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.
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.
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.
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.
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.
UPDATE August 20 2017
I ran a test yesterday of various modifiers along with the new AD-B2 mount and discovered that when you are using the USB receivers in the eVOLV200s the only level of modeling light that can be activated on the AD-B2 is the lowest level from the FT-16 controller.
UPDATE: July 29 2017
I have just completed testing HSS with the eVOLV200 strobes with my Pentax 645Z. I have included my test shots with “Bob” and all Flashpoint USB triggers and Cactus v6II settings are the same as the Xplor/Godox 600 lights. But I have outlined how I set the eVOLV200 lights below.
A few people contacted me to let me know they have been able to use HSS with a Pentax 645Z using other brands of lights with the Cactus v6II which I very much appreciated. But even though they have had HSS/645Z success with Profoto’s B1’s, Speedotrons, Photogenic Studio Max, etc. I wanted to make this work with the Flashpoint/Godox line of lights. Why? Well because for my work they fit my workflow with incredible innovation and the largest eco system of strobes. Using an xPLOR600 as either a monolight or pack/head system is just one reason. Combining two of them to make a single 1200 ws head when I need that power, creating their upcoming eVOLV200 twin head all combine to make it the line I love to use. I’ve had my fill of purchasing other strobes just for my 645Z, namely Priolites to achieve HSS. Now I no longer have to use separate brands of lights to do my commercial work no matter what brand of camera I’m using for the job at hand. And that’s great since I use three different brands of cameras!
Thank you to Cactus for developing a tool that is both remarkable and functional. It’s been a godsend for my work.
Original Test Review
To put it simply HALLELUJAH!!!! Oh my gosh for the past four years I have wanted with all of my want to have an option for HSS and my Pentax 645Z other than my MBX1000 Hotsync Priolites. Priolites do NOT use HSS, but rather hypersync and as the shutter speed increases the slight shading of banding increases as well. I’m not talking about black bars, but what looks like a graduated neutral density filter was applied to the image. Sure I could remove it in those instances where it’s obvious, but in my mind for $2600.00 per light it should NOT be something I have to do. Anyway there are several other issues that bothered me, but as ‘the only game in town’ for shutter speeds over 1/125th of a second when using strobes, I like other shooters was stuck. Ricoh never manufactured modern leaf shutter lenses for the 645 and based on their current financial situation and market share I seriously doubt they will. Plus leaf shutter lenses are expensive and limited to whatever focal length is produced. It’s one of the limits that smug shooters of Phase One or Hassy bring up when talking about the 645Z. I just laugh and now I snicker…
So here’s how I figured it out. I now use a Flashpoint R1 Flashpoint Commander Transmitter with older 433mgh USB receivers in my Xplor/Godox 600 strobes. The FT16 is placed on top of a Cactus v6II transceiver. And as you can see by the shots I’ve displayed below it’s a godsend. Will I miss 1000ws from my Priolite? Oh hell no, not when I can simply combine two Xplor600s and hook them to my 1200ws head. HSS using my beloved Xplor600 with my Pentax 645Z means Christmas came in July 2017 for me this year! Hallelujah!!!
Will I like it if Cactus develops a firmware update for their triggers so that I don’t have to use the USB receivers? Sure! It would also mean I could use my eVOLV200s with my 645Z too. But for now I’m damn happy to have figured out how to use my 600s in HSS with my 645Z. No shaded banding whatsoever using my Xplor/Godox strobes.
I truly am one happy person!
UPDATE: July 29 2017
I have written an article about how I achieved using the Xplor/Godox 600 and 200 strobes in HSS with my Pentax 645Z. You can read that article here.
UPDATE July 17 2017
I recently wrote an article about using all of my Xplor/Godox lights in one shoot including the eVOLV200s. You can view that post here.
I’m an early adopter on lighting gear. Always have been. And like all early adopters I run into the quirks and problems associated with early development of gear. I always test gear before I use it commercially, but sometimes my testing is not exhaustive enough to anticipate every situation. And as any working pro knows, something ALWAYS goes wrong on every shoot no matter how much you plan. It’s just part of the deal.
I was one of the first adopters of PCB’s Einstein 640ws strobes. Excellent t1 performance in a small package was enough for me. I’ve used Einsteins for over 7 years exclusively in studio from the time they were released. When Adorama released their Flashpoint 600ws Rovelight I was intrigued. Rather than having to haul an Einstein and a Vagabond II, the CyberSync triggers on location the Rovelights have a built in battery and receiver. So I bought several, tested them and took them out on a commercial shoot. I ran into issues during that shoot with the trigger’s lack of range. I wrote an extensive evaluation of them and complained with others to Adorama. An friend of mine (NASA!) who is an electrical engineer dismantled the transmitter and showed me the issue which caused the poor range. In the end I sadly returned all of my Rovelights to Adorama. Subsequent to the trigger issues Adorama had them redesigned and developed a RMA program to replace the original triggers to early adopters. As a working pro warranties and customer service are key. It’s one of the reasons I stayed with PCB for so long, excellent customer service. The fact that Adorama took the initiative to replace triggers is one of the reasons I respect them. I respect those that DO much more than those that SAY.
Gah! I’ve gone back and forth on which I’d buy if I was considering both. I have two AD360s and one AD600. All are the manual versions, as I don’t find TTL good for my work flow. And I should also state I don’t use speedlights of any brand or kind. I just find strobes better for my work. So I made a laundry lists of my personal likes and dislikes:
A pro shooter friend of mine who I convinced into purchasing several AD360s wrote to me today asking if I had ever tested an AD360 against one of my Einsteins to test the power differences. He stated that in his test using wide hard modifiers from the same distance his results showed only a 1/2 stop difference. He was under the impression that there should be a 1.5 stop difference.
I never test these things, but since he’s a close friend I opted to try my own test. The only difference is I decided to NOT use a hard modifier because I don’t have any that fit all three that are the same shape/size. Plus I was not interested in testing the ‘max’ output of the units, only the differences. So I ran my test using all three bare bulb, no modifier at all. I placed each unit in my second bathroom which is small, about 8×10 feet. Pointed each bulb straight up and fired them at 1:1 power, maximum. I measured each unit’s output with a Sekonic L358 light meter set at 1/100th shutter speed, ISO 100. I pointed the meter at the opposing wall and fired each flash three times to ensure some consistency. Here are my results
I was recently hired to do an on location session for a Seattle Theatre company which needed publicity photographs for “Assassins” which is a play about those who have attempted or succeeded in the assassinations of US Presidents. My primary questions whenever a client asks for imagery is always “What is the mood I’m to create?” In this case the client’s response was “gritty and dark.”
I’ve always been a huge proponent of learning via hands on and have advocated to many on forums or to aspiring photographers to find a mentor. One of the very best ways to learn the craft of photography is to assist a photographer as their assistant.
This is much more difficult than it sounds and for anyone who has reached out to commercial shooters to offer ‘assistance’ you may or may not have encountered resistance and in some cases even reluctance when you’ve offered help. Having been on both sides of the ‘offering’ and the ‘recipient of offers’ I wanted to explain some of my concerns and what I look for in any potential assistant.
This applies primarily to non paid of ‘volunteer’ assistants. Professional paid assistants are invaluable and there is a reason why they can command hi day rates. It’s also very common for me to ask for references from paid pro assistants and meet with them prior to considering them for any session. More on why later….
As I wait for the Godox AD600BM remote head I fabricated a focusing rod for my Westcott Zeppelins. The AD360 fills the modifier well.
I know that the most popular use for the AD360s will be as key lights for portraits. But I was recently asked to do an environmental portrait of an owner/chef in his diner. The time of day was very specific and I could not pick what I thought was the optimum time of day to conduct the session. At the time of the shoot, the sun was almost directly overhead of his establishment and the table I wanted to shoot him at was shaded. So I opted to use one AD360 paired with a Westcott Rapidbox Octa 36″ shot through the window to recreate window light. Each of his windows have awnings over them which shaded the actual window light more.
UPDATE: June 22 2015
UPDATE June 12 2015: I have added more real world experience with the Rovelight’s HSS capabilities which can be found here.
I recently purchased the Rovelight and was able to utilize it today on an on location commercial shoot. I normally use PCB Einsteins combined with their Vagabond Mini system for portability. For in studio work, I use Enstein strobes exclusively. Because I will be doing on location commercial dance shoots this summer, I needed a system that would allow me to shoot fast action outdoors. Although the Einsteins have a fantastic IGBT and t:1 performance, when using them in situations where strong ambient light is present, their ability to freeze fast action is reduced.
UPDATE: August 4 2015
One of the great advantages of having a portable gobo/strobe combination is the ability to use patterns of light outside of a studio environment. Recently I wanted to create the illusion of a window on a painted concrete wall located in a parking structure. I loved the texture the wall provided so I simply took my gobo device, one Einstein strobe hooked to a Vagabond Mini Lithium battery. An incredible little combination for on location light pattern needs.
For years I have hauled around a full size stage follow spot just so I could use gobos in special photo shoot sessions. For anyone who knows me I seldom complain, it’s just how I was raised. But I will say that on a CONSISTENT basis my primary bitch is lugging gear. I hate it, I literally hate lifting, hauling and dragging gear to and from the airport, onto the car rental shuttle, into the rental counter, into the car, into the hotel, back out of the hotel into the car and then into the client’s venue. And then all of that in reverse. Get the picture? Assistants? Sure, but not on every assignment….