I know that it shocks my Caucasian friends and acquaintances when I say “Oh he’s my white friend Fred who I knew in college.” When I refer to a friend or someone I see who is Japanese or Asian I simply say, “Oh he’s my friend George.” I feel it must be difficult for whites to fully understand what the big deal is all about not being represented in media. It became extremely obvious to me when my cousin asked me to watch over his home on Oahu when he went to visit Japan for several weeks. 90% of the people on TV were Asians and not just the token female Asian news anchor but people in car ads, mouthwash commercials, and furniture store ads. And many of them were Asian MEN, something seldom seen on the mainland. And as I roamed around the island away from Honolulu everyone looked like me, men women and children. It was then I discovered what it must be like to have white privilege, where almost everything that is represented looks like you.
It has taken me a few weeks to formulate my feelings for this post since the murder of George Floyd in Minneapolis, MN. In 1968 when I was a young teen living in SoCal the Watts riots happened. I remember watching it on our family’s black and white TV. We had moved from Crenshaw to Anaheim so we were removed from the LA area. My aunt and uncle along with my cousins still lived in LA but not near Watts. I remember being disturbed by the images of rioting, looting and violence as I watched the news. But my parents tried to protect my sister and I by turning off the TV and not discussing it with us. When we went to school there was no mention of the riots or the reasons why it happened, only uneasiness that was apparent in some of the teachers, who were all white and 95% male. The suburbs where I lived were far removed from Watts so any danger was only on the TV screen.
There are certainly people I’ve encountered that I classify as a racist or bigot. But there are also people in between those all or nothing titles. People I call “Racially Ignorant” who are not full bigots or racists, but because they have been born into white privilege they have never experienced or understood what it TRULY FEELS LIKE to be marginalized by a white social structure. Whites in the USA along with nonwhites are schooled by a white social system. What we are taught, how we are taught is all homogenized to support the elevated status of being white. If you think back to how we were taught about “American Indians” in school it was painted as a fair trade, land for trinkets. Cowboys were the heroes and the Indians were savages, people the white man saved by taking away their lands. I was never taught that the Native’s land was forcibly taken away and they were forever banished to ‘reservations.’ We learned about the Emancipation Proclamation and the Civil War. But again it’s all painted with pretty American colors to satisfy the palate of a white nation. How white America made life better for nonwhites.
I like other minorities encountered direct as well as veiled prejudice and bigotry as I was going up. My parents decided to move from Crenshaw to Orange County after the helicopters and gun fire became too much. Crenshaw was predominately black and when people saw me they referred to me as “The Chinaman.” Upon moving to all white Orange County I was again referred to as “The Chinaman.” I discovered later as an adult that the white neighborhood where we moved started a petition to “Keep out the Orientals” citing‘our kind’ reducing property values. Although I was not privy to that information at the time I know my parents especially my Dad would have been incensed. He, mom, my aunts and uncles were all imprisoned in camps during WWII for simply being of Japanese descent. Of course I knew nothing about that because in school it was never taught. Just like how the Native American story was never told truthfully. Neither my parents nor any of my paternal or maternal relatives ever spoke of their times in the prison camps. The lessons they learned from that time was to teach their children to assimilate, to give them American names and hope it would not happen again. There was a period of time when Italians were being considered to be imprisoned, but of course that never happened. Historically it’s much better to identify an easily recognizable race to blame, fear and ultimately punish.
The type of prejudice and bigotry I’ve experienced has been both overt and subtle. When dad and I were at the LA public library a white woman approached me to ask if I knew where the library science section was located. After explaining the area where she could look she said “My goodness your English is so good!” Shocked I simply replied “Uh thank you.” When we were going home I told my father the story and he said “You’re going to run into that a lot in your life boy. White people assume that everyone who are obviously not white speak with an accent. They’re ignorant people because they don’t have to be aware, but they like to think they are. Don’t worry about it.” Throughout my lifetime, it’s been unanimous hearing people of color say “They’re just ignorant’ when referring to whites and their cluelessness about races other than white. In 1989 I traveled to Indiana for business; the regional airport I flew into was named Michiana Airport.
Upon arriving at my client’s office I asked the receptionist, “Hi is the airport named Michiana because it’s shared by Michigan and Indiana?” Her reply “I think it’s called that because it’s the airport.” So I dropped the conversation. When I met with the MIS director I told him the story to which he replied “Oh she said that because she’s a Pollock, she’d dumb.” I discovered that when NO people of color are in an area the whites start to delineate ethnicity of their European ancestry.
In high school Jeff, Amy and I were the only nonwhites in the school of 790 kids in my graduating class. All three of us are Japanese. When I attended classmate’s summer party I entered the kitchen to get some food I heard the mother of my friend Connie whispering “Yeah, Mark’s not bad looking for an Oriental boy.” I ended up leaving right after hearing that and went home.
In both of those (and many other situations) the white people felt their intentions were fair and positive. A woman complimenting an Oriental boy on his English, the mother of a high school friend saying I was not too bad looking compared to white boys. I believe that most whites don’t believe or do not want to believe they are racist bigots. They are genuinely angered by the Ku Klux Klan, the Neo Nazi’s, etc. But those are the extreme easily identifiable racists. Cutting out the “N Word” from their verbal vocabulary makes things “OK” but I wonder how many use “Nigger, Jap, Gook, Slant, Greaser, etc.” in their thoughts. And even then it would be too much to admit, even to themselves.
And just one of the overt bigotry events I witness was as my dad and I were at a takeout Chinese restaurant we frequented every Wednesday. Mom took her night off from cooking so we all had our favorite Chinese food on Wednesday nights. Dad called those “Wonton Wednesdays.” Anyway the place was takeout only, no seating with a very large menu selection sign above the counter where you order and pay. Mr. Canton was the owner, always wearing a soiled apron with a number 2 yellow pencil behind his ear. Dad and I were the only people in the store and as we were looking up at the menu a six foot tall white man with cowboy boots and a cowboy hat came in and stepped right in front of my dad. Dad politely said “Oh excuse me, but my son and I are in line.” The guy turned his head slightly and dismissively to one side and said “I don’t have to wait behind any Japs.”
As SOON as the man uttered “JA..” my Dad moved instantly to the cowboy’s side, put his hand on the guy’s belt and leveraged him up in the air. I was shocked as I saw him upside-down with his boots up in the air and then heard his head hit the bare concrete with a distinctive “FLOWOP!” No punches thrown, just an instant judo move. His cowboy hat was still on his head, but he was out cold! Mr. Canton called the police and when they arrived, the cowboy was still unconscious. They questioned both my father and Mr. Canton separately and let us go home. My father admonished me to “NOT SAY A WORD ABOUT THIS TO YOUR MOTHER WHEN WE GET HOME BOY!”
When we arrived home mom was pissed “What took you so long to get the food!?” I yelled out “MOM DAD KILLED A COWBOY!” (BTW my dad was 5 foot 5 inches, a brown belt (before all of the now in between participation belt colors) in Judo and a Golden Gloves boxing champion. He taught me how to fight and tactics, but that does not apply to this post.)
In all of the lessons my father taught me about life with whites or the police NOT ONCE did he ever tell me that the police may or will kill me. NEVER. Had dad and I been black during the Chinese food incident I know the police would not have let us go after dad bounced the white cowboy on his head rendering him unconscious. Even if Mr. Canton had described what occurred we would have been questioned much harder and at the police station or handcuffed in the back of their patrol car. Japanese as well as all Asians are considered the “Model Minority;” non-threatening, passive or both. I remember the first time I heard that moniker and was offended. Why? – Because we were anointed by white people with that title who again felt it to be a huge compliment to Orientals. “Look at the Orientals, we kinda mistreated them, but they worked hard (and didn’t cause us any trouble) and look where they are today! See ‘some’ minorities can be good!”
Living in the Bay Area the news cycle covered stories about black men being killed by the police. Rodney King was one of the most visible stories. It was one of the first times a video of the beating of a black man by police officers was captured and shown. Following the King beating there were many others since citizen cell phones became as common as ever. But it was witnessing the killing of Oscar Grant that began a series of feelings in me that brought about rage. A black man held down by a cop and shot in the back by another was beyond comprehension.
Ahmaud Arbery in Georgia who was ‘thought’ to be a burglary suspect in a neighborhood. Three white men chased him down with their cars and went after him with firearms. Ahmaud began defending himself as any man would do in a situation like that and so he was shot. Cowards use guns on an unarmed man because they fear being hurt. And a property burglary in a neighborhood does not condone hunting a person down to kill them. Ahmaud was not coming into someone’s home at night where the threat of harm to the homeowner could be perceived as real. No, he was a man jogging through a neighborhood. But since he was a black man, in the view of the three white people he was automatically a prime suspect. In the minds of the three white bigots a black man running warranted a death sentence when he began defending himself against whites with firearms.
And then George Floyd’s murder at the hands of three white and one Asian cop. Watching a man die before our eyes is not something most people want see. In reading accounts about people watching an execution, even the victim’s families describe the scene as incredibly horrific. Adding to the horror is watching the nonchalant expression on Derek Chauvin’s face as he stared DIRECTLY into the camera that was filming him. No remorse, no emotion, simply his eyes of death. And this was the TO (Training Officer) for two of the other three cops there. THEIR TRAINING OFFICER, teaching them how things should be done!
I have never marched in protest for anything in my lifetime. And with the COVID-19 pandemic I have been careful of my health because I’m in the high risk group; 65 years of age with preexisting hypertension. But when my town organized a march from City Hall to the Police Department there was no question I wanted to march. Social distancing is out the window during a march and should not be expected. But even though it was 89 degrees, wearing a mask made it hard to breathe, walking from the PD to City Hall and back is further than I normally walk – those incidental sufferings meant nothing compared to what blacks have endured in generation after generation. The most powerful aspect of my life is choice. I chose to march and if I contracted COVID-19 and die it would be worth that sacrifice.
This is not a news cycle movement like Occupy Wall Street or a fad like white people going on and on about gluten free food or avocado toast. Make no mistake, within non-white communities prejudice exists between races. The difference? Nonwhites are not in power or control – whether that is in government or the police departments and their unions.
In listening to a real President, Barack Obama’s speech his sage words are the blueprints for change. Social unrest makes elected officials nervous, nervous enough to make changes for those who they are alleged to represent, US. Vote in local elections because those elected officials are the people responsible for appointing the local police chiefs and officials. Freedom is not free, yet in a society whose constant yearning for convenience by hitting the Easy Button has turned us into drones who just want easy, just want the way things have been. White privilege is the same as pretty privilege, as male privilege, as all privileges that are not EARNED, just unearned privilege. Being white is not earned, yet it is rewarded. Being black was not earned, yet it is punished.
I’m not painting all whites in a poor light. Like all things there are varying degrees of culpability in terms of bigotry and racism or supporting its continuing attitudes. I believe that one of the things that some whites fear is the threat of becoming ‘the minority.’ Is it possible that their perceived fear is predicated upon knowing how current minorities are treated? And standing on ‘reverse discrimination’ openly acknowledges discrimination against non-whites exists.
As with all things, when something is taken away or is being threatened to be removed it is much worse than never having something. And like high paying corporate jobs where the term “Golden Handcuffs” is well understood, becoming complacent because of a comfortable and safe lifestyle, most are unwilling to sacrifice losing that status, that lifestyle. So a fine line is danced to justify that “we’re not racist or bigots, we care…” Self-justification is as powerful as denial, yet both are so counter to actual human progress.
Yesterday a close white friend called me and was obviously upset. A group has assembled a listing of companies of which his was included. The list highlighted some of the racially ignorant examples over the years which included those prior to and during his leadership. “I was raised to be colorblind Mark that people are to be judged by their abilities and actions, not the color of their skin.” I could hear the pain in his voice over the phone and sympathized with him. He went on to say that some of the people in the discussion stood up for him. All nonwhites have heard the exact same statement as my friend stated over and over and over and over from their white friends or acquaintances – all with the best of intentions. But like I stated in the opening of this post, whites are raised in white privilege, unearned privilege.
The insidious nature of racial ignorance reminds me of hypertension (high blood pressure), which I have that eventually resulted in me having a stroke. When undiagnosed it’s hidden, I felt fine, but it was always there and I didn’t have to think about it because it didn’t affect me; until it did. Much like George Floyd’s murder and the resulting protests, racial ignorance has always been here, unnoticed by whites since it did not affect their daily lives, until it did.
It’s as simple as hearing white parents announce how they found the ‘best school’ for their elementary school aged kids and they were accepted. Are whites the only parents who want their children placed in the ‘best schools?’ Are those schools open to nonwhites? I hear many people tell me that their kid’s school is diverse, but that is from the perspective of how whites feel about what constitutes diversity in their world. I imagine that asking nonwhite parents whose children attend the same school would yield a different perspective.
The New York Times published a story “A School Admissions Process That Caused Segregation Fell Apart in Weeks” which paints a real life picture of white privilege in sought after public schools.
“Critics say that the process is inherently unfair, because it privileges children whose families have the time and money to navigate the complex system and pay for test preparation or consultants, and that it discriminates against qualified but low-income black and Hispanic students. The screening system produces selective schools that are largely attended by white and Asian-American students, though the city’s school system is mostly black and Hispanic.”
One of my clients, Village Theatre recently ran an open discussion with four black women who appeared in “Dream Girls.” Alexandria Henderson, Lauren Du Press, Joell Weil and Angela Birchett. They were joined by Jerry Dixon, Village’s Artistic Director who is also black. Although their discussion surrounds the world of black lives in the world of theatrical arts, many of the issues they bring up are germane to black lives outside of theatre.
I am not striving to be a Model Minority but to be a Model American. And that means to resist when it’s needed, to speak up when bigotry and racism is displayed and to help those who paved the way for people like me yet who continue to be maimed and killed.
“It always seems impossible until it is done.” – Nelson Mandela
“I’ve been out there with the protesters. I feel very optimistic when I see who is out there. I very much think of this as not a moment but a movement.
And there’s a specific thing that is different about this, and that is the significance of smartphones. I will tell you that probably over the last 10 years, my white friends would come up to me and say, “Kamala, what is going on all of a sudden with all this excessive force?” And I would say to them, “You sound like a colonist.” Because you’re seeing it for the first time, you think you’ve discovered it.” – Senator Kamala Harris in her interview with the New York Times.
“But there is no one that has been hurt more by White America than Black people (specifically Black women). Following the deaths of George Floyd and Breonna Taylor, every individual in America must choose a role to play in the fight against anti-Blackness. To be silent is to be complicit; this extends far beyond white people. For my fellow Asian American women, this includes us, too.” – Sara Li’s Op-ed in InStyle
“Ask not what your country and do for you. Ask what you can do for your country.” – JFK
“The only thing necessary for the triumph of evil is for good men to do nothing.” ― Edmund Burke
To begin I believe we should add two words to Black Lives Matter, Why Do Black Lives Matter? Honestly asking yourself that simple question can reveal powerful things about yourself you may have never realized. For me black lives matter moves to eliminate the numbness which is the norm for blacks to survive in a white world. Making themselves smaller and invisible in order to be acceptable to whites will be eliminated when everyone recognizes black lives matter. Black lives matter means no longer being secretly reminded to “know their place” in a white world.
Does it matter to you? And if so what will you do to take action to actually manifest change?
Update June 11 2020
I have awaited the Bowens screw on adapter for the 300 Pro in high hopes that I would be able to use it with my Aputure Spotlight Mount modifier which I use for gobo work. And my gosh it is perfect for my use!
Prior to owning the Flashpoint AD-AB Adapter Ring for the 300 (FYI you will also need the Flashpoint XPLOR 400PRO Bowens Mount Adapter) I had been using the S2 bracket. And prior to the 300 I had been using the 600 remote head WITH a DIY spacer adapter since the bulb was too long and impacted the Aputure’s first lens. No more now! Yes this unit is 1 stop less bright than using a 600 but the convenience and performance outweighs that one stop advantage. Especially since distance or ISO can overcome that 1 stop loss of light.
And for those who are not DIY’s or don’t want the hassle of making the spacing adapter, THIS IS SO YOUR JAM! I won’t be using the screw on attachment except when using it with the Aputure. I find the S2 bracket much more convenient and easy to remove/install. But man for the Aputure Spotlight it’s pure heaven!
One other item I wanted to mention. If you are using heavier modifiers with the 300 and plan to use the OEM included lightstand swivel mount, you may wish to reconsider. Although the included swivel is fine for lightweight modifiers I found that having to overtighten the swivel pivot is not confidence inspiring. The very small knob does not offer a lot of leverage either. Personally I much prefer using the S2 bracket for medium to heavy modifiers.
Update May 7 2020
I ran a test of the 300 Pro’s modeling light today. I placed my Sekonic L-358 light meter 6 feet from the light source of each of the units.
Here are my results with meter set at 1/60 of a second ISO 100 without any reflectors. All modeling lights set at maximum (except for the 200 OEM Fresnel head, no adjustments, just on or off):
- Xplor 600 Pro (100%) f1.8
- Xplor 300 Pro (Setting 10) f1.1
- Xplor 200 with OEM Fresnel Head (No adjustments) Could not register a reading EU
- Xplor 200 with the Round Head attachment (Set at level 3) f1.0
Update May 6 2020
I decided to test the little 300 Pro using two of my favorite modifiers, an Elinchrom 39″ Rotalux Deep Octabox and the Elinchrom 69″ Rotalux Octabox. Both create delicious light and I use them often during publicity work with a focusing rod. I wanted to find out if the 300 has enough oomph to allow me to use it in these modifiers. And guess what? OH YES IT DOES.
The 300 Pro in my 69″ Elinchrom octa
1/8th power first fully focused and then fully flooded.
Elinchrom makes a line of modifiers known as the “Indirect Litemotiv” line that are available in various shapes. The inner fabric is different than the Rotalux line, but the whole “Indirect” concept is facing the strobe inward toward the interior of the modifier akin to a focusing rod system. But it is a fixed system instead of having the ability to focus or flood the modifier. Fstoppers Reviews the Elinchrom Indirect Litemotiv Softboxes covers the advantages of the indirect system.
“All in all, these light shapers are awesome, and I did not want to return them to Elinchrom. The octabank is a beast! I shot quite a number of agency test and portraits with it and loved the result. The light is so soft and flattering; it was almost impossible to get bad lighting out of it….”
The 300 Pro will make my work life even easier than before.
Next the Elinchrom 39″ Deep Octa
First fully focused and then fully flooded.
I’m not going to go into the meter readings I got using both modifiers with the 300 Pro but suffice it to say that I will not hesitate to use it for any studio work with a large modifier. I am considering selling half of my 600s to replace them with the 300 Pros! No remote heads, no cables, no mounting my 600s to the lightstand.
OH and I’ve also posted how well this little 300 works with my Aputure Spotlight Mount!
Update May 5 2020
Further down in this post I have explained why and how I plan to use this strobe. Short story is it has quickly become my favorite strobe. Yes we are all in the horrid COVID-19 situation right now and currently photo gear is the least important aspect in life. But as a working (well currently unemployed) photographer trying to stay sane is easier when I have gear to test. Even better when the gear turns out to be fantastic!
Anyway I wanted to fabricate a cage for the little 300 Pro to use with my focusing rod modifiers. When I purchased the matching Direct Mount 33.4″ octa I had this crazy idea to DIY my own cage using parts from a Direct Mount modifier. So I searched Adorama’s used/return section and found a Direct Mount missing some pieces for 35.00, exactly half the price of the new Direct Mount I had ordered. So I ordered it and was off to the races! Now I’m going to say up front that I really don’t want to outline every step I took to figure out how/what to make the cage. Why? Well for two reasons, first Flashpoint plans to release a Bowens attachment (not the excellent S2 bracket which already exists) that bolts to the 300 Pro. At that point anyone can use the 300 in a Bowens cage for focusing rods. Easy!
Secondly, why did I go through all of the trouble and expense to DIY a Direct Mount Cage in the first place? Primarily it’s because I LOVE the simplicity of the 300 and don’t want to bolt a Bowens mount to it. If I need to use this with a Bowens modifier of any type I will use the excellent S2 bracket made for this thing. And I don’t think many people will know just how valuable this 300 is for focusing rod lovers. No remote head. No monolight attached to the lightstand. Just the little light on the focusing rod. I weighed the 300 with my DIY cage against my 600 Pro remote head and the Bowens cage. Guess what!? The 300 with my DIY cage weighs 4 ozs. less! And of course that does not include the 600 Pro body that must be attached to the lightstand.
I chuckled a bit thinking to myself “Wow if Profoto or Broncolor came out with this compact unit as a focusing rod strobe people would have thought it was a genius move!” Sure some may feel that a paltry 300 measly watt seconds is too low. But consider raising your ISO from 100 to 200 then equals a 600 ws strobe at 100 ISO. Oh yeah and only purists feel that 100 ISO is the ONLY way to shoot publicity? Kinda like thinking only one f stop should ever be used….food for thought.
So I completely disassembled the 25.5″ used Direct Mount I purchased just to get to the cage. Then I cut the mounting pole to size and attached a female to female coupler.
The entire strobe fits on the end of my focusing rod including the power unit and the battery! Incredible.
And yes the quality of light is just as good as any of my other strobes. So here’s the second test I conducted. I wanted to see if the 33.4″ Direct Mount Glow I purchased and modified with a solid disk diffuser would match or come close to my beloved Parabolix 35D modifier. Of course I had to use Bob due to COVID but I’m confident the results with a real human face will be the same. Time will tell once COVID is over….sigh
The setup to compare quality of light from both modifiers on Bob. In both cases the modifiers are NOT pointed directly at Bob, but angled so that the edge closest to the viewer reflects most of the light. It’s my preference.
And here is the comparison image.
So…for my work the quality of light from the Glow with my diffusion disk is more than good enough to take on location for portrait work. Rather than hauling my Parabolix I will be satisfied using the Glow and my little 300 for a good share of traveling portraiture. No it’s not a silver bullet, but for a portable solution for focusing rod quality of light it works for me.
Here’s the begging part….Adorama/Flashpoint/Godox – ANYBODY please make a direct mount cage for the little 300! I almost want to keep the 300 secret to myself for focusing rod strobes! LOL
Flashpoint XPLOR 300 Pro TTL R2 Battery-Powered Monolight
April 27 2020 Original Post Date
I normally do not combine my reviews of items. But this is an exception. For those who follow my blog it’s clear that cameras, strobes, stands, modifiers, etc. are tools to me, not jewels. To date the only piece of photo gear I covet like a child’s favorite teddy bear is my beloved Fuji X100V. I love its performance, how it looks and how it feels in my hands. In short…well I love the thing. As of today I can say that I now have one other favorite piece of kit. The Flashpoint XPLOR 300 Pro TTL R2 Battery-Powered Monolight and for the very same reasons I sighted with the Fuji too!
I like to watch videos by Robert Hall because he’s factual and pretty engaging. His video about the 300 in his typical fashion is chock full of stats and tests. My review is not to repeat his comprehensive tests, but about my own findings of the strobe. It was there as I was watching the video that he mentioned the XPLOR 400 Direct Mount Parabolic where at 17:06 his wife (and it’s so obvious Hall MARRIED UP, WAY UP! LOL) adoringly demonstrated how the Flashpoint XPLOR 400 Direct Mount is put together…kinda.
One of the issues that initially worried me is the strobe does not have an adjustment in its menu system to allow power adjustment increments. The default is 1/10th of a stop each time the adjustment wheel is moved. But thankfully this is overridden using the R2 triggers. My preference is one third stop adjustments which works well with the remote. Just keep in mind that if you are adjusting the power levels on the strobe body your only choice is in one tenth increments.
When I travel via airlines with all of my strobes I remove all the bulbs and batteries in checked luggage. What’s nice about the 300 is the removable reflector which also is the bulb protector (Like the 600 Pro but much smaller) will prevent me from forgetting a cone from my backlighting situations. The 300 is now going to be my defacto backlight strobe! And like my 200s it is small enough to pack in my carry on camera bag.
In the examples below you will see that the ability to angle the modifier (it will also depend on the shape of your modifier) downward allows more of an angle when the swivel mount is used in the horizontal position. I’d estimate it gives me around 5 degrees more of an angle adjustment with this modifier. So for me rather than having to carry an extension I just use the swivel in the horizontal position.
The next series of images is just to test the power of the 300 in full overhead sunlight using HSS and my preferred outdoor/high wind modifier, the CLAR Fresnel lens Mount Pro. In these tests I’m using it in the fully flooded position. (and it was damn windy this day) All images shot with a Canon 1DX Mark II with the 24-70 f2.8 Mark II lens
For what/how I shoot outdoors in full sunlight the 300 is just right for my work. Recycling time is just about 1 second at full power. At a 1/4 power or lower I’m confident I would not miss an expression change shot during a session. Recycle is damn near immediate. About twice as fast as my 200s. (which are not the Pro versions btw) And since I never use TTL I did not test that feature nor do I plan to do so.
I am so impressed with the 300 Pro that I am fabricating a cage to use it as my defacto focusing rod modifier strobe. In those cases where I need more power as when using modifiers over 70″ I will revert to my 600 Pro remote head. But the 300 is so small and emits sufficient power for me to confidently use it with my focusing rods. Bravo for this amazing strobe.
Glow EZ Lock Parabolic Softbox For Flashpoint XPLOR 400 Direct Mount (33.4″ – Silver) – Godox AD-S85
Throughout my career I have searched for what I felt was the optimum portable strobe/modifier combination for my work. I’m NOT a wedding or event photographer so my needs are very different than those professionals. And the modifier/strobe combination I searched for was to be used primarily indoors rather than outdoors. A two light set up that produces excellent quality of light, is very portable and easy to assemble are my criteria. 99.9% of my modifiers use the Bowens mount system, it’s what I prefer. So when I saw the proprietary Flashpoint/Godox mounting system on the 300 Pro I was a bit disappointed. But once I saw the incredibly small diameter of the 33.5″ octa modifier and the fact that the new S2 Glow bracket solves the Bowens issue with the 300 I was sold.
In 85% of my work I use focusing rod modifiers, simply because I along with my clients prefer the quality of light a focusing rod modifier produces. And although I cannot adapt the Direct Mount modifier as a focusing rod system, I found a way to closely replicate the quality of light found in my focusing rod systems. No I cannot focus or flood the light like I can with a true focusing rod, but this is ultra portable and great to use while coming very close to the style of light I prefer.
I used a M8 1.0 pitch dye to thread the end of the modifier’s rod.
The modifier comes with a grid, an outer diffusion panel, two reversible color temperature disks and one inner diffusion disk, which all attach via Velcro to the inner side of the modifier.
And it comes with this little reflector:
I ‘think’ its purpose is the same as the solid disk I use…I have not tried it though, but may…..
The following images illustrate just how small in diameter the modifier is compared to Bowens mount units. Incredible!
For any of you who follow my blog it should be very apparent how impressed I have been with the Saberstrip v2.0 which uses the Godox/Flashpoint 200ws strobe instead of a speed light like their SS v1.0. A few years ago I was very fortunate to test their new prototype and gave them some feedback about the unit. It was very minor and I anxiously awaited the final release. And waited, and waited, and….well you get the picture.
I used the v2.0s during many different sessions, but I found they worked so well for my studio dance imagery they became my defacto lights for dance. You can read about my impressions and experiences in my post about the Saberstrip v2.0.
Recently a visitor to my site made me aware of a similar light modifier by Strobius, their StrobiStrip 100. I also found another modifier the FOTOCREAT 3″×20″(8×50cm) Strip Flash Diffuser Softbox on Amazon. So I purchased one of each to see how they compared to the SSv2.0. Both of those units are designed to be used with speed lights, but since the 200 is close in shape and size to the end of a speed light I figured they’d fit the 200. And they do indeed.
Both the Strobistrip and the Fotocreat are very similar in materials and design. Both use a rip stop translucent fabric as diffusion material, ballistic nylon for the body and silver fabric to reflect light on the interiors. Velcro attaches the tube together as well. The Strobistrip differs as it uses a semi rigid piece of clear plastic to keep the shape of the tube consistent and I imagine more evenly reflects light throughout the tube. Because it breaks down it’s a very clever design.
I’m a firm believer that you never get something for nothing. The SSv2.0 is a remarkable modifier but it is bulky to carry since it is a solid tube. The other two are much smaller when packed down. About the size of a man’s travel bag for his toothbrush, shaving kit, etc. So trading portability for size, I assumed that the light output would not be the same. So I tested all of them.
My Testing Chart of all three Modifiers
As you can see the SSv2.0 has the most consistent and efficient use of the light. The StrobiStrip 100 was less consistent and efficient than the SSv2.0. The FOTOCREAT was all over the place in terms of its light output along the length of the tube. I returned the FOTOCREAT as it is too small for my work and the inconsistent light output along its length made it unattractive for my taste.
In examining the interior of the SSv2.0 he follows the same design as his v1.0 unit. A very cleverly placed piece of ramped reflecting material at the opposite end of the strobe’s socket must increase the light furthest from the source to make it so even.
I also feel that the StrobiStrip’s use of clear plastic to help hold the tube’s shape also adds to the interior’s reflective value helps with its light efficiency and consistency.
One of the most ingenuous design elements of the SSv2.0 is how it mounts the AD200 to the tube. He has developed what I refer to as the ‘tractor tire’ with a 3/8” peg that will fit into any standard light stand socket. The tube rotates around the tractor tire giving me the ability to easily adjust the direction of the diffusion fabric. I’m not talking about your normal x/y adjustment, but the z axis without disturbing the other two axis’s.
I have come to depend on that wonderful design feature. So when I tried to use the Flashpoint eVOLV 200 Round Flash Head attachment on my eVOLV 200 with the StrobiStrip in hopes that it would allow it to smoothly rotate around the strobe I was thrilled! There is enough Velcro to still securely attach the modifier to the strobe, but with the round head, it allows a smooth rotation around the strobe! The OEM Fresnel head does work as well, but the round head is much better to use in rotating the modifier.
In the following two images you can see that I can rotate the modifier around the strobe which is one of the features of the SSv2.0 I fell in love with.
I wanted to determine if the StrobiStrip 100 holds up to high wind as well as my SSv2.0s. Yep they do just fine. The modifier is around 5-11 up in the air on a light stand.
I will keep an eye on the StrobiStrip fabric which is wrinkled when assembled. I doubt it will pose issues in the quality of light. If so I will report back here.
I have used my SSv2.0s so much that one of the tubes has started to split, so I just used gaff tape to repair it. The other one’s diffusion fabric started to fray so I used some superglue on it. IF Saberstrip ever decides to manufacture them I will be first in line. But until or IF they do and I need more tube modifiers I’m glad to have been made aware of the StrobiStrip 100s. I keep mine built and will break them down once COVID19 is over and I have to travel for work again.
If you want to try tube modifiers with an AD200 they are the ones I recommend.
Update: June 5 2020
I wanted to update this post about my choice of half cases for the X100V. Prior to owning the V I owned all other X100s other than the F. In most cases I purchased and used the Gariz line of half cases. I liked the build quality and the convenience of having a built in D ring to attach a strap when needed. But what I found with the one designed for the V is that it was very difficult to remove the SD card due to the depth of the bottom of the case’s base plate. And when I purchased mine from Amazon I paid 140.00. Two weeks after they had it listed for 119.00. Grrrrrr!
I happened upon a YouTube video by Mike Mu where he shows a case for the X100 line I had never seen. It is primarily metal, aluminum to be exact. And with it’s pronounced right hand grip along with a vertical ARCA mount included I was intrigued. I could not find one on Amazon so I ordered one off of AliExpress for $29.99. And then after further research I found another case I prefered and purchased, the JJC Metal Hand Grip L Bracket Holder for Fujifilm X100V for $43.69 with CA tax. Here are the reasons it fits my needs over the others.
Mike’s case does have a vertical ARCA rail on the side, but I didn’t like the idea of having that on my camera even though it can be removed. If I want a portrait orientation for my X100V I would simply rotate my ball head to vertical.
I find the right side grip extender well proportioned and matched to the camera. It fits my hand perfectly.
All in all I highly recommend this case.
May 14 2020
Please note that these initial tests were conducted March 5-7 2020 during the COVID-19 Pandemic. So no human subjects could be photographed at this time.
I have written my impressions of the various versions of the Fuji X100 series of cameras I have owned. I became enchanted by this cute and very capable piece of kit with the first X100. I have reviewed my prior X100s in the following posts:
- Fuji X100 and X100S Review
- Fuji X100S Location Shoot with a single Speed Light
- Fuji X100S in Commercial Use
- Review Fuji TCL X100 Teleconverter
- Canon 1DX with Sigma Art 50 vs. Fuji X100S with TCL X100
Anyway this review is NOT like others which are much more detailed in terms of sensor, button layout, blah blah blah. There are many of those reviews that are much more comprehensive than this one for that information. Here are just a few of those types of reviews:
Nope mine is about why I decided to not upgrade from the T to the F, but opted to buy the new V.
First off I know many folks/reviewers/site talk about what a great street shooter the X100 series is for that purpose. Sure I can see that and have used it for that too, but I honed my craft doing street work with a DSLR. I never found using a large camera as an impediment to that craft. But as I always say; to each their own…
The only version of the X100 series I opted not to purchase was the F version, the one just before the recent V. Why? Well I don’t have an answer for that. When it was released in 2017 I was in the height of my business and felt that my T was fine even though the F had a number of improvements. The largest being bumping up the 16MP sensor to 24 although I’ve never been a MP chaser. The following image is a case in point for those megapixel trolls and chasers…..
So when the V was announced with a tilting screen which sits completely flush to the camera body like the non-tilting versions and the improvement in its already stellar lens I made the plunge. At only a $100 increase in price from when I bought mine? Incredible for a camera like this.
My first test was to try the new V with a small strobe. With the built in ND filter and a leaf shutter overcoming sunlight has never been a problem for me with the X100 series. The V is no exception.
1/2000th f2.0 strobe at 1/8th power level ISO 160 ND filter enabled.
I then assembled a very small strobe kit to photograph my electric bike and headed out to one of my favorite off road areas near my home.
Incredible what a leaf shutter, a small 200ws strobe can do in mid day sun! I decided to go camping just before the State of California closed down all state campgrounds. I was very lucky to be able to camp during the beginning of the COVID-19 pandemic. I was able to test out the X100V for nature shots. I shoot nature to relax from my regular shooting so it was wonderful.
My Choice of Accessories
Leather Half Case – Gariz
Since the beginning I have really appreciated the Gariz line of half cases for the X100 line. I use a sling camera strap that attached to the bottom of the X100 line of cameras. It’s just been my preference and the Gariz line allows me to do that while protecting the bottom of the camera body.
I have always appreciated the quality of the Gariz cases with the built in D ring for my camera strap and a tripod mount where I don’t have to remove the D ring.
Access to both sides of the camera body ports and controls is well done on the Gariz case.
Thumb Grip – Haoge
The X100T on the right uses a LensMate thumb grip I Dremeled to accommodate the button that didn’t exist on the S model for which it was made. I tend to be the frugal type so I didn’t want to spend another 90.00 on a thumb grip….. LOL I had purchased a LensMate thumb grip for the V which is hinged and swivels to make room for your fingers for the shutter speed and backside dial. But I didn’t like it so I went with the Haoge model.The space between the Haoge thumb rest and the speed dial allows enough room for my hands to change the shutter speed setting. But if you have very large fingers that may not be the case for you.
And this grip allows plenty of space for my fingers between the thumb grip and the rear dial. The LensMate blocks the dial until you swivel it out of the way. For me that was a hassle, but everyone is different.
I added a few things to the Haoge thumb grip. Some 3M Grip tape to the thumb rest and some high density black foam tape to keep the thumb rest secure and safe on the hot shoe along with some cushion for the camera body. The thumb grip combined with the new Gariz finger grip addition on the half case make the camera feel very secure in one hand for me.
On my prior X100s I have used a traditional lens hood. But when I came across the Ultra Thin model I was hooked. I call it “The Uncircumsized Lens Hood Look!” LOL For me it’s a lower profile which make the camera thinner to carry and does not interfere with the built in flash unit. I combined it with the Haoge 49mm Ultra Slim MC UV Protection Multicoated Ultraviolet Lens. I’m happy!
Cable Release JJC Cable Wired Shutter Release Remote Control
Prior to the X100V I have used traditional cable releases for my other X100s. But this time I decided to purchase a plug in cable release. No batteries, just plug it in. The aspect of the cable releases I didn’t appreciate is it would turn my camera on or off when I was screwing it into the shutter button.
I had purchased the 50mm teleconverter for my X100S but found I hardly used it. And with the new V model as long as you are not in RAW format it has a built in 50mm and 70mm extender! Yep all you have to do is enable that feature and rotate the focusing dial BEFORE FOCUSING and the camera switches to 50 or 70mm! There’s so much I love about this new rig and what Fuji has done to continue to improve the camera. My very lucky gf inherited my X100T and boy is she ever happy. She has lusted after the X100 series but never brought herself to buy one. And just like me she tends to hold it way more than we do with our work cameras which are way more expensive! LOL
Once COVID-19 is over I will update this post with human images. I love this little camera. It’s the one I’ll grab if my house is on fire and it’s my least expensive camera, that’s how much I love it. Go figure!
Update June 5 2020
I have found an alternative to the SSv2.0 which you can view here.
November 27 2019
I am very sad to report that I can no longer recommend the SaberStrip v2.0. I have attempted to contact Scott the owner of SaberStrip to no avail. Not even a peep. My feeling is ignoring an email or Instagram message is not acceptable or polite. A visitor to this site had written to me since he had ordered a v1.0 SS and never heard back…until he asked for a refund. That was promptly answered.
Sad since it’s a great modifier, but when something cannot be purchased it becomes vaporware. When I find an alternative I will post it to my blog.
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.
Anyone who follows my site knows that I am a commercial performance and publicity photographer. Every one of my clients have gone dark since they are live theatre and dance companies. I know many feel that just social distancing the audience may give some hope to places like performance or music theaters. But what most people don’t consider is how do actors on stage maintain a six foot distance from one another? Or how do read throughs happen? Or dance coupling? Or…..a multitude of other tasks that go into live theatre?
I miss the collaboration and creativity of publicity photography as well as live production work. Being unemployed for the remainder of 2020 is my new reality. So after lamenting my situation and revising my spreadsheets over and over I decided to say fuck it. It became time to create without humans, in total isolation which is something for which I am not accustom. I always ask my clients what the story and mood is for the shoot they want me to create. So I decided to ask myself the very same questions.
- Story: COVID-19 – the airborne virus
- Mood: make beauty out of a shitty situation
So I decided that since the COVID-19 virus is primarily transmitted airborne smoke would represent the virus… I had to plan out how to acheive the images I wanted to create so I began fabricating ‘light modifiers’ that I’d need.
I then turned my garage into my studio….
And began to create….
This gallery are the images I created during the COVID-19 week of May 16-24 2020. Working with smoke or any organic/chaotic material takes much patience and planning. Forming shapes with air currents and moisture is the way I found which worked best for me. All but one of the images is a composite, the one of five different figures. The rest were created in camera which is my personal preference since I’m so shitty with Photoshop! LOL
Creating again put me into a much more balanced frame of mind. I highly suggest it for photographers who are out of work. For me it is a life saver. Be Safe. Be Kind. Remain Healthy.
Updated May 15 2020
RinseKit warranty service responded to me once I filled out their warranty page and asked me to disassemble the unit and send them photos or a video. It’s very easy to do; remove the two plugs and the instruction plastic top to reveal the tank. Upon doing so I filled the tank and was able to see that the seam near the outlet ruptured causing a leak. I am awaiting their response, but they had stated that it would be replaced. More soon….
Updated May 2 2020
I use my RinseKit + all the time due to COVID19. Today as I was refilling it as I always have from my garden hose I heard a sound and rather than the unit simply stopping the sound of the flow of water, the water rose above the inner top cover where the instructions are printed. I have written to RinseKit about this issue and will post what I find once I hear back. I’m so use to using this to keep myself and family safe that I’m upset that it malfunctioned. Stay tuned.
Update April 4 2020
I wanted to update this post to cover why experts continue to place hand washing with soap and water AS THE MOST EFFECTIVE way to prevent the spread of COVID-19. Like toilet paper (and who TF knows why people hoard that shit) hand sanitizer and wipes are hard to find because people hoard those too. I will continue to recommend and tell my friends and family that hand washing is the best possible thing to do.
- How soap absolutely annihilates the coronavirus
- Contained in the link above is THE BEST explanation I’ve EVER seen (even for someone as dumb as me!) about why/how hand washing with SOAP is so effective! Thank you for this!!!
“Soap doesn’t really fail easily,” Thordarson says. It doesn’t really matter the formulation of soap, either. You don’t need “antibacterial soap” — which the Food and Drug Administration advises to skip altogether due to a lack of evidence of its usefulness. And you don’t need a super-harsh detergent like you’d put in your dishwasher or laundry machine. Simple soap works fine. “As long as you give it a little bit of time, it will do its job.”
- Crime-scene cleaner CEO: This is the biggest mistake people make when it comes to coronavirus cleaning
“Lastly, echoing health officials, McCallum says the best thing you can do to prevent the spread is by washing your hands thoroughly and consistently.”
And instead of buying liquid soap I use this recipe to make my own. I have saved those irritating little bits of bar soap for a long time. (my parents grew up during the Great Depression) But you can simply use a new full bar too.
Stay healthy. Stay mindful. Stay kind. Be considerate.
Update April 2 2020
The company RinseKit recently placed my post on their Media page. I really hope this helps others.
In the fall of 2019 my home water heater malfunctioned. I have personally replaced and installed more water heaters than I care to remember. But in this case it was under warranty. So since the part had to be ordered and would take 10 days I had no home hot water. I have a camping hot water heater that is basically a large metal sprayer which is heated with a one pound propane tank. Fine for camping and I used it to take a hot shower at home while I waited for the repair.
So I decided to start researching alternatives to my camping water heater and found the RinseKit that was invented by a surfer. Like all surfers who take off their wetsuits and want to rinse off their bodies he invented something better than a one gallon jug to hold over your head. His site can tell you all about how it works.
Being a Boy Scout I decided to purchase his medium size unit along with accessories like the electric heater, air pump and other various bits that came with the accessory kit. Of course the most important one to me was the heating rod. And I will say it does not work that well. It takes forever to heat cold water, but works well if I fill my unit with warm water and use it to just keep the water warm.
With the current COVID-19 pandemic I had developed an inexpensive and, according to the CDC and WHO a more effective method of keeping viruses off of my hands other than wipes and sprays. Which are tough to find as well as expensive due to hoarding.
So I decided to replace my homemade hand washing kit in our primary car with my RinseKit outfitted with soap, a small spray bottle of isopropyl alcohol, two micro fiber towels, two pairs of nitrite gloves and two hospital vomit bags. The whole kit is kept in the trunk of the car.
So here’s my protocol:
- After I go shopping for food I open the back of the car
- I then place my groceries in the trunk
- Open the RinseKit
- Take out the squeeze bottle of soap and alcohol spray
- Use the sprayer to wet my hands
- Squeeze soap into my hands and wash them per the CDC guidelines
- Rinse off my hands with the RinseKit
- Dry them with a microfiber towel
- Use the little sprayer with alcohol to spray the RinseKit spray handle, the latch and the soap squeeze bottle and the car’s rear latch
- Place the used towel into one of the vomit bags
My feeling is now when I open my car door, use the buttons, the steering wheel, etc. I’m not transferring potential viruses to those surfaces. Plus I am now using my RinseKit more often than before. Believe me though I’m looking forward to the day I can hug my friends without worrying or using the kit.
Stay healthy and I hope this helps others who may own one.
Update May 7 2020
For my work I have found the optimum strobe for my Parabolix 35D. The XPLOR (or Godox) 300 Pro.
UPDATE December 9 2019
The Parabolix 35D’s quality of light combined with its focusing ability is just superb. I use the optional grid system when I want to control the light spread when using another gobo instrument.
UPDATE September 20 2019
I recently utilized this very capable modifier during a dance session along with an impromptu portrait. As I’ve mentioned before the modifier is well built and most important produces excellent quality of light. I tend to not use it as much as before simply because I have fabricated my own focusing rod that accepts any Bowens modifier. And btw for those who wish to spend time arguing about whether this or that modifier is ‘truly a parabola’ be my guest. My test of light is how it performs for me in actual shoots, not in theory.
But like all of my tools, when the Parabolix is the right tool for the right job I never hesitate to utilize it.
UPDATE January 10 2018
I recently used the 35D during a publicity shoot for a symphony. The amount of control focusing rod modifiers offer is incredible. Not to mention the goddess light it produces.
UPDATE December 24 2017
How one of my clients used a publicity image created while using a Parabolix 35D.
UPDATE September 10 2017
I recently posted an article on my use of all Godox units in one session. The article includes the use of this product. You can view that post here.
UPDATED September 8 2017
My client, the 5th Avenue Theatre in Seattle, WA released the images created using the Parabolix 35D six weeks early. You can see some of these and other shots from this day in Broadway World. I used four lights using the Parabolix as key for most of the images below:
Please note that for all of the images below I have NOT done any post processing other than bringing the files into Lightroom to adjust color balance, lens correction. If you look closely you can see the gaff tape marks on the seamless which have not yet been removed for final press images.
The following images were shot with three lights. The client wanted an old school “Hollywood Glamour” look for these shots in BW. High contrast was achieved by using the 35D in its fully focused mode. The drapes were lit using eVOLV 200s using a Fresnel head.
UPDATED September 3 2017
You can view my recent dance session where I used the 35D for many of the shots to produce dramatic shadows and light.
UPDATED August 20 2017
Yesterday I conducted a test of the Parabolix 35D with focusing arm. I asked Cheyenne to be the talent since she’s so darn lovely to work with! Now if you are looking for a ‘side by side’ comparison with other modifiers using split screens, etc. quit reading and save yourself some time. I am NOT a review site. I don’t value pseudo scientific or theoretical physics. Photography is not an exact science it’s all subjective. Those who never post any actual images or a body of work have zero credibility to me. And if they do have a body of work I get to judge for myself if the quality of that work is high. If so then their opinion is of value to me. So for you photography trolls who never post shit other than H8R comments, save yourself the having to be right mentality and bail now.
I seldom if EVER use one single light. So I didn’t test the Parabolix 35D that way. Sure it may produce the thing you want to see, but again since I’m NOT a review site, but a working shooter I needed to see how it performs in my situations. In the tests I ran yesterday I want to see how the 35D compares to my CononMark 120, and my Westcott Zeppelin 59 which I use as inverted octas and have for the past year. Yep they’re all different sizes, the 35D is, well 35″, the CononMark 120 is 47″ and the Zep is 59″. I didn’t want to purchase an equivalent size to what I already have. (Yet I do have a Zep 47″….!)
I used my 59″ Zep with the inner diffusion panel only with an xPLOR600 powering their handheld remote head. As you can see in the image above I had it on a boom pointing straight down over Cheyenne. Keep in mind that the BTS shot of my BTS shoot was not necessarily where she was actually standing for the shots below. I took the shot above JUST TO GIVE YOU an idea of my configuration.
All images were shot with my Pentax 645Z. And if you look closely you will see the old USB receivers plugged into the xPLOR600s. Why? Because I just discovered how to achieve HSS with my Pentax whose native sync speed is only 1/125th of a second. Using a Cactus v6II trigger combined with the old FT-16 transmitter did the trick. If interested, I’ve written how to do it here. Most of the shots were at a shutter speed of either 1/200th or 1/250th.
Below each photograph I’ve said whether I used the Parabolix is its ‘flooded’ or ‘focused’ position. If you don’t know, flooded means the strobe head is pushed all the way out toward the front of the modifier. Focused means it’s pulled all the way into the modifier. Flooded gives you a much softer look, focused is way more contrasty. You should also know that no matter what modifier you use be it a Zeppelin, CononMark, Parabolix or other brand, you must adjust your power settings when you flood or focus the light.
The other aspect of the photos below is they have NOT been retouched, edited to final, blah blah blah. Why? Well for two reasons. Cheyenne is confident enough to allow images of her unretouched and second it is my preference to illustrate light tests. When I see ‘final test shots’ that have gone through loads of post processing I cannot actually tell how the light performs for my taste. I don’t want to see plastic skin, dodged and burnt images. I want to see how the shot came out of cam. So these were brought into Lightroom, adjusted for color and that’s it. No blemishes were removed (like she has any anyway!), no skin smoothing. None of that shit for my tests.
So my final impression of the Parabolix 35D? I like it. Do I plan to replace all of my other modifiers with them? Uh no, here’s why…
I love the construction of the unit, it’s high quality. The fabrics are spot on and the focusing rod is just as nice as the Bron Para I rented last year. Is it 2.6 times better than my CononMark 120? Not sure really. Will I keep it? Yes as I don’t have a 35″ inverse, but WILL test it against my favorite Elinchrom Rotalux Deep Octa later this month. Prior to using xPLOR/Godox strobes I was a very loyal user of Paul’s Einsteins. For me they presented the best value/performance of any brand of light. But I ended up switching ALL of my strobes over to the xPLOR/Godox brand. The amount of innovation and features they present sadly eclipsed Paul’s units after his passing. It’s no secret that I’ve always felt he was a genius and I sorely miss his innovation in lighting along with his quirky nature as a person.
But unlike my move from exclusively Einstein’s to exclusively xPLORs, I will most likely NOT make the move from CononMark/Zeppelins/Elinchroms to exclusively Parabolix. I know there are those who may feel/’prove’/argue/compare that the Parabolix is THAT MUCH BETTER and good for them. Time will tell me how much I like the modifier. I may change my mind after a year or so. Every person is different in what they look for. I tend to eat at hole in the wall places owned by families whose food is out of this world. But then again that’s just my opinion and taste. I will occasionally venture into a Michael Mina restaurant recommended by those who love the name and rave about the food. But that’s just not my thing. As long as my clients and I are thrilled with my work, that’s really all that matters to me. I’m certainly NOT dissing the Parabolix at all. It’s a fine modifier. It’s up to each person to decide for themselves. What I would recommend is to wait until a rental house has some to rent. Rent one, try it out and then decide if it’s right for yours/your client’s taste and budget.
Today I received my Parabolix 35D ‘kit’ which means I purchased their package which includes their focusing arm and strobe cage. I will be testing the light this Saturday with a model to ascertain if I plan to add this to my toolbox of modifiers. I will initially say that the construction of the unit is excellent. The 16 rods are much like those in the CononMark and Elinchrom Rotalux Deep Octa that I own. The rods are captured in the speed ring and pivot and held in place with sprung collars.
The fabric of the exterior is similar to very heavy canvas, the type I was accustomed to handling while sailing. Heavy and well made. The interior texture is much like my Elinchrom which is a pebbled texture. Once I am able to actually use this modifier I will update this post.
One of the things I noticed right away is the light pattern of the modifier when the modeling light is on. Unlike my other modifiers which include Zeppelins, Elinchroms, CononMarks and Glowpops the Parabolix fills more evenly than the others. Now the real test of the light will happen this Saturday when in actual use, but this is interesting.
The bag that is supplied with the modifier is made of the same sturdy fabric as the modifier itself. It seems very abrasion resistant which is something I appreciate given how much I transport gear on airlines. I was worried that I would not be able to fit the modifier, focusing rod and strobe cage into the bag, but they all fit. I can even fit the grid I received with the modifier into the bag as well. The bag includes an attached adjustable shoulder strap.
Check out my post about the Flashpoint 300 Pro and the screw on Bowens adapter. It makes the pairing something that was made in heaven!
Update May 6 2020
I’ve just tested the new Flashpoint 300 Pro and in addition to the MANY advantages I see in the product it is perfect for use in my Aputure Spotlight. Why? Well the bulb and forthcoming Bowens mount attachment allows it to fit into the Spotlight without any adapter! You can read more about my impressions of this incredible little light here.
Update January 13 2020
I am now testing a LED/Strobe combination that attaches natively to the Aputure Spotlight without an DIY adapter.
Update December 8 2019
I was able to use the Aputure instrument during a publicity image session for Little Shop of Horrors adding a green gel to the light.
Updated November 18 2019
Unless I come across a different way to use this instrument other than what I’ve posted to date this will be my last entry. I will simply say that it is a remarkable device especially considering its price point. The ability to change lenses is really useful for my work.
Updated October 22 2019
I wanted to update this post to say how pleased I have been with the Spotlight. In most cases I am shooting in confined spaces where a narrow beam makes the use of a gobo light impractical. I recently shot a dance session and due to the 36 degree lens on the Spotlight I was easily able to use the lighting instrument. The funny part is the dancers and teacher wanted to know“What Mark is going to do with that bazooka thing?!” LOL it does kinda look like a bazooka! But once they saw the images appear on the tethered iPad everyone wanted to be lit with the device.
In the images that follow the key light was the Aputure Spotlight with an industrial window gobo. But I also added an overhead light, my beloved Saberstrip v2.0 to add fill light to the shadows. Without the fill areas in the dark portion of the gobo were almost completely black.
The Aputure Spotlight’s construction, switchable lenses and lack of fringing make this instrument extremely valuable for my work.
Updated October 12 2019
I have had the opportunity to test this instrument before placing it into my workflow. It performed flawlessly and with the 36 degree lens I am able to keep the device in close proximity to the area I am illuminating with a gobo. This is especially valuable for me since I seldom have a large distance between where I need the light to appear and where I can place the device. Well worth the money for this type of quality and versatility.
Original Post September 26 2019
This initial post is about my findings of the physical characteristics of the unit, not its actual use at this point in time. For anyone who has followed my blog it’s pretty apparent that I like to use gobos to create shots when it’s the right tool for the right job.
I’ve gone through all sorts of iterations to fabricate, modify, adapt modifier tools that aren’t really meant for still strobe photography. The Aputure Spotlight Mount Set is really no exception. I was very excited about purchasing the unit for these reasons:
- Native Bowens mount
- A choice of three lenses of different focal lengths
- It uses B sized gobos
- An optional adjustable iris
- A nice padded case
- The unit is made for the Aputure LED constant light film industry, but I ‘thought’ it would be a plug and play affair since it uses the Bowens attachment system. More on that later. I’ve used my converted Leko spotlight enough to know that in cramped spaces a wider lens would be optimum. So I ordered the 36 degree lens and if I need tighter focal lengths they are available for around 259.00.
- B sized gobos are the standard in most theatres. So I can borrow some if needed. My other now discontinued Bowens projector uses smaller M sized gobos.
- Aputure makes a very cool optional adjustable iris for the unit which I purchased. I plan to use this for upcoming sessions. I’ve never had an adjustable iris option on a spot projector.
- Although the case that comes with the unit is not ATA rated, it is well done and protective.
And last but certainly not least is the Leko stage follow spot I converted cannot be replaced. So if it’s stolen or more likely lost during airline transport I’d be sunk.
OK so let’s start off with why the unit is NOT plug and play for my Flashpoint or Godox strobes. I could not see in any of the online photos or specifications the distance between the Bowens mount and the first lens in the unit. (there are two) Using any of my Flashpoint or Godox strobes inserted into the unit cause the bulb to foul against the first lens…no bueno! So I had to fabricate (what else is new in my world LOL) a female to male Bowens adapter. Now any of my lights, the 600s the 600 Pro, the 200s the 200s with the circular head all fit! YAY!!!
I found a much easier way to fabricate a Bowens male/female extender. Here is what I use:
- Flashpoint XPLOR 600 Protection Cover
- NICEFOTO SN-10 Interchangeable Mount Mini Mount to Bowens Mount
I cut the Protection cover about 1/75 inches from the Bowens male flange. (Cutting off the top of the cover) I then slide the open end into the Nicefoto mount and screw it down. All done for $18.00 USD!
Below I am showing how versatile the unit is in using ANY of my Godox/Flashpoint strobes:
Flashpoint eVOLV Dual Power Twin Head with Bowens Mount. Two 200s with two bulbs.
So far I am VERY impressed with the build quality and optics of the system. I have no doubt it will work very well in my work. As I use it I will continue to update this post. Aputure if you’re reading this, making a strobe adapter will make us still photo guys very happy and my increase your market too!
I am always a bit suspicious of FW:Re emails. Why? well the lion’s share of them tend to come to me from old people. People who are not motivated enough to send their thoughts about why they’ve forwarded the article to me. Aunts, uncles, grandparents, you know who you are. Not that their intents aren’t warm, but most FW:Re emails be they funny or serious or somewhere in between seldom strike me as interesting. A friend who has just suffered a personal tragedy sent me a FW:Re article titled “Prepare for the Ultimate Gaslighting* – Julio Vincent Gambuto – Medium.
So I started to read it because the title was interesting. And the more I read, the more it resonated with me. During the COVID-19 crisis I have often asked myself what the world will look like after it’s all over, as if it will ever really be all over. Julio’s article brings up some very poignant concepts:
“What the crisis has given us is a once-in-a-lifetime chance to see ourselves and our country in the plainest of views. At no other time, ever in our lives, have we gotten the opportunity to see what would happen if the world simply stopped. Here it is. We’re in it. Stores are closed. Restaurants are empty. Streets and six-lane highways are barren. Even the planet itself is rattling less (true story). And because it is rarer than rare, it has brought to light all of the beautiful and painful truths of how we live. And that feels weird. Really weird. Because it has… never… happened… before. If we want to create a better country and a better world for our kids, and if we want to make sure we are even sustainable as a nation and as a democracy, we have to pay attention to how we feel right now. I cannot speak for you, but I imagine you feel like I do: devastated, depressed, and heartbroken.”
Sure the “I Love Me” cell phone cameras are still going strong. But as he states we have been forced to stand still. Much like being forced to reflect on our day, our life, our choices late at night, this is a point in time we have a choice to reflect; or not. As a child I recall watching the 1951 movie The Day the Earth Stood Still. I marveled at the concept, even as a child.
A once in a lifetime event is not something I will waste focusing on just myself.
The news about the new coronavirus or COVID-19 constantly surrounds us, permeates our thoughts and constantly and insidiously encourages us to fear. Fear human contact, fear human interaction, fear our normal lives.
Because I photograph the arts – theatre, dance and music, my entire world along with those who I know and cherish has been disrupted like no other time in my memory. The 1963 Kennedy assassination, the AIDS discovery in 1983, the 1989 Loma Prieta earthquake or September 11 2001 attack.
Businesses were disrupted during those times and rightfully so. But what makes the current climate so different is the fear proliferating in society. Social media as we know it today did not exist in those times. Hoarding of toilet paper or other non-essential items illustrates to me an aspect of humanity for which I’m ashamed. Certainly with any new and unknown virus governments are wise to use an abundance of caution to ensure society is safe. But not to instill fear. Human nature fears all that is unknown.
When society allows fear to supersede all other factors, events like what happened to my own parents and relatives occurs. Place all Japanese American citizens into prison camps (what they termed ‘internment camps’ a bullshit whitewashed name) because of the fear we were all spies and plotting against the United States. FEAR
Today it’s about people avoiding and in some instances being outright hostile to Asians simply because the epidemic began in Wuhan China. FEAR, FEAR and more FEAR can make a nation not only fearful and in the case of COVID-19 isolated. Unlike the prior crises where humans could gather to support, or entertain and soften the blow of a tragedy, the coronavirus and resulting laws prevent those important healing events to occur. Today the answer to ‘stay safe’ is doing all things electronically, something I believe we did too much of even before coronavirus with our “I love me” cell phones.
I believe that precautions should be taken – hand washing (good grief your mother should have taught you that anyway!), sanitation of public places observed, as well as not going to work if you’re ill or suspect you are. But unlike the AIDS epidemic in 1983 which almost certainly meant an ugly and painful death, COVID-19 does not mean the same. Not even close as outlined by a 42 year old woman who got and recovered from the coronavirus.
So as all theatres were ordered to close their doors due to government regulations – Dan, my local client and close friend who is the Artistic Director for the theatre in my hometown let me know that his current show, “Laughter on the 23rd Floor” was closing before opening night, the night we had planned on attending the show. As he spoke his voice began to crack and his sadness was palpable through the phone.
After ending the call my partner Tracy said “I’d like to do something for Dan. I can’t donate money to the theatre (we are out of work as a result of all theatres closing), but we can do something else. Let’s film the performance. That way the cast can have all they’ve worked for on film.” So we got in contact with Dan and presented the idea. At first he was unsure of attempting to put on the performance since he had just notified the cast and crew that Opening Night was cancelled as well as the entire run of the show.
After contacting everyone he let us know that it was a go for Opening Night filming. Tracy then mentioned that we would need an audience to have authenticity in the film with laughter and applause. So Dan then contacted friends and family being careful to keep within the limits of what the government set about limiting public gatherings to 100 or less. As people gathered into the theatre and the cast and crew began their performance I had an epiphany. I have and still work with many levels of theatres. Some are professional pre-Broadway shops and some community theatres. As tends to be human nature some pre-Broadway company staff members tend to be a bit snooty when referring to other theatres as ‘a community theatre’ the insinuation being a lower level of performance and professionalism. Lower budgets, less skilled talent, blah blah blah. Lower budgets yes, less skilled is like saying all Japanese fellas are quiet and docile….then you have not met me in person!
My epiphany was realizing that my hometown community theatre put aside fear and allowed us to interact as humans, as common souls. Unlike 9/11, the 89 Quake, the recent Camp Fires where humans support one another by gathering, sharing feelings with eye to eye contact and yes EVEN HUGS, the fear of coronavirus has prevented it. NO ONE at the theatre showed any reticence in exchanging hugs with one another. As a matter of fact, even though theatre folks hug all the time, the ones I gave and received last night were more tight and embraces seemed longer than usual as if we all know that we must band together to endure this crisis. I was never more proud of my community theatre and what it represents in my own life as well as the lives of so many others.
I’m NOT naïve enough to think that a small gathering is going to solve everything. Almost everyone in the theatre last night is out of work. Meaning OUT OF WORK, no paid time off, no paid by employer health benefits, etc. That includes me and my partner. The coronavirus crisis has affected everyone, domestically and internationally. But what I learned last night and will forever cherish is this: Human contact, human face to face interaction conquers fear, the true virus of humanity.
Berry Hoo Cell Phone Wallet
I am sometimes (often) reeled in by Instagram ads. Shame on me. To be fair though I have had great luck with many and about a handful where I was disappointed. This is a case of the latter. I had ordered the cell phone holster and never heard a thing for about a month. Then I left a message on their Instagram account and guess what?! Immediate response. I filed a complaint with PayPal over the issue. Granted 31.00 is not a ton of money, but it was the principle of the matter.
The ‘owner’ then wrote to me, his email name is Juli Chic from Berry Hoo. He was very pleasant in his email to me and explained that my holster was shipped and requested I be patient about its arrival. I wrote back to state that unless the item was delivered by the time PayPal allowed me to escalate the case I would take the matter further with them.
On March 9, 2020 I received the leather holster in the mail. The leather is of a nice quality as is the stitching. But the design of the holster is such that if I cinch my belt down enough to hold my pants up (the purpose of a belt right?) it’s impossible to remove or insert my Samsung S10+ into the holster.
My S10+ between my current holster and the Berry Hoo one
The leather is a nice quality but very thin which may be the issue that causes the problem.
Seems fine when the phone is NOT on my belt.
I’m happy to report that the item arrived. I’m sorry that it took filing a claim with PayPal and bitching on Instagram about it. More sorry that the design prevents its usage. Lesson learned.
Here are the two website which seem to sell the same items:
And here is their current Instagram Ad
If you are at all familiar with my photography blog you know that I have stated I primarily use my camera NOT for photography, but to meet people. I know many of you are thinking “Uh right Mark, I’m calling bullshit” and I wouldn’t blame you. LOL But it’s really true and this story is a prime example.
During a preseason publicity shoot for one of my clients, I met Ciera who was one of their most important BTS employees. But she was perfect for publicity shots as Eliza Doolittle in My Fair Lady. So I shot her for that publicity session and over time we became friends.
Then a few years later she called to ask me if I along with my partner would consider photographing her wedding. Now mind you I hate shooting weddings and often refuse, but a number of theatre and dance people I’ve worked with had asked, or rather convinced me to shoot their nuptials. In this case we agreed.
At Ciera’s wedding I got to meet her husband Nick. And just like me he’s a Japanese American! Imagine another JA hooked up to a white woman! LOL!!!! White fellas with Asian women are common, but the other way around not so much! I got to meet Nick’s family and his father who jokingly said “Mark you’re not the typical JA!” Hahahahaha. No I’m not….
And I also got to meet Ciera’s brother Roger who just earned his wings in the US Navy as an aviator! He and I chatted some about the intersection in life we share. My uncle Harvey Kitaoka was the very first Japanese American Naval Aviator. He flew in the Korean War and had over 100 aircraft carrier landings and became part of the elite Century Club. In addition to that he was highly decorated as a USN Aviator.
Many years later my cousin and I have been assembling our family’s history in photographs and stories. He sent me some of my uncle’s naval memorabilia including his patches and certificates. I decided to send photos of them to Roger to ask him some questions we had that he might know the answers to.
And guess what! He knew all about the history of my uncle’s squadron and that squadron is literally right across from his own! Sure it’s information we could have researched, but having someone who is actually a current Naval Aviator is just so cool! Thanks so much Roger!
So yes I photograph to meet people. It’s just a side benefit that I can pay my bills by doing so!
Hi, if you’ve stopped by to read about my latest blog post regarding a specific piece of gear, it’s best to keep moving along. Nope, this post is about all that went into a recent publicity shoot I just completed. A big part of the job is developing the look and feel for a campaign. After viewing some of Annie Leibovitz’s work, my partner and I felt using painted drops for a number of the sessions would create the feeling we wanted. After investigating the cost of hand painted drops she discovered that good ones range anywhere between $1000 to $1800 dollars for a 12×12 foot size. So..
We went to our local theatrical supply store where she purchased the fabric and then it was onto the paint store. In total, two 12x12s, three 8×6 foot drops including the paint and tools came to just over 500 bucks. She plans to use the smaller drops for her headshot business too.
We spoke to our client about the concepts and he generously allowed us to use the theatre’s Green Room to paint the drops. We needed space, but just as important a wood floor where the canvases could be stapled to the floor. His Green Room had both. Once done we showed him the mood board we assembled for the concept and it was at that point all of us became very excited. Since it is the theatre’s 80th anniversary season, he wanted something special. So we presented the following concepts for the imagery:
We also presented the idea of including behind the scenes shots of the sessions. EVERYONE including myself loves BTS imagery and film. I still get goosebumps thinking about Game of Thrones BTS film of Beyond the Wall. The client immediately approved the concept so we were off to the races. Logistics is one of the most tedious aspects of any shoot. Scheduling talent, securing the venue, preparing wardrobe, makeup, props is just part of a shoot. I’m consulted on the type of wardrobe, colors, etc. which has nothing to do with the camera or lighting gear I’m using…but…
The type of lighting instruments I plan to use really does depend on the mood, the costumes and the setting for each session. I know so many forum trolls like to pretend they are skilled in light when they argue about if a modifier is a true parabola or not. Go right ahead and argue about it, but for me and most importantly my clients, how something looks and feels is what matters. And will the imagery evoke enough emotion to initiate a sale, that’s the REAL question.
All of my publicity imagery is shot with my Pentax 645Z medium format. I do this for two reasons; first there is a feeling of medium format that I just cannot recreate with 35mm. Second clients often use the files for billboards, bus banner, etc. so file size can be a concern. In addition all strobes are Flashpoint 600s or 200s. Modifiers….well that’s a different story.
Sure I use focusing rod modifiers most of the time, but when those are not the right tools for the job at hand I often improvise. Like using a Cheetahstand Lantern with a cut up cheap umbrella fabric as a drape held with wooden clothespins to control spill. Or a 1965 Mole Richardson 412 Fresnel spotlight converted into a strobe. Some of my gear is used like the OEM intended yet with other modifier instruments; well I’ve just adapted them to my needs.
My whole point of this post is to highlight creativity, planning and imagination in developing imagery. Do what is right for you or for you and your client. Don’t be afraid to try things that work for you. Stay away from the naysayers, how many times have you seen their body of work beyond shitty ‘test shots’ anyway? Crickets? Exactly my point!
February 15 2020
My photography partner and I have been creating hand painted backdrops for ourselves. So it was a perfect time to use the incredibly bright constant LED light and then do a quick test of the strobe feature to see how the backdrop looks in an actual photo.
The lighting in the room where the backdrops were painted is awful! So having the FV150 turned up to 100% and modified through a lantern softbox was perfect!
This is the scene before using the FV150 during the daytime with the door and windows open.
Here are some quick test shots of actors and the director who just happened to be working in the theatre that day. So during a break I grabbed them for some quick shots using the strobe feature of the FV150. The modifier I used was a Glow 41″ EZ Lock Deep Umbrella. I just grabbed what was convenient before heading over to do the job. Pentax 645Z with my 45-85mm f4.5 lens.
Again the FV150’s strobe feature does not rival a normal bulb strobe. BUT the possibilities of its uses are endless and I have yet to even scratch the surface of what I can do creatively with this light. Stay tuned.
January 27 2020
Today I was able to test the FV150 on a human! LOL
Jenn was here for a headshot and I talked her into indulging me with a test of the FV in both LED and strobe mode. I used the CLAR Slim 10″ Round Bi-Color LED as a hair rim light. Key light modifier was my Parabolix 35D with the FV150 in mid focused position. Modifier was camera right 4 feet from Jenn pointed completely away from her face. This is my normal configuration when using that modifier. Camera is my Pentax 645Z.
So this was a two light shot test of constant lights. I’m NOT accustomed to using constant lights and for a time it felt a bit like well, cheating. WYSIWYG
I’m just about ready to put the FV150 into production after one more test. It’s a remarkable tool for the right job.
January 21 2020
I wanted to test several more aspects of this light. First if I can effectively use it in my focusing rod modifiers. Second to test the use of my Aputure Spotlight for gobos with the flash feature and then with the constant light feature.
Here is my initial setup. I am using the Chopstick Reflective Focusing System MKII. I have found this to be the best general focusing rod for my use. Versatile, well made and very sturdy. At 160.00 USD a very good value. For all of the following images I used one of my favorite modifiers, an Elinchrom 39″ Rotalux Deep Octabox which I use with and without the focusing rod.
Camera is the Pentax 645Z using a 45-85mm f4.5 lens.
This first shot is when the FV150 is full flooded in the modifier
The FV150 in strobe mode projects the same quality of light characteristic as my bulb strobes with a focusing rod.
Next was using my Aputure Spotlight with the FV150 alone without my Saberstrip v2.0 turned on for fill.
Set up for the strip of light shot.
Testing various gobos with the Aputure Spotlight and the FV150 set to full power in strobe mode.
Next I wanted to test using the FV150 as a strobe and compare it to using the LED constant light mode through a gobo and the Aputure.
So as I go about this and more testing I’m finding that like all things you don’t get something for nothing. I have been using battery powered and remote head conversion strobes for the past three years. Moving back to an AC only plug in system seems to be a bit of a pain. BUT the versatility of combining a powerful constant light AND a usable strobe in one light takes the sting out of an AC only light. I’d only tend to use this in studio, not because of the AC only aspect since I can use a generator or inverter out in the field. Nope it’s because the strobe is not strong enough to overpower the sun. At least in my view at this point even though I have not tested it in full sun.
One of my lighting mentors has been using constant LED lights outdoors so I will try this as well. One thing is so apparent to me right now; LED lights are the future of lighting, at least to me.
January 17 2020
Seriously?! OK so I just had to test HSS with my Canon 1DXII shooting 14 frames per second just to see the performance in HSS…..
No matter how long I kept the shutter depressed, NOT ONE MISFIRE OR SKIP in the flash mode! Holy crap. More testing needs to be done of course, but so far my mind is exploding with the new possibilities of this light. A constant LED AND strobe with this kind of performance? Holy shit man!
January 13 2020
I recently received and am testing what I consider to be a very exciting light the Flashpoint FV150 Hybrid R2 Continuous LED Light and HSS Flash (Godox FV150). Please note that this post is only my initial examination and testing of this light. Because I am in the height of my shooting season I have little time to fully test this light until later in the month. BUT I was SO INTRIGUED by its possibilities I sandwiched my initial evaluation between client sessions. For me this new instrument’s possibilities are mind bending!
Right off the bat a huge plus for this unit is its ability to natively attach to my Aputure Spotlight without my DIY adapter. For anyone who has tried to mount an AD600/400/etc. to the Aputure, you know that the bulb fouls against the inner lens of the Aputure unit. Not so with the FV150 since it is a flat LED light. SCORE! Plus I can now use the Aputure/FV150 combination in video with gobos. Excellent!
So here are my power test results:
I have several Westcott Skylux LED lights so I tested the FV150 against them. As you can see the FV150 is twice the brightness of the Skylux. For the strobe test I compared the FV150 to the Flashpoint XPLOR 600 HSS TTL Battery-Powered Monolight. It’s safe to say that the FV150 is about 25% the power of the 600. So in my testing I’d place it in the 150WS category.
There are a TON of features in this light I have not even examined. I will just say that my mind is exploding with concepts that I may be able to accomplish with this light that would have been much more difficult in the past to perform. For those that are thinking “Gosh isn’t this just a low powered, plug in strobe with a fancy modeling light?” I’d suggest you move along…..
For those who may see new possibilities, stay tuned – MUCH more to follow!
UPDATE February 11 2020
I wanted to update this post to link to the Photogenic Pattern Maker which is the very same unit that I have which was discontinued. Brooke, a visitor to my site, mentioned in a comment that HE recently purchased the item. Thanks Brooke!
UPDATE April 22 2018
I recently used this unit during a session with a Fresnel. It can be found here.
UPDATE April 18 2018
I recently tested the Flashpoint xPLOR600 Pro on location using my gobo device for an upcoming session. Because of the Pro’s excellent modeling light I was able to see exactly where the pattern falls even in bright daylight. Plus the LED modeling light does not generate enough heat to affect the plastic Fresnel lenses in the unit.
UPDATE March 25 2018
I decided to update this post even though the two gobo modifiers I use are sadly no longer available. The first unit I’m talking about is the SP Image Projector. It uses Rosco size B metal gobos. When it was available it was very inexpensive as well as very effective. I’m updating this post to say that I’ve adapted it to accept any Bowens strobe since I’ve switched from PCB Einsteins to Godox/xPLOR600 units. I also needed to have the ability to rotate the gobo holder so that I can angle the unit to suit my needs. When I was using the PCB strobes Paul’s mounting system allowed me to rotate the unit when attached to an Einstein. Not so with a Bowens mount so I simply used an older Bowens speed ring which allows me to rotate the SP Image Projector.
Apparently both of these gobo modifiers were not popular enough for each manufacturer to continue producing them. Sad. I know that there are companies who make gobo projectors for speedlights so all is not lost if you want to use one. Before I found any of these unit I converted a Leko 1000w tungsten theatrical follow spot into a strobe gobo modifier. I wrote a post about this crazy idea and will be converting it to accept a Bowens mount. Yeah it’s damn heavy, but produces the best light to date for gobo use paired with my 1200ws head. Just kinda impossible to take on an airplane! LOL!
UPDATE: August 4 2015
One of the great advantages of having a portable gobo/strobe combination is the ability to use patterns of light outside of a studio environment. Recently I wanted to create the illusion of a window on a painted concrete wall located in a parking structure. I loved the texture the wall provided so I simply took my gobo device, one Einstein strobe hooked to a Vagabond Mini Lithium battery. An incredible little combination for on location light pattern needs.
For years I have hauled around a full size stage follow spot just so I could use gobos in special photo shoot sessions. For anyone who knows me I seldom complain, it’s just how I was raised. But I will say that on a CONSISTENT basis my primary bitch is lugging gear. I hate it, I literally hate lifting, hauling and dragging gear to and from the airport, onto the car rental shuttle, into the rental counter, into the car, into the hotel, back out of the hotel into the car and then into the client’s venue. And then all of that in reverse. Get the picture? Assistants? Sure, but not on every assignment….
Update January 27 2020
I recently used the CLAR as a hair/rim light in my review of the Flashpoint FV150
November 21 2019
It’s amazing how technology has impacted the design and pricing of LED lighting. The CLAR Slim is no exception. I work primarily with strobes, but have had the chance to use this constant light with my partner who is a filmmaker. Although I cannot show the final product I can give some initial impressions prior to releasing the video. First off the light is very light in terms of weight. And the output is both even and easily adjustable.
Although I do not own a color temperature meter I will say that the ability to adjust the Kelvin temp of the light is a godsend. Rather than using gels the ability to adjust from daylight to tungsten is extremely convenient. I happen to own several NP F-type batteries and at 50% power levels they last approximately 50 minutes. At 100% they only last approximately 15 minutes. Keep in mind the batteries I tested are only 2200mah units.
The controls on the rear of the unit function well and are very easily adjusted. I have not yet tested the remote features of the CLAR which will be in a subsequent addition to this post. For 149.00 and the ability to use it with battery power it’s a bargain in my book. Stay tuned….
Updated January 22 2020
Two factors motivated me to update this post. First on June 22 2018, a visitor to this page, “Moreno” stated the following:
“Have you tried the fresnel with a single AD200 in the dual bracket? You might find the following interesting. I measured the output at full zoom with both the AD200 and AD600 Pro, with each set to full power. Based on the power of each flash, you’d expect the AD600 Pro to measure about 1.5 stops more output than the AD200. That wasn’t the case, the AD200 was actually a full stop brighter than the AD600 Pro. And the AD200 light pattern was clean, without the horseshoe pattern of the AD600 Pro.”
Secondly someone had written to me privately to ask if the V2.0 Aputure Fresnel fits against an AD600. Since I don’t own a V2.0 version I could not answer based on my own experience. I never answer private emails simply because I get repetitive questions which do not happen if questions are posted on my blog.
So here are my own test results using one of the Aputure v1.0 units I own and are reviewed below this update:
I can only surmise that since Fresnel lenses were originally designed for a bare bulb with a reflector, the frosted front blub on the 600 Pro glass suffers in terms of power from the bulb design. Also in my tests I did NOT find that the AD200 to be more powerful than the Flashpoint 600, yet like Moreno’s findings more powerful than the 600 Pro, but only in the fully focused position. In the fully flooded position my findings were the 600 Pro to be more powerful then the AD200 using the bare bulb. The AD200 with the round head attachment proved to be more powerful in both focused and flooded positions than the 600 Pro. I did not nor do I plan to test the AD200 with the OEM Fresnel head.
The use of the AD200’s optional Roundhead is impressive. I can only assume that it is a result of all the light thrown forward rather than scattered inside the modifier. I feel that the round head configuration mimics a classic Fresnel light source, a bare bulb with a reflector behind it. In testing of my K5600 Big Eye Fresnel I found that a shiny reflector placed behind the bare bulb of either my AD200 or AD600 improved the power of the light which is the classic configuration of lighthouses as well as K5600’s line of Joker constant lights.
UPDATE August 6 2019
I have continued to utilize these modifiers in many different situations. They are very versatile especially in wind. In the past I had relied on PCB Omni reflectors, but find that these modifiers work better for my needs. The ability to focus or flood the modifier is very convenient. This unit is no longer made and has been replaced by the 2X version. I have not tried that one. I’ve been helping a British retailer engage women in the new EV motorcycle space so I asked a friend who is also a racer to ride my bike to take some photos. Most if not all photos of women in/near/on a motorcycle cater to men. Bikinis, tight jeans, mini skirts, you name it. I wanted to create imagery that appeals to women….
These were all shot later in the day using a Flashpoint 600 strobe. Pentax 645Z at 1/1000th with varying f stops. My goal was to have the shots not appear lit, but still have high production value. Most of these shots were with the Aputure fully flooded. The exception is the last shot where I focused the Fresnel on Kathy’s face.
UPDATE April 19 2018
Recently I have favored Fresnel lighting for my on location outdoor sessions. The flexibility of the Fresnel’s ability to focus its beam, it’s matching light quality to sunlight and the stability of the modifier in high wind makes it a winner for my work. The other aspect of my work I’ve been trying to improve is the ability to make a lit scene not look lit. It takes much more finesse to light any scene as if it is just natural light, but with a high production look. Still much more to learn, but the Aputure Fresnel is a remarkable tool. My strobe of choice for this session was the Flashpoint xPLOR600 Pro.
UPDATE February 25 2018
I’ve written an on location post where I’ve utilized an Aputure head.
UPDATE January 26 2018
I’ve recently written a post about my use of the xPLOR600/eVOLV200s with several different modifiers for a session. You can find that post here.
UPDATE October 2 2017
I have written a post about a dance session I conducted that uses these items. You can view that post here.
UPDATE September 10 2017
I recently posted an article on my use of all Godox units in one session. The article includes the use of this product. You can view that post here.
My initial findings for the Aputure Fresnel Lens – July 6 2017
Because I work with so many theatrical stage lighting designers and bow to their artistry along with how COMPLEX their jobs become, I am very familiar with the Fresnel lens. It’s a staple of the constant light stage world and was very popular in the early Hollywood celebrity portrait days. Many shooters now love ‘soft light’ the softer the better in their minds. But the use of bare bulb lighting and Fresnel light is very powerful and effective to convey the right mood in a shot. So for a whopping $69.00 I decided to buy the Aputure Fresnel Lens off of Amazon.
One of the things I will find out in actual use is how much light bleed from the vents on the side of the housing cause. I believe that will depend on where/how the strobes are placed in relation to the subject. Since the unit is made to be used with all Bowens mount units the vents are placed to dissipate heat. I don’t imagine that the light bleed from the vents will affect my work unless I’m using the unit for an overhead light which may bleed onto any seamless I’m using. Time will tell and if that is the case I will simply use some Cinefoil to mask off any bleeding light. Stay tuned….
I wanted to determine how much light loss happens using this modifier compared to a bare bulb or 7″ cone. My little test was done outside in daylight. Using an Xplor 600 at maximum power (1:1), 20 feet from the wooden wall, measured with a Sekonic L-358 light meter, ISO 100, 100th of a second. My finding:
- Bare Bulb: f9.0
- 7 inch cone: f9.0
- Aputure Fresnel: f8.0
The f8.0 was when the unit is set at the maximum spread of 42 degrees. Things change when I zoomed the Fresnel to the 15 degree mark which yields f9.0 at the same distance.
Obviously I will be continuing to update this post when I use it on a commercial shoot. In September I have a dance session where I plan to use this unit along with a gobo strobe modifier. At this point I’m very pleased with the construction and operation of the unit. Stay tuned.
I’ve owned a Goal Zero Yeti 1000 since June of 2018. You can read about my thoughts on that unit here. I purchased the Yeti 1000 from Costco back then for $999.00 and have never regretted my purchase. Since I found GZ products so well done when I noticed they had made a much smaller version, the Goal Zero Yeti 200X I decided to purchase one for a trip I was taking during the 2019 Christmas week to Joshua Tree National Forest. I wanted to use it to charge my electronic devices which included my cell phone, my camera batteries, my instant hot water heater and my CPAP machine.
Because this trip was during the winter and in addition was a very unusual December for JT with both snow and higher than normal rain, I opted to take my gas generator rather than my solar panels.
The unit was released in the Fall of 2019 so as of this writing there are not many hands on reviews. You can read all about the GZ200x on the GZ site for specs.
Each day I charged the unit to 100% before beginning to use it on my devices. They included:
After running all of these devices during the day and charging or using them during the evening the 200x would have between 26 to 31 percent charge left in the morning. Keep in mind that I use my CPAP during the evening between 7 to 9 hours. The 200x performed flawlessly and I’m currently in the process of testing recharging it using a Jackery 100W solar panel and will post my findings later here on this blog.
I am just a bit confused that GZ has conflicting information posted on their site and user manual. Their site lists the controller as a MPPT, but the User Guide list it as a PWM controller. If you are interested in the difference between MPPT and PWM you can read about it here. I’m really hoping it’s MPPT as advertised on their site and wrote to GZ to ask, but have not heard back. Once I do I will update this post.
The only other ‘issue‘ I found is there are many sites on the web that state the 200x will charge in only two hours from dead using the USB C input as long as it uses a 45W charging source. I call BS on that since I tested it and it did NOT charge in 2 hours from fully dead. I even purchased a 87W USB C Charger Power Adapter which charged the unit in 3.25 hours NOT two hours as stated. With the included AC adapter the 200x charged in 4 hours from fully dead, as advertised in their literature.
So the question is would I buy this 300 buck battery with inverter again? Oh yes, no question. The fact that is so compact and only five pounds, powers so many of my devices while camping is wonderful. Will I have to carry a gas generator to keep this thing topped off? Only time will tell after I actually test my 100W solar panel in good sun. More to come so stay tuned….
Hey I’m a photographer so I thought I’d post some of the shots I took in Joshua Tree. For me nature shooting is my form of ‘fishing’ meaning complete relaxation!
Night Shooting under the stars. (The ONLY night that it was not overcast.)
The trusty Bowens S Bracket. I’ve used them for ages. Bullet proof and reliable. My only gripes had been the terrible ratchet system which feels like dinosaur teeth grinding against bone. Having to cut the little rubber bumper on the top of the screw down mount to get an AD200 to fit. And the fact the pivot handle often fouls the modifier I’m using. Ugh. But other than those minor bitch points, it’s a nice device.
So when I received the Glow Griplite X S Type Bracket I didn’t really expect much for an additional three bucks. But I immediately noticed the much larger opening of the unit and the longer handle. You see in the past I had fabricated a handle for my tried and true S Bracket so that either I or an assistant could hold the thing with a strobe and modifier attached. In its OEM form the small light stand bracket was much too small to hold effectively. But the new handle on the Glow X is well made and just the right size. And the finger grips are a very welcome addition.
And as I examined it more one of the most welcomed changes is the smoothness of the pivot ratchet! It is SO MUCH MORE SMOOTH than the original. Fine adjustments can be made easily. So below I have outlined the subtle but oh so welcome changes to the new bracket.
In the following images you can see just how much larger the opening and shape of the strobe holder is compared to the older model.
I am now able to leave the Flashpoint Silicone Skin and Bumper attached to the strobe when inserting them into the new X Bracket. (Skin review coming soon.)
No way to fit it with the skin attached to the older bracket. (I’ve tried….)
In the past I’ve had to cut a portion of the older S Bracket’s upper rubber bumper mount so that it would extend just a tad to allow me to fit an AD200 into the unit.
Although the Bowens release lever on the older unit worked well, I prefer the new version. Easier on the fingers too.
The new X version has a very effective textured rubber pad on the top. Much nicer than the older model.
And here is something that in my view is a huge improvement. Because the handle on the older version was large, when I had a wide modifier on the unit the handle would foul on the modifier. Not so with the new unit. And yes I can crank it down to assure that the modifier does not move. Plus it seems to take less tension to hold in place.
So am I going to replace all of my older S Brackets….well yes, yes I am. The improvements to the new unit may ‘seem‘ small, but in my world the cost savings in time and cussing level is well worth the three buck difference. But hey everyone is different! Thanks for improving on what was already a bullet proof tool. Now it’s just even better.