Updated April 14 2019
I have been remiss in updating my findings utilizing this remarkable modifier. Most of the imagery I cannot share right now, but do have one which can be shown. This particular image is one of the publicity shots for Momma Mia. I used it pointed directly at the talent about 7 feet in the air. Two Saberstrips were also used, one camera left to illuminate the talent’s face as she was in complete profile looking up as she lifted the microphone to her face.
These images illustrate how the lighting was generally arranged.
Updated September 6 2018
I have an upcoming publicity session so it was important for me to test the Grand prior to deciding on using it for this project. I asked Sammi, a local actress to be my model for the shoot. I have decided to not use any other lights or modifiers when I test new gear to see how they stand on their own. I normally shoot with at least three lights and modifiers during a session. In this case I only used the Grand 70 using a Flashpoint 600 with the remote head. I did not use the Grand with anything other than the focusing arm, no diffusion panels at all. Here are my observations:
My first test was against seamless to ascertain the glamour capabilities of the Grand 70″
I wanted to see how the modifier handles full body shots. In each of the following images I stood directly in front of the Grand which was 10 feet from the model. I also wanted to see how the light quality would be effected by different outfits, some shiny some mat.
In the image below you can see in her eyes the light pattern which I had fully flooded to create a ring light affect. I’m standing directly in front of the modifier.
My next test was to move away from seamless to see just how angling the modifier can create a completely different look.
In both of the instances above the light was feathered to one side of the Grand in order to give dimension to the shot. Both were shot with the light in mid focused position to add contrast and drama.
I will continue to try other methods with this Grand that I was never able to do when I rented the Bron Para line of modifiers due to time constraints. At this point I will simply say that the Glow Grand Para line, at least this 70, truly competes with the Para 177 at a third of the cost. I find the light quality as good for glamour imagery and am thrilled that Adorama has started to carry a line of modifiers like this. I recently purchased and am awaiting the remote head for the 600Pro which I am anxious to try with this Grand. I also plan to use the outer diffusion panel with the focusing rod to experiment with the light characteristics with that combination. Stay tuned, but for now I highly recommend the Grand line if you are looking for a viable alternative to the Bron Para line of modifiers.
Updated August 27 2018
In just over a week I will be testing this modifier on actual talent. I am anticipating a very good result. So much so that I had a client meeting this morning for an upcoming publicity shoot on location in front of a grand staircase at a Fairmont Hotel. Because I anticipate using the Grand Para 70 for that shoot I had to determine if it would fit into my SKB hard sided golf bag! IT JUST FITS thank gawd! LOL
Original Post 8-22-18
These are my initial impressions of the Glow Grand 70 and the Zoom-In Bounce Rod. I won’t be able to test the modifier on talent until early September. So for right now I will go over some of the facets of the modifier and bounce rod, AKA focusing rod. It’s the first 24 rod octa I’ve owned, although not the first I’ve used. The Broncolor 177 ($4300 USD) is the closest in size to the Grand 70” ($1150 USD plus $490 for Bounce Rod = $1640 USD). The Bron Para 177 measures 77” across its face, 7 inches larger than the Grand 70. Both utilize 24 rods in this configuration. The Grand 70 comes with a choice of strobe mounts; mine arrived with a Bowens ring although I won’t ever use it without the Glow Grand ParaBox Zoom-In Bounce Rod.
The assembly of this octa is very different than any other modifiers I have owned or rented. The new configuration consists of 24 levers that are spring loaded which must be ‘locked’ into adjoining bars on the modifier.
This is where I encountered the most difficult part of assembling the Grand Para. In order to put enough tension on each individual arm, I needed to stretch each arm out from the center of the modifier. Doing so alone without assistance, I found that I could not create enough leverage to push each rod away from the center of the modifier to get the lever to ‘click’ into its corresponding bar. This may be easier with the smaller modifiers. Right now this is one of the primary differences between the Bron Para 177 and the Glow Grand 70. The Bron’s rods are hinged in the middle and must be extended before using a crank to expand the modifier. Much easier to do and keeps the fabric taut. Because they’re hinged the Bron’s collapsed length is shorter than the Grand, but its collapsed diameter is larger. The Grand’s interior fabric is very similar if not the same as the Bron; a very shiny silver and very tight as well. The Bron’s outer fabric is thicker than the Grand, but I believe both are very durable.
This is the interior reflective fabric of the Grand. The eyelet is for the supplied inner diffusion material.
A close up view illustrates how each rod ‘snaps’ into place using a hooked tab which engages a bar on the latch.
In order to gain enough leverage to bend each rod to engage the bar, I found it best to use the Bounce Rod for leverage. I GENTLY pulled the rod toward me and then the rods would easily snap into place. The rods are fiberglass so they won’t permanently ‘bend’, but using caution is always the best practice when stressing any modifier rod be they fiberglass or a metal material.
The octa itself is very well made and much lighter than I expected. It has a ‘pass through’ slot which I had hoped would fit/accept my Flashpoint Portable 600ws Extension FlashHead. But unfortunately the opening is not large enough to allow the Extension socket to pass through. No matter since the cord is more than long enough to allow it to come through the front of the modifier to easily reach the strobe body.
The Bounce Rod attaches to the Grand 70 via four spring loaded/nylon shimmed Phillips head screws. I changed them to wing nut/turning knobs so I would not need to have a Phillips head screwdriver with me when I set this up.
The Grand Para will not fit into its supplied case with the bounce rod bracket attached. It WILL fit into the case by detaching the bracket, inverting it and inserting it into the ring hole which reduces its length to fit into the bag. The modifier comes supplied with an inner and outer diffusion panels (not shown) as well as a speed ring for your strobe connector of choice. Mine came with a Bowens mount (not shown). I doubt I’ll ever use it as a traditional octa bank. I prefer the look/flexibility of focusing arms. Adorama also supplies an empty sand bag (not shown) that can be used as a counterweight on either the Bounce Rod focusing arm or the leverage arm.
The focusing arm has an eyelet on the end for the sand bag.
The leverage arm also has an eyelet for the sand bag.
I did not find a need to use the sandbag to counterweight the modifier. It may be because I am using an extension head rather than the weight of an entire moonlight on the focusing arm. Although I believe the Bounce Rod would support the weight of a moonlight I would highly recommend NOT using that method.
One item that was NOT included with the Bounce Rod is a flash head bracket. I thought this was very strange since in order to use a focusing arm, one needs to have a strobe head holder. In the image above I am using a Cheetahstand BirdCage for Chopsticks for Bowens mount lights. Because I have a number of focusing rod modifiers, I have several extras. But if you order a Bounce Rod, be sure to obtain a light cage of some sort.
The construction of the Bounce Rod is excellent. The only part I will replace is the pivot swivel handle. It is made of plastic and does ratchet, however the ‘feeling’ of the lever does not instill confidence in me. That is NOT to say it will break, it just means my preference for a piece of hardware that provides this much torque should be metal.
The focusing rod is located on the top in this photo. The leverage rod is the bottom one. Both are removable from the bracket and easily store in the supplied carry bag. The plastic swivel handle is located in the U shaped bracket. The whole bracket is well constructed.
I’m all about options so I appreciate that the bracket has both a vertical and horizontal mounting hole. IF I’m ever inclined to mount this modifier facing down on a very sturdy light stand I have that ability.
The focusing rod has two sections, the first slides into the housing and is secured by the turning knob on the top of the main cylinder. It can be moved in and out as needed for distance. The second portion is adjusted using a friction knob. My preference for using the focusing rod is to slide the first section all the way into the cylinder and use the friction knob portion to move the light to the fully focused, flooded or anywhere in between position.
I prefer to adjust the focusing arm distance from the front of the modifier. The Grand allows me to do that due to its rod configuration. It’s smooth. I am able to see the effects of the position of the light while in front of the modifier rather than from behind.
This is an example of how I adjust the light position.
One of the most attractive aspects of the large Bron Para line with focusing rod is its ability to replicate a ring light flash and sculpt the light by simply adjusting its angle. But unlike a ring light the ability to stand in front of the modifier while still creating a shadow less light on the talent is wonderful. And then the ability to sculpt the shadows simply by turning the angle of the para to remove or add light to one side or the other is another fantastic feature. Bron has created a well done video about the method to which I’m referring.
Light Pattern Test
To determine if the Grand can accomplish the light control of the Bron, I ran a preliminary test with my partner. Here are my results:
The light position in its fully flooded positon creates a ring light affect which is wonderful. As you can see in the photo the light is shadow less, much like a ring light. I was standing directly in front of the modifier and my partner is about 9 feet in front of me.
A close up of her eyes reveals the ring light affect.
All of this means very little if the light quality of the Grand is not excellent. BUT having said that and having had experience using quite a few modifiers I can say with 90% certainty that this will easily compete with the Bron’s quality of light. In early September I have scheduled a shoot with talent to actually test this modifier in a studio session. Of course I’ll be posting my thoughts and images here. I’m really excited about this modifier!
One of my favorite things to do is to imagine a concept and then execute it. This post is about concepts, mood and light rather than gear. Oh sure it takes gear to have my concepts go from only in my head to fruition, but if you’re looking for a gear review, it’s best to keep moving along.
I wanted to photograph Jeannette, a dear friend’s daughter who was studying ballet in two different concepts. I gave her a general idea of them; one would be as if she was dancing in a grand ballroom. The other was to appear as if I was on stage BEHIND the ballerina shooting downstage toward the audience. And finally I wanted to see if I could configure a lighting protocol where while under an umbrella I could light the ballerina’s face.
So once the concept was developed finding a venue and prop was necessary. A large warehouse along with a non-lit chandelier was needed for my grand ballroom concept. I would light the chandelier using a strobe and long throw reflector. Combining incandescent light, like a tungsten lit chandelier would be very difficult to balance with my strobes. They would overpower incandescent light no matter how low I powered down my strobes. It could be done, but why when I can light it and balance it with a strobe?
The next concept was a tad more difficult, making it appear as if I am actually on stage shooting toward the audience. Using two Fresnel heads on my strobes to appear as spotlights to create drama and spotlight shadows ‘on the stage’ was in order. And then to balance a fill light for her back was delicate to do. I also knew I wanted to add atmosphere to the shot which would add a mystic mood to the image.
And finally how can I light someone’s face under an umbrella? Ah using a simple speed light and a homemade rig to hold it under the umbrella was the answer!
What was this all for anyway? Practice! My belief is practicing the execution of concepts keeps me sharp and improves what I can offer clients and myself in creating imagery. For me it’s not about what gear I own. It’s how I use it.
I know there are a ton of online sites that show specific lights/cameras/etc. along with their specs and such. I wanted to write this post about combining all of the tools we all have at our disposal to create an image. FIRST AND FOREMOST the paramount factor in my shooting is NOT the gear, but the concept. Of course the right gear makes my job easier, but without a solid concept and how to execute that concept, no amount of cool gear matters in my world. My clients come to me looking for several solid concepts to create for a final image. Most have ‘some‘ ideas, but they are depending on me to flesh out their ideas. The two most valuable assets I can provide to them are the final concepts and the talent’s expressions. Authentic expressions can’t be created in post processing.
I wanted to share the video my partner created as I was shooting the promotional materials for a small theatre company’s production of “Heathers.” This video shows in detail how the shoot was created for the client. BTW I always shoot wirelessly tethered to my iPad using the Canon WFT-E6A (replaced by the WFT-E8A) through Shuttersnitch. Both the client and I then know when the shot has been achieved and we can then move onto the next shot. Much more efficient for me than taking a break to show the talent and client things on the back of my camera. I still do that when needed, but it is much more the exception rather than the rule.
Here are the items I used AFTER scouting a location for the shoot and conveying my concepts to the client:
- 6 Flashpoint XPLOR 600 HSS Battery-Powered Monolight (Non TTL)
- 4 7″ cone modifiers
- 1 PCB Omni reflector
- 1 Aputure Fresnel Lens Mount for COB 120 Series Light Storm
- 1 Yamaha EF2000iSv2 generator
- 1 Chauvet Smoke Machine
- 1 EGO Power+ leaf blower
- 1 Flashpoint R2 Pro 2.4GHz Transmitter for Canon
- 1 Glow Grand ParaBox Pro Softbox (70″) (for in studio publicity shots not shown here)
- 1 Glow Grand ParaBox Zoom-In Bounce Rod (for in studio publicity shots not shown here)
Using battery powered equipment is key to my on location shoots. Wireless everything has been a godsend in the last 12 years. No more cords which were replaced with remote triggers, remote control over strobes…wow. The only reason I used a generator was to power the smoke machine. In those instances where gas generators are not allowed I use a Goal Zero Yeti 1000 solar generator for my smoke machine when called for in a shoot.
I selected the Ego Power leaf blower because it has variable power, not stepped power. During those times when I need to have a wind machine I need the ability for my assistants to either subtlely or forcefully use wind. As of this posting I cannot show the actual publicity shots the client will use, but can display shots they have opted not to use for the promotion.
What will be of interest is the video my partner Tracy Martin created for the client which has been released. My point of this post is to help others in displaying how combining all of the tools now available to photographers is only limited by your imagination.
Four strobes in various positions including to illuminate the smoke. Key light using the PCB Omni reflector. It’s great in wind and produces the quality of light I wanted.
Update March 4 2019
I was reminded today by a frequent visitor to my blog, Fritz N that I had not posted any further information about my misfire issues with the R2ProC. He’s right, it’s because I have very little to report. I have found that the trigger ‘seems‘ to misfire based not on distance, but the particular construction of the building and how many wireless devices like routers are in proximity to my strobes and trigger. Yet I have nothing scientific or objective to report. The building in my January 13 2019 post below is of normal commercial construction. Aluminum framed joices, sheetrock and tile. They do have a number of consumer routers in the building. But nothing out of the ordinary.
I’m literally stumped as to what may or may not cause misfires with this trigger. If anyone has experienced the same issue, please let us all know in my comment section the particulars of where you were shooting. Thank you.
Update January 13 2019
Unfortunately I am having an issue with this trigger. During a recent studio dance shoot it misfired 10% of the time which is really unacceptable. I’m not sure why this has happened. But at this point I will be trashing this trigger. I’m scratching my head as to what caused this malfunction.
The greyed out images in Lightroom are where the the flashes did not fire. It was not a specific strobe, as they malfunction went back and forth. The two strobes are Flashpoint 600s. Very sad and I won’t be using this trigger again.
UPDATE March 4 2018
Yesterday I was commissioned to create imagery of a dancer for an upcoming magazine cover. It was all on location and I was using xPLOR600s one with a H600 remote head. All of the locations were outdoors. In the first location I was completely outside with no walls or ceilings around me. The Flashpoint R2 Pro C worked flawlessly. When I moved into an area where two vertical walls were present that’s when my troubles began. The strobes would not fire. I had to restart my camera (1DX Mark II) as well as restart the R2 Pro. The strobes would then work for about 4 flashes and then the same issue would occur. I got my shots and then moved to the final location. Again one without walls, but during the last portion I was shooting in a tunnel which of course has walls and a ceiling. In all but the aforementioned venue the R2 Pro worked flawlessly. I’m not certain what would have caused the misfiring. I have my trigger set at the 0-30 meter setting and the strobes were well within those distances. Strange….
I am literally at a complete loss for why the R2 would misfire in my second location. So as a backup I now plan to carry both the R2Pro and an X1 whenever I go on location. I am using rechargeable alkaline 1.5v AAs in the unit which were fully charge. I have another outdoor on location shoot this coming Friday so I’ll be taking both.
UPDATE December 9 2017
I just returned from a two day studio session using the Flashpoint R2 Pro C on my Pentax 645Z. The unit performed well and I discovered that when using the transmitter with another non Canon (C) camera the Standby feature does not function as it does on the camera it’s designed for. I have the R2Pro set to Stby in the menu and when mounted to my Canon when I half press the shutter the R2 comes back to life. Not so with my Pentax. I must physically press any button on the R2 unit to revive the transmitter. Other than that (no TTL or HSS) it works well.
UPDATE November 15 2017
I recently had the opportunity to use the Flashpoint R2ProC during a commercial session. The short story is it worked flawlessly. My issue with the XT32C sometimes misfiring when standing right next to my key light did not occur at all. I have the unit set to 0-30m distance in the Custom Functions. The most significant feature I can highlight at this point is being able to view most if not all of my strobe settings at once. It’s wonderful. I did run into one issue that is totally user error when attempting to use the ALL button to change all of my light settings…
I had left A-E lights active but for this session I was only using two lights. I became frustrated when trying to adjust all of the lights at once since the unit seemed to only allow a 2 stop range down or up. What I realized when I got home is that by having more than the number of strobes I was using active on the screen, the unit will only go up or down based on the lowest or highest setting of a group.
Let’s say group D which you’re not using is set at 1/64th. If you scroll power down and have your units set to 1/128th as the lowest setting all of your adjustments down are limited to just one stop. So the answer when using the unit is ONLY KEEP ACTIVE those light groups you’re actually using. I tried to find this in the user guide but it is not listed. Now you know.
I have assembled some of my initial impressions and comments about this transmitter. It will be a few weeks until I can actually use the transmitter in sessions. But that won’t be before I run it through some of my own usability tests. I must admit that I was hoping Godox would develop a transmitter like this. I want to say straight off that in life there isn’t a single thing that is perfect for everyone. I laughed out loud when I read one person was concerned about the angle of the R2 Pro which they felt is ‘too angled’ and forced them to tilt their camera ‘too much’ to see the display. Another person complained about the R2/X1 controller having no tilt and hitting him in the forehead when he looked through the viewfinder. All things can be improved including human attitudes. The important thing is if a piece of equipment is right for YOU. And of course every manufacturer can and should improve their products, and the R2 Pro is living proof of that concept!
For many years I enjoyed the use of the PCB’s CyberCommander with his Einstein line of strobes. Sure the CyberCommanders involved a bit of a learning curve, was not the most elegant interface…BUT it was so well designed from a function/operational standpoint those aforementioned issues seemed petty. I loved being able to view the power settings of all of my strobes in one look. The range of the CyberCommander was excellent and the variety of controls I had at my fingertips made my job so much easier and more importantly was my ability to focus on the talent, not the lights.
One of the things I noticed right off about the R2 Pro was the battery level indicator. (BTW neither the R2/X1 or the XT32 have battery level indicators) I had just put fresh rechargeable Enloop AAs into the unit and in a matter of seconds it went from 3 bars to 2. Strange…so I changed to a new pair and it was the same. I then got out two fresh Duracell Alkalines and guess what? Three bars stayed. Since I had not yet read the manual and figured I needed to put batteries into the unit to follow along I began to search for the answer in the user manual. Page 09 states:
“AA alkaline batteries are recommended…..Low Battery Indicator When the battery power is weak, less than 2.5v…replace them to assure a strong wireless signal and reliable flash triggering.”
Well there you have it. Alkalines are 1.5v and rechargeables are 1.2v. So right off the bat 2.4v is BELOW the 2.5v they recommend if batteries need replacement. This is certainly not a deal breaker even though I use rechargeable batteries for all of my gear. I will research if anyone makes 1.5v rechargeable batteries. And I will have to find out through testing if 2.4v affects the transmitter’s ability to consistently fire my strobes. If not, then it’s back to using alkaline batteries in this unit. It’s also very interesting that the battery indicator does NOT come on immediately when you boot up the unit. There’s about a two second delay before it appears. I surmise that the unit is ACTUALLY testing the battery level before displaying the remaining voltage…..interesting.
I should also state that I am NOT a speedlight user. I may use one now and again, but my work does not lend itself to speedlights. My work involves the use of strobes so I won’t be testing/writing much if anything about the unit’s compatibility with speed lights. Sorry. I’m not a review site, but like to post what I observe to help other shooters who may or may not operate with the gear I talk about. While I’m on that subject I realize that this unit has TCM, TTL Converted to Manual. Never had that, seldom if EVER use TTL. I’m the old school light meter kinda OG and with digital hell I don’t really need to use my light meter all the time. I can get pretty close because I do this so much and adjust my lights/aperture/ISO/Speed after looking at the shot and Histogram. So I will get around to ‘testing’ the TCM at some point and report my findings. It seems like a cool feature though…
Initial operational observations
HSS and Second Curtain Sync
The R2 Pro requires you to select HSS, Second Curtain Sync or nothing. Unlike the R2/X1 and the XT32 which automatically switch to HSS above Canon’s sync speed, you must enable HSS on the unit or the camera will not go above the sync speed, at least on the 1DX. With the X1/R2 when the shutter is set at 1/30th or slower the camera automatically goes into SCS. The XT32 does not and you must set SCS in the camera’s flash menu when using the XT32. On the R2 Pro C you must set SCS on the transmitter or the flash will remain in first curtain sync. Unless I plan to use SCS I found that leaving the controller in HSS allows it to function in both HSS or normal sync.
In the Group view you must press the MOD button which lights all of the group’s modeling lights. Only then can you turn OFF individual modeling lights for multiple strobes. If you do not turn on all modeling lights in the group view then selecting a specific group with the physical buttons on the left side of the controller does not show the MOD choice on the menu. Sounds confusing I know, but once you get a unit you will see. I prefer the ability to decide which strobe’s modeling light is on or off and the unit has that ability.
Like the modeling light I prefer to control individual units beeping, but it appears it’s an all or nothing choice with the R2 Pro. Certainly not a deal breaker! The nice thing is this unit has a Menu button which easily accesses the former “Cf” function area. That’s where you can enable or disable the sound along with other functions.
Individual Group On/Off function
There are often times when I want to turn an individual strobe on or off and this can easily be done with the R2 Pro. You simply go from the Group view to an individual Group and toggle through the choices of M, TTL or Off using the physical Mode key. Easy!
This is in the Menu area and it’s welcomed. There have been a number of times when I was using my XT32 that I’d get misfires while standing right next to my keylight! It was not all the time, but sporadically and at random times. Now in the Menu area is a DIST choice of 1-100m or 0-30m. In studio and on location I tend to shoot within the 30m distance so it’s nice to have that choice. I’ll be testing to see if I get any misfires when close to strobes. I’ve never had an issue with either my X1/R2 or XT32 at long distances.
Good god I love having an ALL button that is physical so I can easily turn all of my lights up or down keeping ratios I’ve set before the same. I’ll use this feature all of the time.
Something I’ll miss….
On the XT32 when you change Channels in the upper right hand corner is a little diagram of how the old school dip switches correspond to your channel selection. I know most of you don’t use those old dip switches anymore. But for me when I use my Pentax 645Z and the old FT-16 USB receivers to get HSS with xPLOR/Godox strobes I am often changing channels. It’s pretty idiot proof for me to just look at the diagram and switch those little dip switches. Oh well… I’ll just carry my XT32 as a backup anyway.
These are just my initial impressions of the long awaited R2 Pro! And the topics I’ve outline above are the features that are important to me and my work. I have yet to test the unit other than to see how HSS/SCS work and they perform just fine with both the xPLOR/eVOLV line of strobes. I’ll be posting more as I have the time to test the units and finally in commercial work. So stay tuned.
UPDATE February 26 2019
Update to the update. The visitor who left me a message stating the baby pin did not come with their stand was mistaken. THE STAND DOES INDEED COME WITH THE STAND AND CAME WITH THEIRS. I have deleted their comment in the comment section.
UPDATE May 15 2018
I continue to appreciate the strength and build quality of the stand. I have been using it to hold my Mole Richardson 412 converted Hollywood Fresnel. The total weight of the Mole with barn doors and 1200ws strobe head is 29 pounds. Add to that the weight of one or two Flashpoint 600s and this thing remains rock solid. The only downside? It’s a bitch to lift that spotlight up! LOL
UPDATE December 22 2017
The more I use these stands the more impressed I have become. Not only do I find they present a better value than Matthews stands, but their wide footprint makes them invaluable for my work. I use one religiously whenever I’m using a long boom arm to suspend lights/modifiers over the talent. I’ve found that by placing my 15 pound counterweight on one of the legs rather than on the boom arm is beneficial for two reasons. First I am not having to lift an additional 15 pounds up while raising the height of the stand. Secondly the lower placement of the counterweight is more effective in offsetting the weight of the modifier and light head than placing the weight in a higher location on the stand.
UPDATE October 19 2017
I’ve had the opportunity to use this stand extensively over the past few months. I will simply say that whenever I need to ENSURE that my light/boom/whatever combination needs to be rock solid it is my go to light stand. I always use it when I’m using a boom arm for an overhead light. Or when I use my 59″ Zeppelin. Do I like lugging it to locations? Oh hell no!!! It’s damn heavy, but the trade off of stability and rock solid dependability to ensure the talent is never at risk of being injured is well worth it!
UPDATE August 16 2017
I am preparing for a fashion shoot and due to the way I will configure my 59″ Westcott Zeppelin on my boom I could not be happier with my Flashpoint Junior Steel Wheeled 12′ Stands! Their huge footprint makes them so stable for things like this.
UPDATE July 17 2017
I recently wrote an article about using all of my Xplor/Godox lights in one shoot including the Junior Stands. You can view that post here.
UPDATE: February 18 2017
Today I ran an eight hour studio session for a client’s upcoming season brochure. I was able to use the Flashpoint Junior Steel Wheeled Stand – 12′ for an entire day. I should explain that this day involved shooting seven different scenes with different talent for each, so moving lights around was constant. I will simply say that the stand performed FLAWLESSLY and I will not hesitate to purchase another and another. The wheels are incredible and roll over extension cords with ease. Granted none of my strobes use cords, but my smoke/haze machines/wind machines do! These stands are highly recommended for its performance and value. Be forewarned these are not sissy stands, they’re heavy and beefy, use them in studio only!
UPDATE February 20 2019
I continue to be incredibly impressed with this modifier. So much so that I utilized it for an important on location shoot in Los Angeles, CA for a professional Argentine Tango session. The client had hired me to create publicity imagery for their 2019-20 season. The space I chose was Monk Space located in DTLA. It has an incredible variety of rooms all with a different look and feel. In addition to the Deep Parabolic 48″ I used an Elinchrom 39″ Deep Octa, the new Glow Wing Like Parabolic, several cones, and a gobo focusing modifier.
Since everything had to be flown down in checked luggage (including my smoke machine) space was at a premium. Since the Deep 48 comes with a grid, two diffusion panels and a deflector ring it was the right tool for this job. Even though it is NOT my preferred focusing rod modifier, its quality of light and versatility is remarkable.
And in some cases the best modifier is no modifier at all. Sometimes I like to just use a bare bulb. While trolls will get an erection arguing over whether the shape is a ‘true parabola’ others of us will judge its quality by the light produced. I for one love this modifier. An incredible value that gives up very very little in light quality compared to other much more expensive modifiers.
My client was thrilled….
My client has released the press publicity imagery for Rock of Ages so I can now share them which were lit with the Glow EZ 48″
I will simply say having used this modifier for three months that it may be the best value in the business. I have found that it rivals my much more expensive focusing arm modifiers in terms of light quality when used with the disk at the maximum distance allowable on the short rod combined with the inner diffusion panel. Of course it does not have the versatility of a focusing arm, but the light quality is delicious.
The quality of light is both punchy and soft, much like a focusing rod modifier. Incredible value considering it comes with a grid as well. The ease of set up and striking is incredible. I use a short length of PVC pipe to push the locking mechanism down since my reach to the lock is tight. I’m sure smaller versions of this modifier are easier to reach.
I have also used it for a recent (this week) on location publicity shoot, but cannot share the actual photos at this time. Having used it for one of my longest standing large clients will attest to my confidence in the Glow 48. Remarkable. I can share the light test shot I did of the Marketing team for my client before the actual talent arrived from hair and makeup. In the actual shot there are eight people, but for the purposes of my lighting test I only had seven individuals.
Below are all shot with the Glow 48 as the key light camera left with a Saberstrip v2 as the fill light camera right behind the talent. Pentax 645Z with the newly released R2Pro.
Publicity imagery for A Christmas Carol. The only adjustments to these images were done in Lightroom for white balance, lens correction and contrast. Strobes were: key light through the Glow 48 was a Flashpoint 600Pro and an AD200 in the v2 Saberstrip.
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.
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.
I continue to be impressed with the EZ 48, so much so that it was only one of four modifiers I took for a personal editorial project down to El Segundo to shoot Luna Cycle. (I have an upcoming article on that trip along with photos of course….) The other two modifiers were my Fresnel and two the soon to be released SaberStrip v2.0 which comes out later this month. This project was editorial in nature over ‘beauty‘ in the traditional sense. (I find beauty in loads of things that may not seem obvious.) I know a good many of you (including myself) like to ‘learn’ about modifiers and how they apply to shooting beauty or product. But for me the real test of a modifier is just how versatile it can be in a variety of situations.
The light quality is always my first concern and the EZ has that down pat. The ease of assembly and if it is the right tool for the right job is my second consideration. For the two images below it fit both all three of those criteria perfectly.
I have found that the value and quality of light presented by the EZ is remarkable.
I had a client reschedule one of my sessions, so I decided to do a quality of light test today with this modifier against my SMDV 110 using a focusing rod and my Parabolix 35D modifier. Since the Glow comes with this little metal disk I wanted to find out if it could produce a similar quality of light to my actual focusing rod light modifiers. Spoiler Alert: Yes it can! With one major limitation…..
I was actually away at how good this 95.00 modifier’s quality of light is in real life. The major difference between it and my other focusing rod modifiers is its inability to feather light while using the disk. I almost always feather light using any modifier. I know that many people generally point a modifier directly at the talent, but my taste prefers having the light bounce away from the talent. It produces a delicious wrap that a direct shot just doesn’t accomplish. Because the light source on the Glow is pointing DIRECTLY TOWARD the talent, but is deflected back toward the modifier by the disk (much like a beauty dish), any angle not pointing directly toward your talent exposes the strobe bulb. This creates a severe hot spot and ruins the effects of the modifier. True focusing rod modifiers point the strobe bulb AWAY from the talent toward the modifier. That greatly increases the angle at which the modifier can be turned without exposing the bulb. In addition the housing of focusing rods which hold the strobes have a flange that also shields the bulb from direct line of sight.
One of the “potential issues” I had read somewhere is that the Glow 48 is passing light ‘through‘ the spokes of the housing skeleton. I’m always fascinated how people concern themselves with things like that. In my experience it does NOT affect the quality of light in this modifier.
For the purposes of this test I shot all three modifiers directly at Jenni, no feathering. In the focusing rod comparison, no diffusion material was used on any of the modifiers. The reason I prefer focusing rods is the extra contrast, smoothness and punch they produce in the quality of light. They’re certainly not for everyone, but my clients now insist on this type of light for most of their publicity work. There are exceptions, but it’s what we both prefer. The ability to focus or flood the very same modifier to give different lighting moods/looks is wonderful.
For the SMDV and the Parabolix I had the focusing arm in their mid-flooded position (both used the Parabolix focusing arm and an xPLOR 600 with remote head), meaning halfway out from the apex of the modifier. I did this because the disk on the Glow would only go about halfway from the apex of its modifier. I did notice a color difference between the modifiers as well. I’ve decided to post the images without identifying which modifier was which…until the end. After all we each decide for ourselves what we prefer and I don’t want to influence your view of this modifier. So here we go….
I also wanted to do a quality of light test using both diffusion panels which is the way most of the people will use the Glow 48. I did NOT use the diffusion disk in addition to the two diffusion panels. The inner diffusion panel has a 2 stop circular panel which effectively reduces any potential hot spots. My gold standard in a two diffusion panel configuration has been my beloved Elinchrom 39” Rotalux Deep Octa. I found the Glow achieves 90% of the light I love in the Eli. And considering the Eli is 290.00 PLUS an additional 55.00 for a Bowens speedring AND 86.00 for a hooded diffusion panel (no grid is made for the Eli Rotalux line) that’s a whopping 431.00 compared to 95 bucks. Is that 10% difference worth the extra three and change Benjamins? That’s totally up to how your client feels about the lighting. And if you’re not shooting client work, how you feel about the light quality.
So let’s do a little math:
- Glow 95.00 (46”)
- SMDV 110 (44”) 325.00 (not including a focusing rod)
- Parabolix 35D (89cm) Package 838.00 (including focusing arm)
In order of ease of assembly and breakdown as I used them today (without diffusion panels):
- Glow 48*
- SMDV 110**
- Parabolix 35D
* The Glow is the easiest to assemble and strike IF you don’t use the inner and outer diffusion panels. They must be removed and installed each time you use this modifier.
** The SMDV is hands down the fastest and easiest modifier to assemble and break down if the diffusion panels are installed. You don’t have to remove them when breaking down the modifier. They can remain on the modifier.
- Shot A: Parabolix 35D
- Shot B: Glow 48″
- Shot C SMDV 110cm
I will simply say that the light quality and value of the Glow Deep 48” Quick is REMARKABLE. Add to that fact its cost and it’s a no brainer. It is going into my workflow immediately and I’ll not hesitate to use it when it’s the right tool for the right job. A side note, Jenni the young woman I asked to be my test subject is also a photographer. She was so impressed she plans on purchasing a Glow 48. Hell who can blame her?!
Zarli, a visitor recently asked me two questions, one of which didn’t take long to research and I’m assuming others will have this same question so I’m adding it here. He wants to know the diameter of the changeable speed ring in the unit. The measurement is 144mm or 5 2/3rds of an inch. If the light quality is as I expect I will change the Bowens speed ring to a Cheetahstand low profile ring. I’ve done this for all of my Bowens modifiers when using them without a focusing rod. The reason is the Cheetahstand Low Profile rings allow my Flashpoint strobe bulbs to penetrate further into a modifier giving me a percentage increase in light output. It’s a very easy change and well worth the extra 25 bucks.
Although I have not had time to evaluate the actual light quality of this modifier, I wanted to give my impressions of the Glow EZ Lock Deep Parabolic’s physical build quality of the unit. As is my workflow, until I can test any modifier I won’t be using it on commercial shoots. Since this is my hectic time of year I’m not sure when that will occur. But once it does I will post my impressions here. And I’m not going to get into the fucking bullshit back and forth about whether this is a true parabola. If you’re one of those best of luck and start babbling about geometric facts somewhere else. My world is about creating compelling and excellent imagery, not having to be fucking right. Plenty of other troll places you can go online for that.
At this point it’s way too early to give my impressions of the light quality, simply because I haven’t tried it! But from a construction standpoint I feel that for 95.00 USD it presents a great value. Is it ‘better’ than this brand or that brand? I can’t say, but will say that IF the light quality is great to excellent I will add this to my workflow when it’s the right tool for the right job. More to come…..later.
February 18 2019
I recently used the Flashpoint eVOLV 200 Round Flash Head attached to an AD200 during a professional tango shoot. I like the modeling lamp in the head and find it brighter than the stock Fresnel head in the AD200. I used the light with a ‘voice activated light stand’ (a human) in this instance. Because the Argentine Tango dancers were moving freely a normal light stand just would not be the best tool for the job. Plus the room was filled with haze and the rays of light coming through the doorway made balancing light a challenge.
The quality of light produced by the Round Flash head is very very nice. I won’t ever hesitate to use it when it’s the right tool for the right job. And in this case it was.
Update February 18 2019
I had the opportunity to use the Glow Wing Like during an Argentine Tango shoot to create marketing imagery for the dance troupe. I will say that the modifier is a great medium in terms of light quality between the Glow EZ lock Parabolic Softbox and an Elinchrom 39″ Rotalux Deep Octabox. The primary difference is of course the fabric being white. And its ability to be feathered is not as keen as a normal octa or umbrella. But its shape came into play during this shoot since the ceiling was very low and I needed to have the modifier as high as possible.
You can view more of the images I created using both the Wing Like and the Glow EZ Lock Parabolic here.
AD600 with a 5″ cone reflector was used as my back light/smoke illumination light. Water on the concrete floor creates the reflection. 64″ Wing Like Parabolic is my key light placed horizontal to the ground all the way up to the eight foot ceiling.
Original Post February 11 2019
I recently received the Glow EZ Lock Wing-Like Parabolic and am completely intrigued! It’s not just the shape of the umbrella or the oh so popular parabolic title, but the inner diffusion panel. I’ve NEVER seen any umbrella including the Angler ParaSail Parabolic Umbrella with the Glow’s configuration of diffusion panel.
The Glow has diffusion material OVER the umbrella ribs. Sure there are flat diffusion panels which go completely over an umbrella opening, but I’m not aware of one like this.
It’s a bit difficult to see in Adorama’s stock photo, but the ribs of the umbrella are covered which then creates a cone of diffusion material…so interesting! I was watching some friend’s 11 year old daughter while they attended an ‘adult theatre play’ so Lily was NOT a willing light test victim…hahahahaha. But I wanted to give some initial observations before I do an actual test of the units.
- It ‘appears‘ that these can be used without the inner diffusion panel, BUT and this is a big but; it would be a total hassle to remove the white fabric. Each rib is attached not only at the ends, but with two additional threads points which hold the fabric onto the ribs. Sliding the fabric off of the ribs would be easy. Reinstalling them onto the ribs would be a whole different story. So I’m not sure if it’s meant to be used without the diffusion panel.
- The inner silver fabric is smooth and shiny, much like the original PCB Extreme umbrellas. If you’re not familiar with those think of the shiny side of aluminum foil and you’ll get the picture.
- Some of the nibs that hold the inner and outer fabric can come loose from the umbrella ribs during shipping. But after that they’ve stayed in place nicely.
- The shaft of the umbrella is well made, seems solid rather than hollow. Doesn’t dent too much when screw down umbrella mounts are used.
- On strobes or holders that don’t have a screw down mount for umbrella shafts the unit will rotate a bit, as with the 600 Pro which only has a friction holder for umbrellas shafts.
- The construction is a 7/10 and should hold up well for those (like me) who treat their gear well. For rental houses where people who rent could give a shit about care they’d have a much shorter life.
- They come in three different sizes, 45, 60, and 88 inches.
I will of course be testing the quality of light and some unusual ways to use these because of its shape. People who have used this shape of modifier talk about how great it is in tight spaces or low ceilings. I can see how that would be of high value. But I have some different ideas on how well these will perform…..more to come.
I really wish I had these to try during a recent all day publicity shoot. Not that I would have used them for the actual shoot, but done some testing with real talent in a great environment. Oh well….
First Post – February 15 2019
For years I have used Sunbounce reflectors. I have found them both durable and ‘OK’ in the wind. I say good rather than excellent because just like anything that is fabric (like sailboat sails…) it catches the wind. When Adorama came out with their Glow Collapsible Circular Wind Proof Reflector with Handles I wanted to test them. I chuckle at the term ‘wind proof’ since for me that would mean even in a tornado something would survive! But I know what they meant, ‘wind resistant’ is the term I would use.
When my photo partner and I unpacked the 32″ one (the one that’s reviewed here) it was a sunny day so we tried ‘reflecting‘ sunlight with the Glow 32. Although I felt that it was comparable to my beloved Sunbounce 32″ she said “Oh it’s not as good.” Hum…. So today I decided to actually test the reflective qualities of the Glow 32. I used one of my AD600s set to 1:1 full power, attached an eight inch cone and placed the strobe about 6 feet from the reflector. I then held my Sekonic meter at the end of the AD600 above the cone and fired five shots for each reflector.
Here are the results all metered at ISO 100 at a shutter speed of 1/100th:
- Sunbounce 32″ silver/white reversible reflector using the silver side
- Glow 32″ Wind Proof
So the Glow is 1/3 of a stop more reflective even though it’s not a solid fabric! Now to be fair my beloved Sunbounce (which I shamed Greg Gorman into giving to me btw) is old and NOT as silver as it was when I got it. BUT it’s still very reflective. So for me even if the Glow was a third of a stop less reflective the fact that it’s so efficient is incredible. The real test for me is its advertised wind resistance so….
I have a battery operated leaf blower which has variable stepless power that I use as an on location wind machine. I set it to “Low” and placed both the Glow and Sunbounce on a reflector arm and set it onto a light stand. Don’t bother being a troll and asking me the MPH or other shit trolls like to ask. This is unscientific and I just wanted to see how it compares to a regular piece of fabric in wind. Needless to say the Sunbounce IMMEDIATELY started turning around the light stand. The Glow on the other hand only began to turn as I placed the blower closer to the mesh. Incredible! I’d estimate my seat of the pants difference to be about 60% LESS affected by wind.
There are several other facets to the Glow I appreciate. The metal rim is more narrow than my Sunbounce which makes it much easier to attach to my reflector arm. Normally I have a 4/10 cussing with the Sunbounce. With the Glow it’s 0/10! The other thing the Glow has are two female attachment points in the handles. On one side is a 1/4 20 and the other a 5/8s thread. I prefer to use a reflector arm bracket but in a pinch being able to mount the reflector on a male threaded light stand is great!
It’s not reversible like my Sunbounce with one side silver and the other white. So if you’re looking for that versatility then the Glow Wind Proof isn’t the right one for you. I’ll be trying these on location shoots for sure knowing the reflective/wind resistance quality is good!
Perhaps an unforeseen advantage of these reflectors is the fact that the screens can be seen through presents a HUGE advantage for me. Assistants can view how the light is falling on the talent even if the reflector is blocking their view. This will come into play when using Glow’s larger reflectors as well. For me that is even more important than being wind resistant….well as important.
I’ll be using these both in studio and on location. I prefer more specular light in most of my sessions. Will I give up my framed Sunbounce reflectors? Nope, the right tool for the right job is my motto. And in wind or when an assistant needs to look through the reflector these are the right tool for my work.
UPDATE February 11 2019
I realized I had posted some of my lighting techniques under a different blog heading about the v2.0 Saberstrip modifiers, which I consider to be a revolutionary modifier, but had not updated this post. I do so because I find the v2.0 Saberstrips to be almost invaluable for me in creating dance imagery. In some cases I have used three of them to light dancers in studio. As an overhead light on a boom arm and two on each side of the dancers as rim lights. It creates a very dramatic sculpture of their forms as they move. I have also taken to using my 10″ Fresnel to light dancers. I love the light produced by a large lens Fresnel. A hard contrasty light that is unlike any other modifier.
The following images were all created with three v2.0 Saberstrips as shown in my photo above.
The following were shot with a backlight with a cone, three v2.0 Saberstrips and the Fresnel as a fill light.
And finally two v2.0 Saberstrips and the Fresnel as a key light.
For me experimenting with light is one of the most exciting parts of dance photography. Don’t be afraid to experiment, otherwise all of your images will begin to look the same. And what fun is that?
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.
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.”
Some of my final images.
January 13 2019
I continue to be absolutely amazed at the flexibility and versatility of the v2.0 Saberstrips. As of this writing I do know that Scott has not yet offered these for sale to the general public. The reason I continue to post my findings here is in hopes of motivating some of you to contact him to ‘hurry him along‘ in the sale of these modifiers. In addition to dance, their form factor and quality of light make them invaluable in my tool kit. Seriously – combined with the AD200 strobes I feel they are a revolution in modifiers. Here are just a few of the in studio dance imagery created using these lights.
Update November 19 2018
I continue to be so impressed how using two v2.0 Saberstrips can produce the light I so love which could only be created with a ring light. But the huge difference is since the lights are NOT attached to the camera, I can use a long lens, yet keep the lighting near the talent. This was taken with a Canon EF 85mm f1.2 lens. The versatility of these modifiers is incredible.
Not to mention my use of them in dance imagery creation.
Several of you have written to me asking when Scott will release these modifiers. I highly suggest you write to him on his website to ask. I continue to encourage him to release these modifiers.
Update October 14 2018
I recently conducted a studio dance session using three Saberstrip v2.0s combined with a Mole Richardson Fresnel spotlight I have converted to a strobe. I continue to be so amazed and impressed by the versatility and light quality of the second generation Saberstrips. As I’ve stated before I’m just scratching the surface of what can be accomplished with these remarkable lighting tools.
Each of these images were created using a combination of Fresnel/Saberstrip light modifiers.
Update September 17 2018
Yesterday I conducted an all day dance session. I found that utilizing three v2.0 Saberstrips with 3 Flashpoint AD200s produced remarkable light for studio dance. Rim lights, using two Saberstrips and one overhead light produced the exact mood I was trying to achieve. Seriously this combination is incredible for my dance work.
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.
Like most other folks and way before I began shooting as a full time pro, I had a day job. It was during this time I discovered a very unique light modifier called the SaberStrip. What was so intriguing to me is its shape and the quality of light it produces. I was a bit suspicious when I first received my Strip because it seemed like ‘just a high quality shipping tube’ with some rip stop nylon as the modifier’s cover. Also this was back in the day when I was almost exclusively using speed lights, but had two PCB Einsteins for my ‘studio work.’ And this was well before the advent of built in radio receivers in speed lights, so I had to use a pigtail cable connected to my speed light inside the tube to attach it to the Phottix Transmission receiver I was using at the time. A bit of a hassle, but it was the only thing that existed at the time, which was ‘high tech’ for that era.
Although I loved the quality of light it produced, for me the power or rather lack of power of the speed light relegated the Strip to my closet. I tried to fabricate my own ‘Strip’ for my Einsteins, but found out it was not as easy as I thought. So I basically gave up and moved on to other things.
In 2013 I decided to create a series of images about the hands of artists which included both performing as well as creating artists. Since I wanted to shoot the talent in their natural environments I found that all of my ‘normal’ modifiers would not work well due to space. In some cases I had literally 10 inches or less to place a light and modifier to light the talent! So as I was rummaging through my gear closet I happened upon my Strip that I had doomed to its lonely existence in the back of my modifier closet. Eureka! That’s the perfect tool for this job and since most of the venues I was shooting in were very small I would not need a ton of light power so my speed light would do just fine.
By happenstance the Director of the Peninsula Museum of Art saw one of my images and asked to see the rest. She then asked if I’d consider having a solo exhibit at the museum the following year. I politely told her no and when she inquired as to the reason for my decision I simply replied “I don’t think my work is good enough for a museum and I think it would be very narcissist to do that.” She simply smiled and said OK. Later one of the artist I know mentioned that he had heard I was offered a solo museum exhibit but turned it down. Werner asked me if I ever go to museum exhibits to which I responded “Why yes, I love going, why?” His response was typical Werner, direct and to the point; “Well quit being so fucking selfish and let others enjoy and be inspired by what you’ve created Mark!” I’m seldom if ever at a loss for words but I had nothing to say. So I contacted the Director and agreed to display my work which I titled “29 Hands, 15 Artists.” With the exception of one of the images, all were lit with my Strip and a speed light.
Fast forward to today, 2018 and I was made aware of SaberStrip’s v2.0 version of the Strip which accepts an eVOLV200! In March 2018 I was shipped two advanced copies of the modifiers to test to see if I could offer any feedback. Here’s what I’ve found so far:
The 200 is inserted into the bottom of the modifier through what I call the “Tractor Tire” the designer fabricated it to attach the 200. I believe his design is to offer strength to the mount. I simply like to think he liked Tonka Trucks as a kid! The knurled knob on the left in this photo is the turning knob that screws the 200 in place. The other nice design feature is you can eject the battery of the 200 without removing it from the modifier, a very thoughtful design element.
Sorry for the shitty camera phone blurry image. The red thing you see at the top of this shot indicates that the screw is NOT attached to the 200 which is a very nice feature. One of the things that I found to be a design issue, it’s very easy to over tighten the screw. There’s no need to do so because it makes it VERY difficult to unscrew the unit from the mount. I learned the hard way and had to use a screwdriver and hammer to loosen the screw.
It’s also not possible to let the eVOLV slide down into the tube because there are ribs on the interior which keeps the strobe from sliding too far into the unit. I believe he may have other plan since those interior ribs seem to be reinforcements for four exterior metal nipples. Barn door or grid accessories for the future? Perhaps.
I painted a directional arrow on the housing to indicate which direction to loosen the mounting screw.
What the interior looks like in the v2.0 Strip. You can see the reinforcing supports which prevent the eVOLV from sliding too far into the tube.
Although most people will not have to do this, I ground down the mounting peg that is cast into the housing. This allows me to easily insert the peg into female mounts I use to place the modifier in either a vertical or horizontal position. Although the v2.0 Strip works extremely well in stands which offer the mounting peg to be in a vertical or horizontal position, not all light stands offer that option. When I travel to other cities I often have to rent stands and not all rental houses have adjustable spigot locations on their stands.
This is why I needed to shave down the diameter of the molded peg. It would not fit as cast. I find these female spigots invaluable in my gear bag.
I plan to use these to mimic a ‘ring light’ because I can now leave the modifier and strobe very close to the talent and back away to shoot with a long lens. Not possible with traditional ring lights. Also since the eVOLVS have modeling lights in the Fresnel head I now have a modeling light in this configuration. Sure, not brightest modeling light, but way better than none.
Canon 1DXII EF135 lens ISO 100 both AD200s set at 1/8 power. 1/5000th f2.0
In those instances where I want to place the v2.0 Strip close to the ground I will simply use a Godox S bracket as a base. This configuration will be perfect for dance shoots as fill lights or anytime you wish to place the units very low onto a flat surface.
|SaberStrip v1.0||SaberStrip v2.0||w/2 eVOLVS and SS|
|Light||Flashpoint Zoom R2||Evolv200|
|Flash weight||17 oz||31 oz|
|Distance to Sekonic||5 feet||5 feet|
|Time to Recycle||6.8 sec||1.57 sec|
|Length of fabric||29″||29″|
|Width of fabric||2.25″||2.25″|
|Length of modifier||38.5″||34.75″|
|Diameter of modifier||3.5″||3.5″|
|Saberstrip Weight||19 oz||27 oz|
For me the most significant stats are the recycle time and power. It’s the very reason I stopped using my original speed light Strip, it just lacked power. And in my work a one second delay feels like 12 years. Human expressions change in a nanosecond and invariably it’s the money shot I wanted, but missed because the strobe was recycling. Two full stops and five seconds faster in recycle time makes this modifier an incredible tool.
The ‘tube’ freely rotates around the mount so it can easily and conveniently turn the fabric to any position needed. There’s also a very small 1/4 inch 20 screw hole in the ‘tractor tire’ housing. I’m not sure why the guy put one there but it’s damn convenient. I plan to place a female mounting stud in there so I can either mount the Strip with the built in male stud or a female one. It should be noted that if you place a long ¼ 20 screw into that hole it will stop the free rotation of the tube. So IF you are the anal type and want to lock down the tube’s rotation you can do that with this screw hole.
This coming weekend I have three personal project shoots and I plan to test the light quality and applications in those sessions. I’m not sure how many times the Strip v2.0 will be my key light, but now that the recycle times and the power available through this meets my needs I’m sure it will always be in my bag.
Having a stand, a strobe and a modifier all in one easy to transport package is great for run and gun shooting, especially outside in moderate to high wind. My preferred stand for these is the Neewer Light Stand, 114 inches/290 centimeters Stainless Steel Heavy Duty with 1/4-inch to 3/8-inch Universal Adapter. It has a removable spigot that can be configured for either a vertical or horizontal female mount which is perfect for the new Strips. They are well made, strong and inexpensive.
The number of ways to mount the Strip seems endless. My current favorite grip mount for the Strip is the Matthews Mini Grip Head. I modified it by drilling out one of the holes to 9/16th of an inch which fits the Strip’s 5/8th inch stud.
What I like:
- High quality Construction
- Built in male mounting stud
- Ability to rotate the modifier around two axis
- Accepts the Evolv200
- Well balanced, having the strobe at the mounting end of the modifier
- Very wind resistant
- Will fit into very tight spaces
- Male stud needs to be the 5/8th inch size standard of all spigots
- Wheel that attaches the strobe needs to have directional arrows.
- Wheel needs to prevent over tightening
During the weekend of April 21st 2018 I had my first opportunity to use the v2 Sabers in studio. I wanted to determine if paring them in a horizontal way would give me the ring light type of affect. I’ve always loved the look of a ring light shot, but have been frustrated that the distance of the light to the talent is limited by the focal length of my lens. Using my ring light further away to compress the talent’s face meant that the light is also further away, causing a harsher look. But using two Strips horizontal to the ground with the ability to adjust the distance between them allows me to leave the light source close to the talent, yet move further back to use a longer focal length. Having my cake and eating it too is wonderful!
The images below show how this worked on Jessica and I’m very happy with the results. Shot with a 135mm prime lens.
The flexibility of being able to angle the pitch of the Strips and distance between them is wonderful. More control than a ring light. As a fill/rim light I have not experienced a better modifier. Reflectors make great fill or rim light modifiers, but I have always preferred strobes for that task. It allows me finer control of my fill light.
By changing the angle of the top Strip in the image of Jess with her arm above her head I am able to cast a bit of a shadow on her eyes while filling in under her eyes to prevent shadows. That flexibility allows me to create nuance shadow/highlights with the Strips.
Here I am using the Strips as a fill and rim light. All of these images are three light shots. My 10” Fresnel is the key light, a gobo modifier is used on a light to create pattern on the background and the Strip is used as a fill/rim light.
The control of the Strip as a fill light is quite lovely and can be used as subtle or as bold as you wish. Here are two more images I created using two SS’s in parallel as a ‘ring light’ but in my view with a much better result.
Oh and large groups in moderate to strong wind? I was recently at a client to cover the high school musical awards and prior to the event kids assemble outside. It’s often a fun place to get group shots before the show. The issue is always crowded sidewalks and of course crazy high school kids. I shot this image with ONE SS and one eVOLV200 at HALF POWER.
I recently visited Luna Cycle in El Segundo to do some documentary photography of the staff. In the vast majority of cases the SS were used due to their flexibility and light quality. As in my 29 Hands Exhibit I was able to use the SS to light the talent in places where it would be almost impossible to fit a modifier in the space I had available and achieve a quality of light I wanted. Below is an example of one of the shots.
My apologies as I know you won’t be able to ‘unsee’ the image that follows, but to date it illustrates the rim lighting capabilities of the Strip. During this session I was to shoot two Drag Queens. The fella on the left is 6-1 without heels and with his 4” heels it makes him 6-5! I used the Strip as a rim light and if you notice the illumination from head to toe it’s quite remarkable. Could this be accomplished with a gridded light? Of course it could. But due to the very slim shape of the Strip it allowed me to get as close to the back drape as possible keeping spill to a minimum and certainly much less than a softbox without a grid.
Outdoors with the Strip is quite good. It is ‘almost’ impervious to wind, high wind. It is more wind resistant than my go to outdoor modifier, the PCB Omni. The disadvantage is since the Strip uses the AD200 it is a full stop less powerful than the AD600 I use with the Omni or my Aputure Fresnel head. But to circumvent that disadvantage I often use two Strips as a key light when outdoors. And in those instances where I want a very large light source I use three Strips configured in a Y shape. I find it’s the equivalent to a 45” octa with 600ws of power. Ever use something that size out in moderate or high wind? And I use all three on a single stand.
My partner recently conducted a head shot session using two of the Strips. She used one as the key and the other as a rim light. It was very windy under the concrete bridge where she was shooting and the Strips barely wobbled. The light quality is excellent and easily replicated her preferred modifier, a Glow 36” Octa. But in that kind of wind, especially the gusts that occurred an octa would have been quite the handful. She does prefer the catch light of the octa, a personal preference to which many people may agree. I happen to feel that round catch lights are the default, yet in natural light a catch light is anything but round…..
As you can see the quality of light produced by the Strip is excellent. Two lights, both Strips. One as the key light the other as a rim light.
Is it the perfect modifier? Nope, but as of right now there is no perfect modifier. Just like there’s not a perfect camera, lens or person. Is it the most versatile modifier I currently own or use? YES! For me the v2 Saber Strips are revolutionary and I have not even scratched the surface of how they can be used. Thank goodness for the AD200 lights and Scott’s development to incorporate them into the Saber Strips! Scott has mentioned that the v2 versions which use the eVOLV200s will be available in late July 2018.
Update January 13 2019
I purchased the 36″ version of this modifier based on my experience with the 25″ model. I’m not sure if manufacturing has changed, but the 36″ model’s snaps which hold the inner diffusion panel are of less quality than my 25″ model. They are EXTREMELY difficult to remove once they are snapped into place on the modifier. So much so that removing them is very difficult and one of them pulled the mating snap off of the modifiers. I now use a binder clip to hold that part of the diffusion panel in place.
Be aware that the modifiers may be of a different manufacturing level when purchasing these.
Original Post November 26 2018
I was recently asked by a client to create a portrait of one of their executives that will appear in a magazine article. They let me know only one day before my flight. This was a surprise since my trip was originally scheduled to fly up for a production shoot. This meant I had no plans to haul any strobes or modifiers up on my airline trip. So in order to keep my luggage small I opted to take my Glow EZ Lock Octa Small Quick Softbox for Speedlite (25″) along with my Flashpoint eVOLV 200 Round Flash Head as my lighting gear.
I really like how small the EZ Octa folds down. It fit so well into my suitcase and hardly took any space at all. Because the modifier is relatively small, I knew I would have to place the light close to the talent. I rarely use modifiers smaller than 39″ as my key lights, but in this case opted to use the 25″ due to packing space. I used the metal disk in its concave placement along with the outer diffusion panel. Although the Adorama ad shows that the modifier comes with a grid, mine did not…..
So here are some of the shots:
My assessment of the modifier is it’s ‘good.’ The light quality is good for a modifier this small. Its pack ability is excellent and I will continue to use it as a rim or hair light. Or when I need to pack very small as a key light as well.
Update November 25 2018
It’s been over three years since I wrote this article. Since that time I have had the privilege and experience working with other disabled individuals, primarily those who are deaf. Antoine Hunter, a deaf dancer who I photographed for the magazine “The Pool“ and Joshua Castille a deaf actor who appeared in Hunchback for 5th Avenue Theatre are both remarkable in their abilities as artists. My work with both Christine and Sarah along with those who I’ve come to know since then has forever changed my life. Just like ‘White Privilege” it’s tough for anyone non white to understand the meaning of that phrase. So often when I bring it up (if at all) to whites, they immediately go on the defensive, as if they’ve done something wrong. No in 95% of the time that’s not the case. Privilege of any type often goes without any conscious thought. It just ‘is.’ In the very same way ‘able body privilege’ exists for which I have been guilty, but without meaning to be guilty. Not experiencing first hand being disabled doesn’t allow one to truly KNOW the feelings/experiences/hardships of what was once just a right.
My partner recently sent me a New York Times article that hits very close to home, Revelations in a Wheelchair by Nolan Ryan Trowe. It is especially poignant because he is a photographer. He became disabled due to a cliff diving spinal injury and decided to use his photographic skills to document how able body privilege works.
This month the Camp Fire near Oroville, CA recorded the largest wildfire in California history. A 62 year old woman who was wheelchair bound due to a stroke managed to escape despite her disability. This is especially poignant to me since after caring for my mother for three years before her death, I suffered a stroke 22 days after her passing. I am forever grateful that my stroke has not left me with any visible disability.
I know that many people visit my site to learn about my experiences with ‘gear.’ But the most important part of my life isn’t gear. It’s the people I meet and befriend. I hope you find that in your life as well.
Original Article June 29 2015
Three years ago I was inspired to be uncomfortable when I met and worked with Adrian Blue, a deaf actor/director. He immediately struck me as an individual I wanted to know, and even though he would read lips I was motivated to learn ASL, at least enough to sign a few sentences. I’ve always been crappy at languages, but I noticed I had more of an aptitude at ASL than I did in learning French!
It was during my interaction with Adrian that I realized I knew NOTHING about people with disabilities. Growing up I had one family friend who had been born with Down’s Syndrome. I was not very popular in school simply because I was the only Japanese American, but each and every time Karen came to visit, she would run up to me yelling MARK! and gave me the largest hug I’d ever received. I noticed my father was very uncomfortable around her which bothered me quite a bit. He own discomfort arose from not knowing what to do/say to her. It was while watching his reaction that I realized growth can come from placing myself in ‘uncomfortable’ situations so I could grow as a human.
So for the past two years I have embarked on a personal journey to learn more about those with disabilities, to educate myself about something I know very little about. I originally started with a young girl and have now worked with two young women who from birth have used a wheelchair. My voice is to use photography in describing how I see my world and those who interact within my life. How despite each person’s handicap we are in the end more than our disabilities. And each of us has one or more. Some are visible, some are not. How we deal with our own disabilities determines how we will live our lives. How we view our brothers and sisters will determine how we view our world.
At the end of this project, at least the photographic part I will amass all of the lessons I have experienced at the grace of those who have allowed me to share a part of their lives with me. But for now I will simply say that we are all the same, we are all human souls who all want the very same things; love, respect and community.
UPDATE November 18 2018
I opted to use this modifier during a recent ballet shoot for a SF Ballet student. Lately I have been so impressed by the quality of light Glow modifiers produce. The Deep Beaded model is no exception. The flexibility to focus the light by pushing or pulling the strobe further in or out makes these a inexpensive alternative to focusing arm modifiers. I’d estimate they achieve 60-80% of what focusing rod modifiers can produce in terms of light quality and versatility. Part of the reason I surmise is the texture of the silver fabric in this modifier. It is much like my beloved Elinchrom Rotalux Deep Octa, pebbled.
Both of the shots that follow were taken with the strobe ‘mid focused’ into the modifier. I wanted the punch of contrast combined with a softness for the mood of the shot.
UPDATE May 13 2018
I recently used the Glow 65″ Deep Beaded Silver Umbrella on a commercial shoot. My decision to use this modifier over my normal focusing rod modifiers had to do with the unknown. Although I knew what the client wanted, I had no idea of the area where we were to shoot the session or whether I had to move from spot to spot. Breaking down and setting up a modifier could have presented a potential issue with time, so I opted to use the Glow. I was very pleased with the results as is the client. The beaded texture of the modifier is something I prefer as it adds more contrast to the images.
Wow! I’ve read about ‘deep umbrellas’ for some time now and have tended to “poopoo’d” them. Sure higher end companies like Profoto manufacture deep umbrellas, but for their price point I’d rather go with an octabox. I had been a huge fan of PCB’s PLM umbrellas and still utilize them from time to time, but had made a move to more ‘professional’ (bullshit word btw) modifiers like Parabolix. I love the look of focusing arm modifiers produce. Punchy, yet soft when you want soft. Focused when I want focused light. I now find ‘normal’ softboxes boring in what they produce and when I want to keep spill with softboxes, I’d have to use grids. Not so with a focusing arm modifiers. This deep umbrella prevents “spray light everywhere” situations like normal umbrellas and non gridded softboxes.
Prior to using focusing arm modifiers my go to octa was the Elinchrom Rotalux Deep Octabox 39″. The light that modifier throws is magical. So when I saw the Glow was offered in the same ‘pebbled’ texture silver interior fabric as my beloved Eli 39, so I opted for that model. BTW I continue to use the Eli 39″ in both a diffused and focusing arm configuration. During a client’s session they allowed me to use the Glow 65″ in some ‘test shots’ with their talent. I used it as the key light, camera right for two of the actors. The fill light was camera left and I was using a 69″ Elinchrom Oct which I have adapted to use a focusing arm. In this configuration I had it in the fully flooded position. In another post I have displayed my shot using the 69″ Eli with a focusing rod.
The actors are in costume for the play “The Elephant Man.”
So the question is, would I use the Glow instead of the Parabolix, CononMark or Zeppelins. The simple answer to that question is ‘no’ I have yet to find a single modifier that can do EVERYTHING well. BUT when choosing the right tool for the right job I would not hesitate to use the Glow Deep with pebbled silver interior. As a matter of fact I plan to obtain the two smaller units as well. The ROI and ease of setup and striking of an umbrella is undeniable. What The Glow line has done is mitigate the down sides of the lowly umbrella for a price that presents an unbelievable value. And for me no matter how ‘cheap’ a piece of gear may cost, if it doesn’t produce EXCELLENT light when I’m using it, then it doesn’t get used.
For people on a budget I cannot think of a better modifier to use. And for people who make their living shooting, it’s an incredible tool to add to your bag.
Update November 17 2018
On a recent on location session in Seattle WA I encountered a situation where the R2Pro would NOT fire my strobes. I was in a club called The Triple Door to shoot publicity for my client’s upcoming performance for Rock of Ages. I had the room filled with haze for the session and the client wanted some shots with two of the stars in a booth. As I looked over I was blown away at the rays of light coming through the windows! The issue in obtaining the light rays just using natural light was the club is below street level and it was a cloudy day (Seattle! LOL) the sunlight was intermittently blocked by both pedestrians, vehicles and clouds. It was also late in the day so the angle of the rays of light would move quite a bit.
I had my partner go outside with both a 600Pro and an AD200, both with cones attached. My thought was that using a strobe through the windows would produce the same light I was experiencing with the natural sunlight, but not blocked by clouds or people passing by. Yet even in complete line of sight for test shots the strobes would NOT fire. I can only surmise that the combination of concrete, brick, the wiring in the club and my lower elevation to the strobes prevented the radio signals from reaching the strobes. And yes I tried both the 0-30 and 0-100 distance choices on the R2Pro. The distance from where I was to the strobes was about 35 feet and 15 feet below.
I always test my gear before putting it into workflow and did so with the R2 for the Pentax. But in this particular situation the radio signals would not reach the lights. Keep my experience in mind for your own sessions. I am NOT not recommending the R2 transmitters. Both my Canon and Pentax R2s have performed well. It’s just in this situation the R2 Pentax did not make a connection in this specific situation…..strange.
FINALLY! I was thrilled when the R2 Pro for the Pentax was announced! As some of you who follow my blog know, I’ve done a workaround for the 1/125th max sync speed for my Pentax 645Z which can be found here. The short version is I was using a Cactus v6II trigger combined with older Godox USB plug in receivers. It worked fine, but like all workarounds it had limitations. That’s all over now with the R2 Pro for the Pentax! Yay!
So I just did some testing to determine if the trigger works with the 645Z and just as important if any banding occurs with the trigger. You see, I had originally purchased a MBX1000 Priolite when the Z was first released. At that time it was the ONLY strobe that would perform HYPERSYNC with the Z rather than HSS. I found that in addition to being quite expensive, the Priolite produced a gradient in the image similar to using a graduated neutral density filter which I found to be unacceptable for such an expensive strobe. Sure it could be corrected in post, but why should I have to do that with an expensive strobe?
All that is over now and here are my test shots I conducted with the R2 Pro for the Pentax:
I could NOT use an eVOLV200 inside of the Saberstrip v2.0 because the USB port was covered when inserted into the SS. But since I no longer need a USB receiver I can now use my Pentax with these remarkable modifiers. I have not tested the trigger with the other xPLOR600s and 600Pros I own, but I have no doubt it will work well. If I find there are issues, then I will post them here in this short review. I have an upcoming client session on location where I now plan to use the Pentax and the new trigger.
A final note. Formerly while using my Canon R2 Pro attached to the 645Z (when not using HSS), pressing the shutter did not reactivate the R2 Pro after it went into sleep mode like it does on my Canon gear. I had to manually press a button on the R2ProC to wake it from sleep mode. Of course there were times I forgot to do so and missed a shot. Not so with the new Pentax R2 Pro. Now when I press the shutter it wakes the transmitter from sleep mode.
Thank you thank you thank you for producing a HSS trigger for Pentax!!!!
Update October 30 2018
No need to do this workaround anymore. Flashpoint has released their new Flashpoint R2 Pro 2.4GHz Transmitter for Pentax. You can read my findings here.
Update September 26 2018
I am preparing for a publicity shoot where I want to use my 645Z, so I had to remind myself how to shoot HSS with the method I explain below. A spider had built a cool web in my backyard so I had this crazy notion to use my eVOLV200 with the Pentax. BTW Flashpoint will be releasing the Flashpoint R2 Pro 2.4GHz Transmitter for Pentax (XPro-P) which will allow HSS without all the shenanigans I went through to make it happen. I sent this shot to a friend of mine who hate spiders. Now she’s not talking to me….LOL!!!!
UPDATE February 16 2018
I have confirmed that the new Flashpoint/Godox AD600 Pro works in HSS with the Pentax 645Z as explained below.
UPDATE September 8 2017
In my post about the Parabolix 35D I have some of my recent client work which was just released. All of those images were shot using HSS with my 645Z.
UPDATE August 31 2017
A visitor recently asked if the older AD360 line of strobes achieve HSS with a Pentax 645Z based on the method I describe below in my original article. The answer is YES it does. Rather than just ‘say yes’ under an ‘assumption’ that it would I decided to actually test it. I’m preparing for a dance session in two days and my partner who is making the move to all xPLOR/eVOLV units herself asked if she could borrow my old AD360s for the shoot. As a gift I had purchased an xPLOR TTL 600 for her so she wants to combine that with my old AD360s using my XTR-16 receivers. So a quick test before charging all of the units for her proves that the AD360 line works!
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 October 25 2018
I recently conducted a studio session using my Mole Richardson Fresnel. I continue to be impressed with the quality of light it produces along with the versatility of focusing.
Update October 14 2018
I was able to use my Mole Richardson Fresnel during a client dance session. I have been excited about using the Fresnel for dance since the light it throws is just delicious. I combined the Fresnel light with some Saberstrip v2.0 lights which use the Flashpoint eVOLV200s. In this case I just used a single xPLOR600 even though I have a 1200ws head in the Fresnel. I didn’t need the power of 1200ws for this job.
I realize that many people chase ‘soft light’ but I have found that the light thrown by a Fresnel is more acceptable to my client base for quite a few types of sessions. For my blog post about the Saberstrip v2.0’s which I consider a revolutionary modifier I used in conjunction with the Mole Richardson, you can click here.
UPDATE May 14 2018
I recently conducted a client publicity session using my converted Mole Richardson 412.
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.
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.
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
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!
I know that I often state whenever I get a new modifier/strobe/etc. I ALWAYS test them BEFORE putting them into my workflow. I’ve had a suggestion arise lately about showing them in a group in addition to in each of my modifier/strobe posts. Sounded like a good idea so here we go, but I have no plans to make this post comprehensive for all of my tests. Just a few. The first covers the Saberstrip v2.0 that utilizes the Flashpoint eVOLV200s.
Bought this 1965 MGM Studios MR 412 Fresnel and converted it from a 1000 watt constant tungsten light into a strobe Fresnel. The following images were all shot AS TESTS prior to putting the Fresnel into my workflow.
Elinchrom 39″ Deep Rotalux
I NEVER place anything into my toolkit unless I’ve tested it previously. Too many unexpected situations come up in any session. Being unprepared with things you KNOW about is not wise.
I have noticed that so many of the reviews/recommendations are from companies who sell the unit and because of that I’m always cautious of their views. There is one site I found well done that is NOT a company, but a user. His review can be found here. Accessories for almost all medical devices are expensive, or more expensive than I feel they need to be so I opted to find products that fit the AirMini as good or better than ResMed’s own products. And that’s what I want to share here.
ResMed offers two different cases for the AirMini. One is the $29.99 ResMed AirMini CPAP Machine Travel Bag that just holds the AirMini CPAP device. The other is the $61.00 ResMed AirMini Travel Bag which holds all of the needed AirMini items, the CPAP, the hose, the mask, the power brick, etc.
First off although I’m sure both of those cases are of good quality I felt that they were way overpriced for protective carrying cases. Plus the $61.00 carry all travel bag does not have a strap to hold the bag onto my rolling luggage handle. Perhaps it does, but I could not see it in any of the photos. So here is what I found that performs great for less money:
Yep a lunch bag and expandable to boot!
I fly a drone for my work and it comes with two cases. The smaller top case meant for the Mavic Pro’s controller fits the AirMini unit perfectly.
I use one of the HumidX disks for only a week and then they go to waste since ResMed recommends that they only be used for 30 days after opening the airtight package. So I store them in the Tupperware containers after letting them dry out for one day after I return home. I also put the disk through my SoClean machine to allow ozone to disinfect the disk. I believe this will prolong their life and not having to throw them out after only a week’s worth of usage. I do replace them after 30 days of use, just not 30 days after I’ve opened the package. I wrote to ResMed to ask them the reason why the disks have a 30 day life, but never heard back. I will mention that when I took the AirMini camping the night temperature was around 50 degrees Fahrenheit and quite a bit of moisture accumulated in my hose. Just FYI.
Pretty self-explanatory, I just want it clear to the TSA and airline staff that it’s medical equipment and doesn’t count as a carry on item.
As of this writing ResMed has yet to produce a battery for the AirMini. I have used two different ones when I was camping. The first is a battery pack I used for portable flash strobes, the PCB Vagabond Mini. It has two 110 pure sine wave outlets and one USB female outlet. Fully charged the unit lasted two full nights before needing to be charged.
The second unit I used was a Romeo Power Saber. It contains a universal AC 110v outlet, two USB outlets and one USB-C outlet. I purchased this for my airline laptop/cell phone use. It lasts 10 hours using the AirMini and only takes 2 hours to fully charge from dead.
I’d recommend either of these units it just depends on the size/recharge time configuration you need at the time. Longer time? Vagabond Mini. Smaller footprint/faster recharging time? Romeo Saber.
I hope this post gives you more options for cases and portable power for your ResMed AirMini. If so I’m happy!
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
Session 2 for Matilda at ReRead Bookstore
A few of the Final Images
Session 3 for Howard Barnes in an alley in Everett WA
A few of the Final Images
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!