imagery into their marketing campaign.

UPDATE October 12 2017

In my review of Cheetahstand’s Quick Stripbox and Lantern I have shown my lighting setups for a different dance troupe. You can view 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 8 2017

In my post about the Parabolix 35D I have some of my recent client work which was just released.

UPDATE September 7 2017

I wanted to illustrate how I add lights during the session below.

First I see how I want the exposure using the Cheetahstand lantern as my overhead light.

A reluctant assistant stands in while I balance the overhead light. I find that the lantern is much more to my taste for an overhead light.

Then I add the rim lights using the new gridded Cheetahstand Quick Strip Boxes. I am only using the inner diffusion panels.

At this point I add my key light the Parabolix Deep 35 in its mid focused position.

And finally I move my camera right gridded rim light to illuminate her downstage leg to my taste while using the Parabolix in its fully focused position to capture her face.

Original Post

I want to make this simple. The ONLY reason I use a piece of gear is because I have found a piece of gear which works for me. I have long given up on most review sites with the exception of three I trust. I do listen to other pros I know personally if they find pieces of gear that work for them. It doesn’t mean those items will work the same for me, or vice versa. I am LOYAL to companies that service/warranty/customer service the products they carry with integrity.

I was recently hired to create some promotional imagery for a dance troupe. They have an upcoming performance this Fall and wanted me to create some marketing imagery. For this particular shoot I am not tied to an NDA so I am able to use some of the images and BTS shots I created, providing I don’t mention the troupe’s name. This posting is part review, part explanation as to why I choose what I choose for my work.

Cheetahstand

I often chuckle when I hear/read folks discount or complain about items “Made in China.” Sure I would love to purchase items made in the USA or specifically California, but this is a century which is global where items are made everywhere. Apparently innovation is now global….. (LOL) I remember the day people use to tease me that “Made in Japan” meant the items were ‘cheap’ and poorly made. Well guess fucking what? Times have changed….

Cheetah 12″x55″ Quick StripBox 

Well made, easy as pie to erect (versus put together), wonderful light, what’s not to love?

I HATE putting together softboxes, HATE IT. So when I read that Edward had designed and manufactured a ‘quick’ softbox I was skeptical. You see I have used Westcott’s Rapid Box line and although they are fine, I never really like the design. So I ordered one of his Quick Stripboxes and was duly impressed when it arrived. I especially like how he includes a fabric grid with his products. The mechanism that expands the four captured rods is genius. And the material he uses is of good quality.

You can see the Cheetah 12″x55″ Quick Strip Box in the background. The lantern is on a boom and I’m using an old PCB umbrella to control spill. My Parabolix Deep 35 was my key light.

The pair of Cheetah 12″x55″ Quick Strip Boxes in use. Those are symphonic musicians and a composer….Hahahahaha

Lit with only two Cheetah 12″x55″ Quick Strip Boxes.

Cheetah 26″ Quick Lantern 

I only wish I used a lantern earlier!

It’s no secret that one of my favorite lighting techniques is rim or back lighting the talent. Normally I’ve used gridded strip boxes, but when I happened upon the Cheetah 26″ Quick Lantern I thought it may solve one of the issues I have with strip box overhead lighting. By using an orb the light would be more evenly distributed on my subjects. Photographing dancers often means they MOVE around and are often out of the sweet spot of a strip light. The light produced by the Cheetah 26″ Quick Lantern is smooth and more natural looking for my work. To keep the unit’s light from spilling onto the background I cut an old PCB umbrella and use it to drape over the lantern. When I want to direct light other than straight down, I simply use some wooden clothespins to roll the material up to expose the lantern. Works great! Oh and assembly of the lantern is so easy. Love omnidirectional light when needed.

Cheetah 26″ Quick Lantern and two strip boxes used.

Cheetah 26″ Quick Lantern as the key light for this shot. The even light distribution is what I love about his orb!

This illustrates how I’m using the Cheetah 26″ Quick Lantern.

Cheetah 26″ Quick Lantern as my key light and two strip boxes.

Parabolix 35 Deep Package 

So well designed and manufactured. Beautiful light.

On a different post on my site I’ve done an initial review of the Parabolix Deep 35. I was not yet able to display any photos due to NDAs, but am able to do so here. I will simply repeat that the modifier is very well made and the focusing arm and pivot is top notch. The light produced is wonderful. Is it three times better than my CononMark 120? For me not three times better, yet it is wonderful.

Flashpoint Portable 1200ws Extension Head used in a gobo head. Parabolix used as a fill light fully focused. Rear light is a coned xPLOR600.

Flashpoint Portable 1200ws Extension Head used in a gobo head. Parabolix used as a fill light fully focused. Rear light is a coned xPLOR600.

Parabolix used as a key light fully focused. Lantern overhead and both gridded strip boxes used as perimeter lights.

My point to this post is I’m not influenced by brands or theoretical ‘views’ by other ‘photographers’ who love to spew out their views without any imagery. I try to find what works best for me and presents a good value. I value my freedom above all else.

Three of my fellow pro shooters are sponsored by photographic house hold names. In each case when I’ve said “Hey have you tried XYZ’s new lens/strobe/etc?” they respond with “Ugh I can’t because having agreed to be sponsored by ABC Company means I can’t use XYZ’s stuff.” I get it though; getting expensive gear for free is cool. But for me the freedom to use what works for me, means a ton more than free gear.

In the end it’s what I produce that’s more important than what brand of this and that I use. If people believe that a specific brand or model of anything is going to make their work better, then they need a reality check. HOW YOU USE any tool and HOW YOU USE YOUR IMAGINATION are the most valuable assets you can own.

And since I just received an email from a client I consider quite a hard ass who SELDOM hands out ANY compliments which said, “You my talented bad ass brother…is the man…” after viewing some of the shots, I’ll stick to my own methodology.

10 Jan 2017

Parabolix 35D – UPDATE January 10 2018

UPDATE January 10 2018

I recently used the 35D during a publicity shoot for a symphony. The amount of control focusing rod modifiers offer is incredible. Not to mention the goddess light it produces.

35D as the key light fully flooded. Cheetahstand Ricebowl 90 with inner diffusion panel only and grid as rim light.

Side view fully flooded. xPLOR600 with remote head is the strobe.

Image of the harpist.

UPDATE December 24 2017

How one of my clients used a publicity image created while using a Parabolix 35D.

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.

UPDATED September 8 2017

My client, the 5th Avenue Theatre in Seattle, WA released the images created using the Parabolix 35D six weeks early. You can see some of these and other shots from this day in Broadway World. I used four lights using the Parabolix as key for most of the images below:

Shot against 140″ Savage White Seamless. In this BTS shot I didn’t have the Cheetahstand Lantern set up yet. The 86″ soft silver PCB umbrella was stacked behind the Parabolix. I used the 35D in mid focused position to bring out the faces of the talent. The Phottix folding white BD was used as fill when needed.

Please note that for all of the images below I have NOT done any post processing other than bringing the files into Lightroom to adjust color balance, lens correction. If you look closely you can see the gaff tape marks on the seamless which have not yet been removed for final press images.

All of the images were shot with a Pentax 645Z/Cactus v6II, xPLOR 600s using HSS 1/400th to control any ambient bleeding from the overhead lights which I could not turn off.

In this image you can see the Cheetahstand 26″ Quick Lantern which I control with an old PCB umbrella I cut to make it a drape. I use wooden clothespins to roll the curtain up when I want to direct the light to certain areas. I find this a much better method of overhead lighting than my former methods.

The following images were shot with three lights. The client wanted an old school “Hollywood Glamour” look for these shots in BW. High contrast was achieved by using the 35D in its fully focused mode. The drapes were lit using eVOLV 200s using a Fresnel head.

UPDATED September 3 2017

You can view my recent dance session where I used the 35D for many of the shots to produce dramatic shadows and light.

UPDATED August 20 2017

Yesterday I conducted a test of the Parabolix 35D with focusing arm. I asked Cheyenne to be the talent since she’s so darn lovely to work with! Now if you are looking for a ‘side by side’ comparison with other modifiers using split screens, etc. quit reading and save yourself  some time. I am NOT a review site. I don’t value pseudo scientific or theoretical physics. Photography is not an exact science it’s all subjective. Those who never post any actual images or a body of work have zero credibility to me. And if they do have a body of work I get to judge for myself if the quality of that work is high. If so then their opinion is of value to me. So for you photography trolls who never post shit other than H8R comments, save yourself the having to be right mentality and bail now. 

I seldom if EVER use one single light. So I didn’t test the Parabolix 35D that way. Sure it may produce the thing you want to see, but again since I’m NOT a review site, but a working shooter I needed to see how it performs in my situations. In the tests I ran yesterday I want to see how the 35D compares to my CononMark 120, and my Westcott Zeppelin 59 which I use as inverted octas and have for the past year. Yep they’re all different sizes, the 35D is, well 35″, the CononMark 120 is 47″ and the Zep is 59″. I didn’t want to purchase an equivalent size to what I already have. (Yet I do have a Zep 47″….!)

I used my 59″ Zep with the inner diffusion panel only with an xPLOR600 powering their handheld remote head. As you can see in the image above I had it on a boom pointing straight down over Cheyenne. Keep in mind that the BTS shot of my BTS shoot was not necessarily where she was actually standing for the shots below. I took the shot above JUST TO GIVE YOU an idea of my configuration.

All images were shot with my Pentax 645Z. And if you look closely you will see the old USB receivers plugged into the xPLOR600s. Why? Because I just discovered how to achieve HSS with my Pentax whose native sync speed is only 1/125th of a second. Using a Cactus v6II trigger combined with the old FT-16 transmitter did the trick. If interested, I’ve written how to do it here. Most of the shots were at a shutter speed of either 1/200th or 1/250th.

Below each photograph I’ve said whether I used the Parabolix is its ‘flooded’ or ‘focused’ position. If you don’t know, flooded means the strobe head is pushed all the way out toward the front of the modifier. Focused means it’s pulled all the way into the modifier. Flooded gives you a much softer look, focused is way more contrasty. You should also know that no matter what modifier you use be it a Zeppelin, CononMark, Parabolix or other brand, you must adjust your power settings when you flood or focus the light.

The other aspect of the photos below is they have NOT been retouched, edited to final, blah blah blah. Why? Well for two reasons. Cheyenne is confident enough to allow images of her unretouched and second it is my preference to illustrate light tests. When I see ‘final test shots’ that have gone through loads of post processing I cannot actually tell how the light performs for my taste. I don’t want to see plastic skin, dodged and burnt images. I want to see how the shot came out of cam. So these were brought into Lightroom, adjusted for color and that’s it. No blemishes were removed (like she has any anyway!), no skin smoothing. None of that shit for my tests.

Fully focused.

2/3 flooded.

Half flooded, meaning the strobe head is about halfway into the modifier. On the Parabolix scale on the focusing rod that is at level 5 of 10.

Fully flooded.

Fully flooded

Fully flooded.

So my final impression of the Parabolix 35D? I like it. Do I plan to replace all of my other modifiers with them? Uh no, here’s why…

I love the construction of the unit, it’s high quality. The fabrics are spot on and the focusing rod is just as nice as the Bron Para I rented last year. Is it 2.6 times better than my CononMark 120? Not sure really. Will I keep it? Yes as I don’t have a 35″ inverse, but WILL test it against my favorite Elinchrom Rotalux Deep Octa later this month. Prior to using xPLOR/Godox strobes I was a very loyal user of Paul’s Einsteins. For me they presented the best value/performance of any brand of light. But I ended up switching ALL of my strobes over to the xPLOR/Godox brand. The amount of innovation and features they present sadly eclipsed Paul’s units after his passing. It’s no secret that I’ve always felt he was a genius and I sorely miss his innovation in lighting along with his quirky nature as a person.

But unlike my move from exclusively Einstein’s to exclusively xPLORs, I will most likely NOT make the move from CononMark/Zeppelins/Elinchroms to exclusively Parabolix. I know there are those who may feel/’prove’/argue/compare that the Parabolix is THAT MUCH BETTER and good for them. Time will tell me how much I like the modifier. I may change my mind after a year or so. Every person is different in what they look for. I tend to eat at hole in the wall places owned by families whose food is out of this world. But then again that’s just my opinion and taste. I will occasionally venture into a Michael Mina restaurant recommended by those who love the name and rave about the food. But that’s just not my thing. As long as my clients and I are thrilled with my work, that’s really all that matters to me. I’m certainly NOT dissing the Parabolix at all. It’s a fine modifier. It’s up to each person to decide for themselves. What I would recommend is to wait until a rental house has some to rent. Rent one, try it out and then decide if it’s right for yours/your client’s taste and budget.

Original Post

Today I received my Parabolix 35D ‘kit’ which means I purchased their package which includes their focusing arm and strobe cage. I will be testing the light this Saturday with a model to ascertain if I plan to add this to my toolbox of modifiers. I will initially say that the construction of the unit is excellent. The 16 rods are much like those in the CononMark and Elinchrom Rotalux Deep Octa that I own. The rods are captured in the speed ring and pivot and held in place with sprung collars.

The fabric of the exterior is similar to very heavy canvas, the type I was accustomed to handling while sailing. Heavy and well made. The interior texture is much like my Elinchrom which is a pebbled texture. Once I am able to actually use this modifier I will update this post.

The shape is very similar to the Broncolor Para 88 I rented last year to test.

Like the Cononmark the Parabolix has sixteen rods. The interior fabric is pebbled and if it performs like the Elinchrom Rotalux Oct it’s a winner. You can see the slight slit at the 6:00 position in the modifier. This is for the cord from the light to the exterior. It’s hook and loop fastener.

The two large handles ratchet and are smooth. The knob to the right is where you adjust the focusing of the light. It has a numeric scale from 1 to 10 on the rod itself, but I forgot to take a photo. I think that may be of value in replicating flooding or focusing light. We’ll see. I have it in the fully flooded position here.

The modifier mounts to its focusing arm with a Profoto like clamp. I will say that even though this is a well made unit, the Bron Para 88’s four folding arms makes assembly and disassembly much easier. Is it worth an extra $3K? That’s up to each shooter. My main focus Saturday is to see the quality of light.

One of the things I noticed right away is the light pattern of the modifier when the modeling light is on. Unlike my other modifiers which include Zeppelins, Elinchroms, CononMarks and Glowpops the Parabolix fills more evenly than the others. Now the real test of the light will happen this Saturday when in actual use, but this is interesting.

Fully focused light pattern.

Fully flooded light pattern. So even!

Focusing rod numeric gauge. I think this will prove valuable. The other thing is its smooth operation is wonderful.

The optional grid is 2×2 and nylon.

One of the small details I appreciate is the grid attaches via Velcro which is nothing new. BUT the width of the rim is twice the size of the Velcro thereby allowing an edge about 1″ wide to protrude beyond the modifier to ensure that light spill is reduced even more. So good! Little details make a difference.

The bag that is supplied with the modifier is made of the same sturdy fabric as the modifier itself. It seems very abrasion resistant which is something I appreciate given how much I transport gear on airlines. I was worried that I would not be able to fit the modifier, focusing rod and strobe cage into the bag, but they all fit. I can even fit the grid I received with the modifier into the bag as well. The bag includes an attached adjustable shoulder strap.

27 Nov 2015

Light and Atmosphere on Location

I was recently hired to do an on location session for a Seattle Theatre company which needed publicity photographs for “Assassins” which is a play about those who have attempted or succeeded in the assassinations of US Presidents. My primary questions whenever a client asks for imagery is always “What is the mood I’m to create?” In this case the client’s response was “gritty and dark.”

All of the ‘assassins’ in their group photo. Smoke machine behind the talent with one coned strobe behind to illuminate the smoke. Key light is a 64″ parabolic umbrella high camera left.

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