Because I’ve changed from PCB Einsteins to Godox/Flashpoint 600s I needed to ‘convert my conversion’ to accept a Bowens mount. It was very easy since I simply bolted a Cheetahstand Low Profile Speedring onto the PCB umbrella reflector. His low profile speedrings allow the bulb to insert further into a modifier. Now I have the ability to not only use the 600ws heads but also the 1200ws head when needed. Very slick!
Why? My view is why not?! A few years ago a friend asked if I wanted an old Leko stage follow spot. Being a bit of a lighting pack rat I said “Sure!” I originally used it so I could apply light shaped with gobos in my still photography for dance. It also allowed me to create lovely rays of light using haze combined with different gobo shapes. In its original state the Leko was a 1000 watt constant tungsten light. Plenty powerful for stage applications, but completely overpowered whenever I used it in conjunction with my Einstein strobes. Even though the Steins can go as low as 2.5WS doing simple math shows you that at 1000 watts shot at 1/250th of a second yields about 4WS, not a ton of power.
Leko follow spot modified to accept a PCB Einstein strobe
Photographers often ask, “Mark what’s your favorite modifier? Is it a softbox, umbrella, shoot through or bounce?” My answer is always the same – My favorite modifier is what I think is the best one for a specific job. Sometimes it’s a softbox, sometimes it’s an umbrella, sometimes a cone or in quite a few cases it’s a combination of several.
As I often like to do, let’s go back a few years. One of my teachers, actually the man who taught me about using artificial light was thankfully VERY hard on me. No namby pamby talk it was mostly, “You must not be listening to me because that looks terrible, here’s why!” And he would go over EXACTLY why it was bad and he was always right…..back then. After a bit my photos moved from terrible to a preverbal “Nice” which in Greg’s speak meant crummy but not horrible.
I often say that cameras are just like any other tool, sometimes you need a hammer, sometimes you need a wrench. While shooting for the Dallas Symphony Orchestra I noticed an infinity pool located on their property. Technically the pool belongs to the AT&T building, but for me that was just a technicality! I kept hounding the DSO’s VP of Marketing that “We just have to do a shoot in that pool!” I think he figured I’d never stop hounding him so on one Fall day in 2013 he let me know that “We’re doing it Mark!” WOOHOO I thought to myself until he told me that we’d be shooting right around every photographer’s least favorite time, high noon. UGH so much for getting what you wish for… One of the differences between commercial photography and doing it as a hobby is you HAVE to make due with the cards dealt and make it look GREAT. There’s money and your reputation at stake. Remember to a client you’re only as good as your last session.
I was out in the pool only fifteen minutes before the talent arrived, 13 of DSO’s best musicians including their Concert Master who was carrying his 300 year old 5 million dollar Stradivarius violin! I almost had a heart attack as he was holding THE violin in one hand AND while standing on one leg as he was trying to roll his other pant leg up. In total there must have been over 20 million dollars worth of instruments on that pool of WATER. No it’s not deep, but that didn’t quell my nervousness.
I had planned to reduce the ambient on my 1DX by using a variable ND filter since I was using two PCB Einsteins, one with a beauty dish attached and the other with a 64″ PLM Soft Silver parabolic. I was using the PLM as my key light and the beauty dish as the fill since it was not only noon, but windy that day. Try as I did I could not get the ambient down low enough using the ND filter, it reduced my flash power lower than I wanted. So it was time to put away the ‘hammer’ and bring out the ‘wrench.’
So I went into my bag to get my trusty X100S. You see I purchased this little unit specifically for its leaf shutter. In case you aren’t aware leaf shutters don’t follow the same rules as focal plane shutters, you can use flash to almost an unlimited sync speed based on the camera. Remember that hand held flash units that use High Speed Sync are different than using strobes. HSS pulses the light so that their DSLRs can shoot at ‘high shutter speeds.’ (which in turn greatly reduces their overall power)
I killed the noon day ambient with the X100S by shooting at a shutter speed of 1/2000th of a second at f4.5 ISO 200. Just like that I had the exposure I wanted for the shot. In this case I found that using a ‘wrench’ instead of a ‘hammer’ was the right tool for the job. This was my second time using the little Fuji for the DSO and I could not be happier. My other shot can be seen here.