UPDATE September 16 2019
I have continued to utilize my Leko converted spotlight whenever I need a gobo pattern for sessions. I find that projecting patterns of light invaluable for my client work. Here are some recent images created using this converted device.
To date I have used this exclusively for local sessions for two reasons. First and foremost, should an airline lose my beloved device I cannot simply replace it through a retailer. Second it is large and heavy and I have not designed an ATA case for transport. Fortunately Adorama is now selling the Aputure Spotlight Mount in three different lens configurations. Although the device is marketed to the film making crowd it will be a godsend to those of us still photographers who use gobos. I plan to test one of these to compare it to my own device and if it proves to be of equal or better light quality I can then transport it via airlines without worry. Yay and fingers crossed.
UPDATE March 29 2018
Because I’ve changed from PCB Einsteins to Godox/Flashpoint 600s I needed to ‘convert my conversion’ to accept a Bowens mount. It was very easy since I simply bolted a Cheetahstand Low Profile Speedring onto the PCB umbrella reflector. His low profile speedrings allow the bulb to insert further into a modifier. Now I have the ability to not only use the 600ws heads but also the 1200ws head when needed. Very slick!
Why? My view is why not?! A few years ago a friend asked if I wanted an old Leko stage follow spot. Being a bit of a lighting pack rat I said “Sure!” I originally used it so I could apply light shaped with gobos in my still photography for dance. It also allowed me to create lovely rays of light using haze combined with different gobo shapes. In its original state the Leko was a 1000 watt constant tungsten light. Plenty powerful for stage applications, but completely overpowered whenever I used it in conjunction with my Einstein strobes. Even though the Steins can go as low as 2.5WS doing simple math shows you that at 1000 watts shot at 1/250th of a second yields about 4WS, not a ton of power.
I get quite a few questions about light. Specifically questions about strobe brands, what I feel is the best modifier, focusing rods, octabanks, blah blah blah. I get it; I want to know about things like that as well. But on a recent trip to a client’s location I was asked to photograph a group of 2800 high school students as they attended the 5th Avenue Theatre’s Annual High School Musical Awards. It’s a huge event equivalent to the Tony Awards for High School students.
Almost all of the imagery I create at this annual event is ‘non lit’ meaning no strobes or modifiers, only available light. I’m not speaking of available ‘natural light’ from the sun. Nope it’s all unnatural light either from stage lighting or very dark back stage or street lighting. If you’ve never been in the wings of a live theatre just imagine the illumination of a strip club bar and you get the idea of what it’s like.
The real visual story action happens in the alley behind the theatre. It’s where the kids are collected to go backstage before their school performances of the productions for which they’ve been nominated. Obviously the energy is very high. Combine adolescent hormones with a very exciting event and you get a small picture of the energy!
The lighting in the alley is what you’d expect. The illumination is to prevent crime, light the trash bin areas and the HVAC equipment. Anything BUT something conducive to creating any type of portrait photography! But I decided to grab a few groups of students to use what light I had to create some portraiture. I wanted to test my own theories and when people ask me how to use light I simply say “study light.”
So the alley has about eight tungsten lights, the kind you see in the back of any retail establishment near the loading dock or employee entrances. Covered in an industrial plastic, they’re hearty to resist breakage as well as being damn bright. Each light is about 15 feet high on the brick walls and spaced about 25 feet apart running the length of the alley.
So I placed the groups of kids so that the light that fell on them created shadows I wanted and lit their faces in the manner I wanted for the mood of each shot. How I did that is something I won’t go into and I didn’t use any reflective materials or trash to fill in the shadows. Nope this was completely ad hoc shooting with the light I had from those alley lights. My point here is rather than concentrating on what brand, how many watt seconds, whether the modifier you’re lusting after is ‘truly parabolic’ study light and shadow. In my view it’s what will elevate your lighting beyond elevating your credit card balance with little actual yield.
UPDATE January 26 2018
I’ve recently written a post about my use of the xPLOR600/eVOLV200s with several different modifiers for a session. You can find that post here.
UPDATE 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.
UPDATE September 8 2017
In my post about the Parabolix 35D I have some of my recent client work and how I used the xPLOR/eVOLV units during the session.
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.
Prior to using the Xplor/Godox line of strobes I shot exclusively with PCB Einsteins. Paul’s t:1 performance combined with his Vagabond line of batteries, the Cybercommander controls were bulletproof. Combine that with his customer service and well….for me it was a winning combination. But with Paul’s unfortunate passing years back, PCB’s innovation has lagged behind other strobe/modifier manufacturers. I adored Paul and I was so fortunate to have him as a sponsor for a short time. In my mind he was a true genius and yes, a bit of an eccentric fella, but geniuses are so often an ‘acquired taste’ but thank gawd for them.
Paul’s Einstein line never included HSS so for my outdoor workflow I simply used ND filters of various brands and types when I wanted to reduce ambient light. Variable ND filters were convenient, but I found that the color shift took a bit of post processing to reduce. I did find nanotec’s ND filters to be the best for my needs, but by reducing the ambient it also reduced the power of my strobes.
So I was an early adopter of the Godox line of strobes starting with their 360 line, moving onto the Flashpoint Xplor600/AD600 line and finally to the eVOLV200 units I found my niche. Having all of the units that communicate from one trigger along with the flexibility of combining several strobe bodies to create higher WS output…..gosh what could be better? The innovation of Godox combined with the service in the US of Adorama or Cheetahstand is a wicked combination. There were two instances early on when I purchased Godox AD600s on eBay when I could not get any service. But when both Cheetahstand and Adorama started rebranding the Godox line under their own names, well customer service in the States changed for the better.
I certainly realize that every photographer’s needs are different and mine differ from job to job. Sometimes I may use only two lights, sometimes three and sometimes 7 or more. It always depends on what my clients want for the mood of the shot. By having the ability to combine two lights into one, or to change my Xplor strobes from a monoblock into a pack/head design is so innovative. I have read opinions that other shooter’s clients ‘insist’ on specifying brands of strobes/cameras/lenses, but I have never encountered that situation. My clients care primarily about these issues:
- The concept of the shoot.
- The quality of the image
- Does the image convey the intended mood?
- Will the image help sales?
- Does my demeanor keep the talent engaged, thereby obtaining the expressions needed for the shot?
- How easy am I to work with?
Not ONCE has a client asked me about what brand of gear I plan to use. Nor do they ask me about the brand/model of vehicle I own. Or the brand of clothing I wear. My client’s jokingly say “Oh Mark is using his little magic Instamatic..” whenever I decide it’s the right time to use my Fuji X100T. The reality is I find photographers seem more concerned about what other photographers feel/say about gear than how their clients feel about their product. In my business I’m only as good as my last session. And if my clients don’t like ALL ASPECTS of my work, then I’m not asked to return to shoot another session.
I had a client who I shot four years ago ask me to do another shoot for his cover band. I delayed answering simply because I felt they wanted a typical band shot, which I was not willing to do. As we talked he said “I want you to shoot whatever and however you want to do the shoot.” So we began. And in this case I knew I was going to use multiple lights of varying power, with multiple modifiers. And guess what? The Xplor/Godox line of lights could not have been a better combination. I literally used every Xplor/Godox light I own for this session. The smallest number of lights used at one time was four and the most was nine.
My whole point to this post is to say that the Xplor/Cheetahstand/Godox line of lights is the most valuable lighting system I’ve ever owned and used. In my mind innovation in lighting is moving much faster than camera bodies and I love that! Find what works best for your style of shooting.
I have always liked the look of ringflash portraits. There have been several times in my career that I wished I had one. But because I find their use in my work so specialized I didn’t want to commit to purchasing a studio unit. My partner had tried several of the on camera flash types but I didn’t like their light output. So to replicate the look of a ringflash I often used my 86″ diffused parabolic reflector, stood directly in front of it and photographed the talent.