Update August 19 2019
I was literally shocked when I read this article on ThePhotoblogger.com. “What I’m going to propose in this article may sound absurd to some photographers, especially if you’re new to the art form….“How can I make my image look like theirs?” But they only want advice on how to do it in post-production. Here’s a controversial idea: do it in camera.”
And just one of the author’s suggestions to his audience:
- “Why not have a creative vision to begin with, and then execute it as well as possible within the camera?”
Wow just wow…incredible that this ‘may be a new concept to create things IN CAMERA TO SOME!’ WOW
Original Post March 26 2019
One of my favorite things to do is to imagine a concept and then execute it. This post is about concepts, mood and light rather than gear. Oh sure it takes gear to have my concepts go from only in my head to fruition, but if you’re looking for a gear review, it’s best to keep moving along.
I wanted to photograph Jeannette, a dear friend’s daughter who was studying ballet in two different concepts. I gave her a general idea of them; one would be as if she was dancing in a grand ballroom. The other was to appear as if I was on stage BEHIND the ballerina shooting downstage toward the audience. And finally I wanted to see if I could configure a lighting protocol where while under an umbrella I could light the ballerina’s face.
So once the concept was developed finding a venue and prop was necessary. A large warehouse along with a non-lit chandelier was needed for my grand ballroom concept. I would light the chandelier using a strobe and long throw reflector. Combining incandescent light, like a tungsten lit chandelier would be very difficult to balance with my strobes. They would overpower incandescent light no matter how low I powered down my strobes. It could be done, but why when I can light it and balance it with a strobe?
The next concept was a tad more difficult, making it appear as if I am actually on stage shooting toward the audience. Using two Fresnel heads on my strobes to appear as spotlights to create drama and spotlight shadows ‘on the stage’ was in order. And then to balance a fill light for her back was delicate to do. I also knew I wanted to add atmosphere to the shot which would add a mystic mood to the image.
And finally how can I light someone’s face under an umbrella? Ah using a simple speed light and a homemade rig to hold it under the umbrella was the answer!
What was this all for anyway? Practice! My belief is practicing the execution of concepts keeps me sharp and improves what I can offer clients and myself in creating imagery. For me it’s not about what gear I own. It’s how I use it.
Original Post August 15 2019
Twenty four months ago a close friend of mine was told that he might have throat cancer during a routine dentist appointment. After visiting his doctor it was confirmed. As can be expected it was a devastating piece of news. Even more so since his profession is as a full time singer. Thankfully he has fully recovered after his treatments and rehabilitation which were both difficult and long. When visiting him at his home I was curious about ‘this thing’ in his music room. It appeared to be a fiberglass mold of someone’s head and shoulders. When he returned to the room he told me that it was the mask made of him and used during his throat radiation treatments.
He explained that the mask was made for him to prevent him from any movement as his neck was precision blasted with radiation. His head and shoulders were bolted to a metal table under the mask. I had a visceral reaction to that story. It was at that very moment when I knew emotionally that I wanted to create an image of both the horrors of his cancer and his recovery. I asked him if I could take the mask to do a proof of concept before embarking on the full project. He agreed.
I took his mask to a pile of black rocks along with a small AD200 strobe. I wanted to see if I could create light rays coming out of the throat area if I threw dust into the air for particulate. It worked.
My concept was to have him stand next to the mask, having light emanating from the throat area with birds flying away from his torso. I had scouted a location where the vegetation was barren after it had been mowed down. I wanted the landscape to reflect the wasteland that is the news of cancer. I had planned that with a sharp sound the birds would fly away representing cancer leaving his body. But like all things organic, that did not work out. The day was VERY windy and late in the day. So the birds could not be coerced, even with food placed into the area.
So I paid to download an image from Shutterstock, a crow disintegrating which would represent the cancer. I normally NEVER use Photoshop in my commercial work, but this was not for a client, nor was it for my friend. It was for me. And that really is my point of this post. There are times when I feel or more accurately I am emotionally COMPELLED to create a piece. Two things happened when I showed both a virtual friend and my friend whose trauma of cancer this entailed.
I told my virtual friend the backstory of the image. Once he knew his comment was “And shoot is a lot of emotion but not sure it works if you don’t know the back story.” I can completely understand his reasoning, but like all things art, what truly matters is what the creator of the piece feels. Remember that in your own work. I miss the days of LP cover art. Some of my favorite album covers which you may or may not recognize:
Know the backstory of each of these? No? Yes? What each element represents? My point is the artist who created these knows the story of the image. If an image makes anyone stop, think and wonder, then for me that’s an accomplishment. Perhaps they will figure out the meaning, perhaps not. But to capture one’s imagination for a moment and in the best of times, for a while or ultimately years later is all that really matters. Art was never meant to be literal, its purpose is to spark the imagination, to awaken an emotion.
When my friend who overcame cancer saw the image he said “I laughed because at first I thought it was a chicken! Then I thought I’d like you to make it a Phoenix and I like the one with no clouds, can you remove the clouds?”
Keep in mind that I did NOT create any of these images FOR HIM. They are most certainly ABOUT HIM, but how I FEEL about what he had to endure. And thankfully in the end, how the wonders of his treatment and his physical therapy relieved him of cancer.
As you create your own art, others may or may not offer the approval you seek. The trick is not to seek approval, but to be emotionally satisfied with what you have created. Art is not created by committee. Its genesis is emotion. And its birth begins through your hands.
Ok first off there are times I want something, but no one makes it. I tend to cuss a bit, but then figure out how to deal with the situation. Such was the case charging my AD200 batteries. You see I find I use these a lot. Accent lights, rim lights, key lights, you name it they get used in a multitude of various roles during my sessions. And I almost always travel with them to client sessions. Which means I HAVE TO REMEMBER TO BRING ALL OF THE CHARGERS. UGH!
Sure they’re small so packing them is not too big of a deal. But since I have five of these remarkable little strobes AND round heads AND barn doors, AND AND AND, I have a list JUST FOR the 200s! I have a drone I use for some jobs and although DJI is really cool by including this little hub that charges the batteries in succession, I needed one that would charge three batteries all at once along with my controller. So I ended up finding one.
I also got frustrated charging AA and AAA batteries. Sure I had the kind that charge four at a time. But some of them would only charge in pairs. And then I had to buy ones for AA versus AAA! UGH. But I found charging heaven with this unit:
16 slots for either AA or AAA or in combination or alone! YAY…. And then I wondered if ANYONE would produce something like this for the AD200 batteries…
So when I got my MB-6 I initially thought “This is too good to be true.” Rather than having five different chargers, five different power cords, now I only have ONE unit and ONE power cord to pack to charge all the batteries! And even one more spot for when I order another 200!
One thing I worried a bit about is if this charger would charge my batteries as fast as the individual OEM single charger. So I tested it. Four drained batteries, two in their OEM chargers and two in the MB-6. And guess what? It charges just as fast as the OEM! Now I have yet to try it with six batteries, but I’m pretty sure it will perform the same. And if not, I’ll post what I find here.
Here’s my protocol:
- Charge all of my strobe, camera, transmitter batteries the night before a shoot
- Pack all of my charging gear into one bag
- Pack all LiOn batteries and bulbs into my carry on luggage
- Once the first day’s session is complete, all batteries go into chargers
- Next morning all batteries go back into their respective units
What having the MB-6 now means is instead of having to use five plug outlets I only need ONE! And instead of having to remember to bring five chargers I only need….wait for it…ONE!
Some may be put off by having to spend 170.00 for a multiple battery charger. For the shooter using one or two of the AD200s only occasionally I believe it would be overkill. But for anyone who is actually making money (meaning profit) shooting, then the value of having gear that saves time and hassle is invaluable. I’m not a pro baker, but I purchased a KitchenAid mixer because it will last me a lifetime and makes my paltry baking much more enjoyable. Everyone needs to decide for themselves what they value.
As time goes on I’ll report more about my experience with this device.
I have been testing the Flashpoint R2 Single Pin Transceiver to determine if it compatible with the variety of cameras both myself and my partner use on client shoots:
In my testing this little piece of kit works on all of them. In the past I’ve attempted to use single pin transmitters of various brands and in some cases the single pin just didn’t align well enough to fit all of these cameras. I’m happy to report that no such issue exists with this unit. Now keep in mind this is not intended for TTL, HSS, SCS. I have had heart stopping situations where the transmitter I was using during a client session fail or break from drops! So I started to carry extra transmitters which can get expensive because each transmitter is made for each individual brand of camera. After distance and radio interference testing with the Flashpoint R2 Single Pin, I plan to carry this with me on EVERY shoot. A single transmitter is a godsend for me as a backup. Twenty five bucks is cheap insurance!
These also work as receivers, but I do not plan on using them for that purpose. I ‘may’ test them to see how they work in that configuration. One of the downsides I see it there’s not way to set how long the LED screen remains illuminated or setting the amount of time until the unit ‘sleeps.’ But for 25 bucks what can I really expect? Sound and modeling lamps are controllable from the unit.
More to come….
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.
Updated August 5 2019
I had mentioned that I would be testing the quality of light before using these in my upcoming dance sessions. I wanted to try a different application by using these to replicate the shadowless glamour light a ring light produces. I’ve been doing this with my Saberstrip v2.0s for some time. But after testing the consistency of these modifiers across their face I thought that I’d try them stacked. I’ve always wanted to do a shadowless light shoot of multiple people all at once. Due to the size, shape and consistency of this light modifier I will be able to do so. I’m convinced that these will be a regular part of my on location and studio workflow.
I use strip boxes quite a bit for my work. I recently received the Adorama GLOW EZ LOCK ARC Curved Strip Softbox. I have historically used two different strip light modifiers, first the Cheetah 12″x55″ Quick StripBox and the yet to be released SaberStrip v2.0 which uses the Flashpoint 200s rather than a speedlight. I have found that strip light modifiers are especially valuable for me during studio dance sessions.
Below is an example of how I use strip boxes to light dancers (this was NOT shot using the Glow ARC):
One of the advantages Adorama states on their site of this curved configuration is: “Covers the subject with an even light.” Flashhavoc also mentions “The curved surface surface of the EZ Lock ARC’s front diffuser panel is designed to provide something of a more even light across the full length of the stripbox.” Since I use strip boxes quite a bit I thought I’d actually run my own test to see if both claims are true….
Before getting to that test I just want to say that one of the most remarkable modifiers I own and use when not using focusing rod modifiers is the Glow EZ Lock deep parabolic. The quality of light, it’s complete ease to assemble and the price seems almost impossible! But yet it’s NOT. So I have high hopes for the Glow ARCs as well.
The construction of the ARC is very similar to the EZ Parabolics. Like an umbrella it uses a rod and securely locks into place.
I always use the diffusion disk with my Glow Deep parabolic. I especially like the way it distributes the light into the modifier. So I was pleased to see that it is also included with the ARC. It’s interesting that in their instructions, no mention of the disk is included or illustrated……hum.
It ‘may‘ be due to the fact that inserting the disk under the locking mechanism takes some finesse to do. There is a fine line between collapsing the modifier and inserting the disk. The good news is once it’s there I leave mine inserted because it can easily fold with the disk attached. So it’s just a first time kinda thing. The disk does place some tension on the expansion rods that is not present when the disk is not attached. Just FYI.
OK to compare the alleged even spread of the light to another comparable strip light I used my Cheetahstand 12×55″ Quick Stripbox. Prior to the Glow EZ line being released I loved how Cheetahstand made their Quick softboxes. Low and behold now they both use the very same mechanism which is fantastic. Why? Well because they’re so damn easy to set up and strike! Duh!
For the detail weenies out there, no these are not EXACTLY the same dimensions, but close enough for my little test.
The Cheetahstand uses a much longer interior rod compared to the Glow ARC.
For my light test I used the interior diffusion panel on the Cheetahstand strip box since I used the diffusion disk on the Glow ARC.
How I tested:
- Strobe: AD600 at full power 1:1
- Light Meter: Sekonic L-358 with light dome both extended and retracted (same results both ways)
- 1/100th shutter speed, ISO 100 set on the Sekonic
- Measured 4 feet from the face of each modifier
- Center/Top/Bottom measurements for each modifier
- Strobe fired six times for each position to ensure consistency
- Center f16
- Top f14
- Bottom f14
- Center f16
- Top f16
- Bottom f16
It’s true! The Glow ARC measured consistently even in my test! I have an upcoming dance session this month and I plan to test the modifier before using it live. Another thing to note is the interior silver material of the Glow ARC is an interesting fabric. Not shiny, not pebbled unlike any other Glow modifier I own. I plan to test the style of light using the Glow ARC with and without the outer diffusion panel. More to come…..
Someone recently requested that I post some behind the scenes shots of my water shoots. These are NOT underwater sessions. To date I am not skilled enough in the nuances of underwater shooting. Lighting and its color are very different, radio transmissions don’t work underwater, the equipment needed is different. But I have done quite a few sessions involving water, just not UNDER water….
I really love the organic nature of water and the story and drama it can add to the right project. So this first example involved quite a bit of engineering to set up the mood of rain. First off the restrictions were as follows:
- The talent could only be at a specific location at a specific day and time. This prevented me from scheduling the session at a time when the sun would be in the optimum position so I was not fighting its influence.
- The location where I was able to shoot must be at the client’s venue. So I could NOT rent a studio that allowed me to use water.
I scouted the client’s building area two weeks prior to the scheduled shoot and determined the best place to conduct the shoot would be the enclosed area where they keep their dumpsters! On one side was a chain link gate, the right and back wall were part of the building and the left wall was 20 feet high. The entire area had no ceiling. Shooting inside of their building would be impossible due to the water damage that would occur. Pushing the dumpsters out of the area and washing the concrete was first. The next thing to do was to rig up a sprinkler system to shoot water up and in front of my black drape. I rigged two garden sprinkler heads onto the top of the background crossbar and ran garden hoses to the outdoor spigot. Figuring out how to prevent the sprinkler heads from rotating in the Super Clamps once the water was turned on was another challenge. They naturally wanted to rotate back away from the forward direction I needed the water. If they did that while the strobes were firing the bulbs would explode from the temperature difference.
Then of course there is the issue of power and I needed to wrap my strobes in plastic so no one would be electrocuted including me! In order for water to show up in a photograph the way I wanted it to, it must be lit. In this case backlighting of the water was necessary.
I along with my clients prefer to NOT create elements in post processing, but in camera. First of all doing so adds so much authenticity and also excites the talent which then adds even more real emotion to the shot. My work IS NOWHERE NEAR THE LEVEL OF GoT’s not even close but, David Benioff’s comment about shooting on location versus graphic treatment is so spot on (at 2:19 mark in the video).
You can see the two garden sprinkler heads at the top of my backdrop crossbar. I had to consider the weight of the water as it runs up through the hoses. This is a test of fabric, the water and lighting. Two strobes were required to illuminate the water.
This next example was to shoot dancers with water trails. These are high school dancers so the restrictions were:
- Photograph them immediately after school, two hours maximum time
- The session MUST be held on school grounds
So I selected a wall that runs around the perimeter of their school’s pool area. Because the sun was high in the sky it was very difficult to find and area that I could shade just a bit. So I extended my background stand as high as it would go, about 12 feet. I then asked the student’s dance teacher to ‘douse’ the dancers with a bucket of water from the pool! As SOON as the students were wet they MUST perform their dance routine otherwise the water would dry and not be sufficient to leave water trails.
Again all strobes were covered in plastic.
This final example took one year of planning. YEP one full year. I’ve worked with these two Argentine Tango dancers for a number of years. They are the only tango dancers to have ever appeared in Cirque du Soleil, they are that skilled and beautiful. One of the main barriers was to pick a surface that would afford them traction in water and contain the water, so plastic was eliminated. It was very difficult but I finally figured out what to use, textured rubber. The other aspect that I didn’t anticipate is the timing of the shot. I am very accustomed at photographing dancers at the apex of their movement. But what I discovered is once they reach that apex, water trails are gone!
The momentum necessary to carry the water in an arc stops when a dancer reaches their apex. So I had to retime my shots, which took a bit of effort, but I was able to time my shutter press appropriately.
Getting the water into the area was accomplished using a garden hose from the building’s restroom located 75 feet away!
The couple practicing their dance moves.
Once we finished the clothed shots we moved onto the nudes. Keep in mind that this was shot during winter in Seattle. Because the water was cold and the room has one heater near the ceiling we pumped up the temp to 95 degrees! I wanted to be nude! Oh and ask me how we got the water OUT of the room! Can you say towels and buckets! Yep, we had to soak up the water, wring them out into a bucket, carry those buckets to the restroom and do it over and over and over….UGH! I kept reminding myself that the shots we got were worth the effort!
Whenever people ask me about what camera I use, what modifiers, what this or that I tend to ignore those questions. Why? Well because those are NOT the elements most important in what I do. Sure the right tool for the right job helps, but CONCEPTS ARE THE MOST IMPORTANT and EXECUTING those concepts well are key. I sometimes think that people believe they can buy their way out of poor imagery creation by purchasing expensive gear. A crappy photo can be created by a 50k camera as easily as it can be with a phone camera. And the inverse to that is also true.
A big part of my job is to figure out how to create unique and emotive moods and stories for my client’s imagery. A pretty picture without emotion or a story is just a pretty picture. One of the most challenging part of the job is to come up with a COMPELLING concept and then determining how to execute that concept with the restrictions I know I must face. In truth my client base could care less what gear I use. What they care about is if the product I produce for them evokes emotion, is unique and contains a story which will help sell their product. Can I CONSISTENTLY produce compelling imagery and does the talent enjoy working and collaborating with me? Can I overcome impediments to a shoot on the fly and quickly? If not I can expect a one in a row job from that client. Not to mention my reputation would suffer in this very close knit community.
Imagination and working around restrictions is the most challenging part of my job. And I would not have it any other way.
Update: July 28 2019
I have recently used this modifier in combination with others. All of the effort it took to convert this Hollywood spotlight into a strobe has been well worth the time and effort.
Update October 25 2018
I recently conducted a studio session using my Mole Richardson Fresnel. I continue to be impressed with the quality of light it produces along with the versatility of focusing.
Update October 14 2018
I was able to use my Mole Richardson Fresnel during a client dance session. I have been excited about using the Fresnel for dance since the light it throws is just delicious. I combined the Fresnel light with some Saberstrip v2.0 lights which use the Flashpoint eVOLV200s. In this case I just used a single xPLOR600 even though I have a 1200ws head in the Fresnel. I didn’t need the power of 1200ws for this job.
I realize that many people chase ‘soft light’ but I have found that the light thrown by a Fresnel is more acceptable to my client base for quite a few types of sessions. For my blog post about the Saberstrip v2.0’s which I consider a revolutionary modifier I used in conjunction with the Mole Richardson, you can click here.
UPDATE May 14 2018
I recently conducted a client publicity session using my converted Mole Richardson 412.
I was finally able to run a session with both the converted Mole Richardson and my gobo light modifier where I use Rosco size B gobos. The Mole Richardson performed brilliantly. Since I was in studio I did not use both AD600s, but rather a single one. Barn doors were used along with a light modifier I am not allowed to display or mention. I used it as a fill for these shots.
The final tweaks have been made to my now converted Mole Richardson Junior 412 2000w tungsten spotlight into a strobe. I have installed a Flashpoint 1200ws strobe head into the unit along with a 9″ reflector as well a diffusion bulb cover. I love the look large Fresnel lenses offer for light and plan to use this not only for portraits, but for dance. The modifications I’ve made allow me to convert the Fresnel BACK INTO a tungsten light. The design of the light is genius. By simply removing four machine screws the entire guts of the light simply drop out.
I wanted to try the converted unit outdoors using the barn doors and HSS. Still more refinements, but I believe this will make a valuable tool in my lighting kit. Both images shot at 1/2500th f2.8 ISO160
Original Post March 27 2018
I’ve been in love with the light a Fresnel throws. As a young man I marveled at Hollywood glamour portraits produces by film and Fresnel spotlights. I purchased and have used two Aputure 4.5″ Bowens mount Fresnel modifiers with much success. But I longed for a larger version of a Fresnel. So I researched models over 8″ in diameter. The only ones I could find were the Elinchrom FS30 and the Broncolor Flooter. 3k and 4.5k respectively in price. There are some new LED Fresnel lights that are great, but I wanted a strobe. So….
I purchased a used Mole-Richardson Junior 2K Fresnel Tungsten Light, 10″ Lens – 412 off of Craigslist and am converting it to accept a strobe. It’s going well and when the project is finished I’ll be posting how I did my conversion as well as some test shots. I’m excited to say the least as it’s going way better than I expected. I wanted to have the ability to switch from my 600ws head to my 1200ws head when needed. I love choices. One of the great design elements of this classic unit is the ability to switch it back to its native tungsten configuration. AND Mole Richardson sells a LED conversion kit that only takes four screws to install. The unit is designed so well. No wonder so many film studios used these things!
My total cost to convert it to accept a strobe including the cost of the unit? 315.00 including the barn doors!
Update: July 28 2019
I have recently used this remarkable modifier in combination with others. It may be one of the best values I’ve encountered.
UPDATE February 20 2019
I continue to be incredibly impressed with this modifier. So much so that I utilized it for an important on location shoot in Los Angeles, CA for a professional Argentine Tango session. The client had hired me to create publicity imagery for their 2019-20 season. The space I chose was Monk Space located in DTLA. It has an incredible variety of rooms all with a different look and feel. In addition to the Deep Parabolic 48″ I used an Elinchrom 39″ Deep Octa, the new Glow Wing Like Parabolic, several cones, and a gobo focusing modifier.
Since everything had to be flown down in checked luggage (including my smoke machine) space was at a premium. Since the Deep 48 comes with a grid, two diffusion panels and a deflector ring it was the right tool for this job. Even though it is NOT my preferred focusing rod modifier, its quality of light and versatility is remarkable.
And in some cases the best modifier is no modifier at all. Sometimes I like to just use a bare bulb. While trolls will get an erection arguing over whether the shape is a ‘true parabola’ others of us will judge its quality by the light produced. I for one love this modifier. An incredible value that gives up very very little in light quality compared to other much more expensive modifiers.
My client was thrilled….
My client has released the press publicity imagery for Rock of Ages so I can now share them which were lit with the Glow EZ 48″
I will simply say having used this modifier for three months that it may be the best value in the business. I have found that it rivals my much more expensive focusing arm modifiers in terms of light quality when used with the disk at the maximum distance allowable on the short rod combined with the inner diffusion panel. Of course it does not have the versatility of a focusing arm, but the light quality is delicious.
The quality of light is both punchy and soft, much like a focusing rod modifier. Incredible value considering it comes with a grid as well. The ease of set up and striking is incredible. I use a short length of PVC pipe to push the locking mechanism down since my reach to the lock is tight. I’m sure smaller versions of this modifier are easier to reach.
I have also used it for a recent (this week) on location publicity shoot, but cannot share the actual photos at this time. Having used it for one of my longest standing large clients will attest to my confidence in the Glow 48. Remarkable. I can share the light test shot I did of the Marketing team for my client before the actual talent arrived from hair and makeup. In the actual shot there are eight people, but for the purposes of my lighting test I only had seven individuals.
Below are all shot with the Glow 48 as the key light camera left with a Saberstrip v2 as the fill light camera right behind the talent. Pentax 645Z with the newly released R2Pro.
Publicity imagery for A Christmas Carol. The only adjustments to these images were done in Lightroom for white balance, lens correction and contrast. Strobes were: key light through the Glow 48 was a Flashpoint 600Pro and an AD200 in the v2 Saberstrip.
Our client Hillbarn Theatre just released one of their publicity posters for the upcoming production of West Side Story. This image was shot using a Flashpoint XPLOR 600PRO and the Glow EZ Lock Deep Parabolic 48″ with disk and inner diffusion panel as the key light. Rim light was a Saberstrip v2 using an eVOLV200.
I did a re-shoot for a client’s West Side Story publicity imagery since they have actually cast the roles. I decided to use the Glow 48 with the metal disk and inner diffusion panel installed instead of my focusing arm modifiers for this session. I wanted a slightly softer yet still punchy look for the mood the client wanted created. I continue to be amazed and happy with the light quality and the ease of set up with this modifier. My only niggle is that it can be tough to push it open because of the size of the modifier. I have to stand to one side and really push down to get it to click. Ah first world problems eh? LOL.
I continue to be impressed with the EZ 48, so much so that it was only one of four modifiers I took for a personal editorial project down to El Segundo to shoot Luna Cycle. (I have an upcoming article on that trip along with photos of course….) The other two modifiers were my Fresnel and two the soon to be released SaberStrip v2.0 which comes out later this month. This project was editorial in nature over ‘beauty‘ in the traditional sense. (I find beauty in loads of things that may not seem obvious.) I know a good many of you (including myself) like to ‘learn’ about modifiers and how they apply to shooting beauty or product. But for me the real test of a modifier is just how versatile it can be in a variety of situations.
The light quality is always my first concern and the EZ has that down pat. The ease of assembly and if it is the right tool for the right job is my second consideration. For the two images below it fit both all three of those criteria perfectly.
I have found that the value and quality of light presented by the EZ is remarkable.
I had a client reschedule one of my sessions, so I decided to do a quality of light test today with this modifier against my SMDV 110 using a focusing rod and my Parabolix 35D modifier. Since the Glow comes with this little metal disk I wanted to find out if it could produce a similar quality of light to my actual focusing rod light modifiers. Spoiler Alert: Yes it can! With one major limitation…..
I was actually away at how good this 95.00 modifier’s quality of light is in real life. The major difference between it and my other focusing rod modifiers is its inability to feather light while using the disk. I almost always feather light using any modifier. I know that many people generally point a modifier directly at the talent, but my taste prefers having the light bounce away from the talent. It produces a delicious wrap that a direct shot just doesn’t accomplish. Because the light source on the Glow is pointing DIRECTLY TOWARD the talent, but is deflected back toward the modifier by the disk (much like a beauty dish), any angle not pointing directly toward your talent exposes the strobe bulb. This creates a severe hot spot and ruins the effects of the modifier. True focusing rod modifiers point the strobe bulb AWAY from the talent toward the modifier. That greatly increases the angle at which the modifier can be turned without exposing the bulb. In addition the housing of focusing rods which hold the strobes have a flange that also shields the bulb from direct line of sight.
One of the “potential issues” I had read somewhere is that the Glow 48 is passing light ‘through‘ the spokes of the housing skeleton. I’m always fascinated how people concern themselves with things like that. In my experience it does NOT affect the quality of light in this modifier.
For the purposes of this test I shot all three modifiers directly at Jenni, no feathering. In the focusing rod comparison, no diffusion material was used on any of the modifiers. The reason I prefer focusing rods is the extra contrast, smoothness and punch they produce in the quality of light. They’re certainly not for everyone, but my clients now insist on this type of light for most of their publicity work. There are exceptions, but it’s what we both prefer. The ability to focus or flood the very same modifier to give different lighting moods/looks is wonderful.
For the SMDV and the Parabolix I had the focusing arm in their mid-flooded position (both used the Parabolix focusing arm and an xPLOR 600 with remote head), meaning halfway out from the apex of the modifier. I did this because the disk on the Glow would only go about halfway from the apex of its modifier. I did notice a color difference between the modifiers as well. I’ve decided to post the images without identifying which modifier was which…until the end. After all we each decide for ourselves what we prefer and I don’t want to influence your view of this modifier. So here we go….
I also wanted to do a quality of light test using both diffusion panels which is the way most of the people will use the Glow 48. I did NOT use the diffusion disk in addition to the two diffusion panels. The inner diffusion panel has a 2 stop circular panel which effectively reduces any potential hot spots. My gold standard in a two diffusion panel configuration has been my beloved Elinchrom 39” Rotalux Deep Octa. I found the Glow achieves 90% of the light I love in the Eli. And considering the Eli is 290.00 PLUS an additional 55.00 for a Bowens speedring AND 86.00 for a hooded diffusion panel (no grid is made for the Eli Rotalux line) that’s a whopping 431.00 compared to 95 bucks. Is that 10% difference worth the extra three and change Benjamins? That’s totally up to how your client feels about the lighting. And if you’re not shooting client work, how you feel about the light quality.
So let’s do a little math:
- Glow 95.00 (46”)
- SMDV 110 (44”) 325.00 (not including a focusing rod)
- Parabolix 35D (89cm) Package 838.00 (including focusing arm)
In order of ease of assembly and breakdown as I used them today (without diffusion panels):
- Glow 48*
- SMDV 110**
- Parabolix 35D
* The Glow is the easiest to assemble and strike IF you don’t use the inner and outer diffusion panels. They must be removed and installed each time you use this modifier.
** The SMDV is hands down the fastest and easiest modifier to assemble and break down if the diffusion panels are installed. You don’t have to remove them when breaking down the modifier. They can remain on the modifier.
- Shot A: Parabolix 35D
- Shot B: Glow 48″
- Shot C SMDV 110cm
I will simply say that the light quality and value of the Glow Deep 48” Quick is REMARKABLE. Add to that fact its cost and it’s a no brainer. It is going into my workflow immediately and I’ll not hesitate to use it when it’s the right tool for the right job. A side note, Jenni the young woman I asked to be my test subject is also a photographer. She was so impressed she plans on purchasing a Glow 48. Hell who can blame her?!
Zarli, a visitor recently asked me two questions, one of which didn’t take long to research and I’m assuming others will have this same question so I’m adding it here. He wants to know the diameter of the changeable speed ring in the unit. The measurement is 144mm or 5 2/3rds of an inch. If the light quality is as I expect I will change the Bowens speed ring to a Cheetahstand low profile ring. I’ve done this for all of my Bowens modifiers when using them without a focusing rod. The reason is the Cheetahstand Low Profile rings allow my Flashpoint strobe bulbs to penetrate further into a modifier giving me a percentage increase in light output. It’s a very easy change and well worth the extra 25 bucks.
Although I have not had time to evaluate the actual light quality of this modifier, I wanted to give my impressions of the Glow EZ Lock Deep Parabolic’s physical build quality of the unit. As is my workflow, until I can test any modifier I won’t be using it on commercial shoots. Since this is my hectic time of year I’m not sure when that will occur. But once it does I will post my impressions here. And I’m not going to get into the fucking bullshit back and forth about whether this is a true parabola. If you’re one of those best of luck and start babbling about geometric facts somewhere else. My world is about creating compelling and excellent imagery, not having to be fucking right. Plenty of other troll places you can go online for that.
At this point it’s way too early to give my impressions of the light quality, simply because I haven’t tried it! But from a construction standpoint I feel that for 95.00 USD it presents a great value. Is it ‘better’ than this brand or that brand? I can’t say, but will say that IF the light quality is great to excellent I will add this to my workflow when it’s the right tool for the right job. More to come…..later.
I was recently made aware of the TurtleRig Bulb Extension through Flashhavoc. An intriguing piece of kit and for $20.95 through Amazon I decided to try one. I wanted to test its capabilities for two specific reasons:
- Does adding more resistance to the bulb reduce the amount of power the light delivers?
- How much more light can be obtained by moving the bulb further into a modifier?
Prior to the TurtleRig being introduced I have been using the Cheetahstand low profile Bowens speedring to move my Flashpoint bulbs closer into the modifiers.
For the testing I conducted, all tests were performed at full power of a Flashpoint 600 strobe 1:1. The meter I used is a Sekonic L358, my tried and true light meter. The meter was set at ISO 100 1/60th shutter speed and the flash intensity was measured in f Stops.
My first test was to determine if the modeling light would be affected by moving the bulb further away from the LED of the Flashpoint 600.
And yes it is effected:
- Without the TurtleRig measured 18″ from the LED f6.3
- With the TurtleRig installed measured 18″ from the LED f4.5
Both were measured using the brightest modeling light setting.
Next was my bare bulb test to determine if the TurtleRig’s added resistance reduces the power of the light:
- Without the TurtleRig measured 18″ from the bulb f57
- With the TurtleRig installed measured 18″ from the bulb f51
The next test was very interesting. I used one of my favorite modifiers, the Elinchrom 39″ Rotalux Deep Octabox with only the inner diffusion panel inserted. I use the configuration most often when using this modifier. I like the added specularity of the light by not using both the inner and outer diffusion panels.
Here’s where things got very interesting….
- Without the TurtleRig measured 18″ from the end of the modifier’s edge f40
- With the TurtleRig installed measured 18″ from the end of the modifier’s edge f40!
The SAME! I tested it over and over and over and it was always the same!
So I decided to move my meter twice as far away from the edge, 36″ or three feet:
- Without the TurtleRig measured 18″ from the end of the modifier’s edge f25
- With the TurtleRig installed measured 18″ from the end of the modifier’s edge f29
AH, so what I can surmise is that by having the bulb extend further into my modifier the difference can be seen the further the talent is away from the modifier. Makes sense since the bulb has the ability to fill the modifier more efficiently than if it is not extended into the modifier.
I will continue to test this device with larger modifiers like my Elinchrom 69″ Rotalux Octabox. The quality of light will also be assessed.
Update June 26 2019
I am sorry to report that my experience with this trigger has not been stellar. Misfires have happened time and time again regardless of how the venue is constructed. I recently did a product shoot and the strobes were only 2 to 5 feet from the transmitter! In this case 10% of the shots were misfires where the strobes did not fire. I am going to try the new Flashpoint R2 Mark II when it is released. As of this writing they are on pre order to be released on July 1 2019.
At this point I HIGHLY advise others to not purchase this trigger. More to follow.
Update March 4 2019
I was reminded today by a frequent visitor to my blog, Fritz N that I had not posted any further information about my misfire issues with the R2ProC. He’s right, it’s because I have very little to report. I have found that the trigger ‘seems‘ to misfire based not on distance, but the particular construction of the building and how many wireless devices like routers are in proximity to my strobes and trigger. Yet I have nothing scientific or objective to report. The building in my January 13 2019 post below is of normal commercial construction. Aluminum framed joices, sheetrock and tile. They do have a number of consumer routers in the building. But nothing out of the ordinary.
I’m literally stumped as to what may or may not cause misfires with this trigger. If anyone has experienced the same issue, please let us all know in my comment section the particulars of where you were shooting. Thank you.
Update January 13 2019
Unfortunately I am having an issue with this trigger. During a recent studio dance shoot it misfired 10% of the time which is really unacceptable. I’m not sure why this has happened. But at this point I will be trashing this trigger. I’m scratching my head as to what caused this malfunction.
The greyed out images in Lightroom are where the the flashes did not fire. It was not a specific strobe, as they malfunction went back and forth. The two strobes are Flashpoint 600s. Very sad and I won’t be using this trigger again.
UPDATE March 4 2018
Yesterday I was commissioned to create imagery of a dancer for an upcoming magazine cover. It was all on location and I was using xPLOR600s one with a H600 remote head. All of the locations were outdoors. In the first location I was completely outside with no walls or ceilings around me. The Flashpoint R2 Pro C worked flawlessly. When I moved into an area where two vertical walls were present that’s when my troubles began. The strobes would not fire. I had to restart my camera (1DX Mark II) as well as restart the R2 Pro. The strobes would then work for about 4 flashes and then the same issue would occur. I got my shots and then moved to the final location. Again one without walls, but during the last portion I was shooting in a tunnel which of course has walls and a ceiling. In all but the aforementioned venue the R2 Pro worked flawlessly. I’m not certain what would have caused the misfiring. I have my trigger set at the 0-30 meter setting and the strobes were well within those distances. Strange….
I am literally at a complete loss for why the R2 would misfire in my second location. So as a backup I now plan to carry both the R2Pro and an X1 whenever I go on location. I am using rechargeable alkaline 1.5v AAs in the unit which were fully charge. I have another outdoor on location shoot this coming Friday so I’ll be taking both.
UPDATE December 9 2017
I just returned from a two day studio session using the Flashpoint R2 Pro C on my Pentax 645Z. The unit performed well and I discovered that when using the transmitter with another non Canon (C) camera the Standby feature does not function as it does on the camera it’s designed for. I have the R2Pro set to Stby in the menu and when mounted to my Canon when I half press the shutter the R2 comes back to life. Not so with my Pentax. I must physically press any button on the R2 unit to revive the transmitter. Other than that (no TTL or HSS) it works well.
UPDATE November 15 2017
I recently had the opportunity to use the Flashpoint R2ProC during a commercial session. The short story is it worked flawlessly. My issue with the XT32C sometimes misfiring when standing right next to my key light did not occur at all. I have the unit set to 0-30m distance in the Custom Functions. The most significant feature I can highlight at this point is being able to view most if not all of my strobe settings at once. It’s wonderful. I did run into one issue that is totally user error when attempting to use the ALL button to change all of my light settings…
I had left A-E lights active but for this session I was only using two lights. I became frustrated when trying to adjust all of the lights at once since the unit seemed to only allow a 2 stop range down or up. What I realized when I got home is that by having more than the number of strobes I was using active on the screen, the unit will only go up or down based on the lowest or highest setting of a group.
Let’s say group D which you’re not using is set at 1/64th. If you scroll power down and have your units set to 1/128th as the lowest setting all of your adjustments down are limited to just one stop. So the answer when using the unit is ONLY KEEP ACTIVE those light groups you’re actually using. I tried to find this in the user guide but it is not listed. Now you know.
I have assembled some of my initial impressions and comments about this transmitter. It will be a few weeks until I can actually use the transmitter in sessions. But that won’t be before I run it through some of my own usability tests. I must admit that I was hoping Godox would develop a transmitter like this. I want to say straight off that in life there isn’t a single thing that is perfect for everyone. I laughed out loud when I read one person was concerned about the angle of the R2 Pro which they felt is ‘too angled’ and forced them to tilt their camera ‘too much’ to see the display. Another person complained about the R2/X1 controller having no tilt and hitting him in the forehead when he looked through the viewfinder. All things can be improved including human attitudes. The important thing is if a piece of equipment is right for YOU. And of course every manufacturer can and should improve their products, and the R2 Pro is living proof of that concept!
For many years I enjoyed the use of the PCB’s CyberCommander with his Einstein line of strobes. Sure the CyberCommanders involved a bit of a learning curve, was not the most elegant interface…BUT it was so well designed from a function/operational standpoint those aforementioned issues seemed petty. I loved being able to view the power settings of all of my strobes in one look. The range of the CyberCommander was excellent and the variety of controls I had at my fingertips made my job so much easier and more importantly was my ability to focus on the talent, not the lights.
One of the things I noticed right off about the R2 Pro was the battery level indicator. (BTW neither the R2/X1 or the XT32 have battery level indicators) I had just put fresh rechargeable Enloop AAs into the unit and in a matter of seconds it went from 3 bars to 2. Strange…so I changed to a new pair and it was the same. I then got out two fresh Duracell Alkalines and guess what? Three bars stayed. Since I had not yet read the manual and figured I needed to put batteries into the unit to follow along I began to search for the answer in the user manual. Page 09 states:
“AA alkaline batteries are recommended…..Low Battery Indicator When the battery power is weak, less than 2.5v…replace them to assure a strong wireless signal and reliable flash triggering.”
Well there you have it. Alkalines are 1.5v and rechargeables are 1.2v. So right off the bat 2.4v is BELOW the 2.5v they recommend if batteries need replacement. This is certainly not a deal breaker even though I use rechargeable batteries for all of my gear. I will research if anyone makes 1.5v rechargeable batteries. And I will have to find out through testing if 2.4v affects the transmitter’s ability to consistently fire my strobes. If not, then it’s back to using alkaline batteries in this unit. It’s also very interesting that the battery indicator does NOT come on immediately when you boot up the unit. There’s about a two second delay before it appears. I surmise that the unit is ACTUALLY testing the battery level before displaying the remaining voltage…..interesting.
I should also state that I am NOT a speedlight user. I may use one now and again, but my work does not lend itself to speedlights. My work involves the use of strobes so I won’t be testing/writing much if anything about the unit’s compatibility with speed lights. Sorry. I’m not a review site, but like to post what I observe to help other shooters who may or may not operate with the gear I talk about. While I’m on that subject I realize that this unit has TCM, TTL Converted to Manual. Never had that, seldom if EVER use TTL. I’m the old school light meter kinda OG and with digital hell I don’t really need to use my light meter all the time. I can get pretty close because I do this so much and adjust my lights/aperture/ISO/Speed after looking at the shot and Histogram. So I will get around to ‘testing’ the TCM at some point and report my findings. It seems like a cool feature though…
Initial operational observations
HSS and Second Curtain Sync
The R2 Pro requires you to select HSS, Second Curtain Sync or nothing. Unlike the R2/X1 and the XT32 which automatically switch to HSS above Canon’s sync speed, you must enable HSS on the unit or the camera will not go above the sync speed, at least on the 1DX. With the X1/R2 when the shutter is set at 1/30th or slower the camera automatically goes into SCS. The XT32 does not and you must set SCS in the camera’s flash menu when using the XT32. On the R2 Pro C you must set SCS on the transmitter or the flash will remain in first curtain sync. Unless I plan to use SCS I found that leaving the controller in HSS allows it to function in both HSS or normal sync.
In the Group view you must press the MOD button which lights all of the group’s modeling lights. Only then can you turn OFF individual modeling lights for multiple strobes. If you do not turn on all modeling lights in the group view then selecting a specific group with the physical buttons on the left side of the controller does not show the MOD choice on the menu. Sounds confusing I know, but once you get a unit you will see. I prefer the ability to decide which strobe’s modeling light is on or off and the unit has that ability.
Like the modeling light I prefer to control individual units beeping, but it appears it’s an all or nothing choice with the R2 Pro. Certainly not a deal breaker! The nice thing is this unit has a Menu button which easily accesses the former “Cf” function area. That’s where you can enable or disable the sound along with other functions.
Individual Group On/Off function
There are often times when I want to turn an individual strobe on or off and this can easily be done with the R2 Pro. You simply go from the Group view to an individual Group and toggle through the choices of M, TTL or Off using the physical Mode key. Easy!
This is in the Menu area and it’s welcomed. There have been a number of times when I was using my XT32 that I’d get misfires while standing right next to my keylight! It was not all the time, but sporadically and at random times. Now in the Menu area is a DIST choice of 1-100m or 0-30m. In studio and on location I tend to shoot within the 30m distance so it’s nice to have that choice. I’ll be testing to see if I get any misfires when close to strobes. I’ve never had an issue with either my X1/R2 or XT32 at long distances.
Good god I love having an ALL button that is physical so I can easily turn all of my lights up or down keeping ratios I’ve set before the same. I’ll use this feature all of the time.
Something I’ll miss….
On the XT32 when you change Channels in the upper right hand corner is a little diagram of how the old school dip switches correspond to your channel selection. I know most of you don’t use those old dip switches anymore. But for me when I use my Pentax 645Z and the old FT-16 USB receivers to get HSS with xPLOR/Godox strobes I am often changing channels. It’s pretty idiot proof for me to just look at the diagram and switch those little dip switches. Oh well… I’ll just carry my XT32 as a backup anyway.
These are just my initial impressions of the long awaited R2 Pro! And the topics I’ve outline above are the features that are important to me and my work. I have yet to test the unit other than to see how HSS/SCS work and they perform just fine with both the xPLOR/eVOLV line of strobes. I’ll be posting more as I have the time to test the units and finally in commercial work. So stay tuned.
I have replaced this page with a website entirely dedicated to my experience with the Sur Ron. That site can be found here.
Updated April 14 2019
I have been remiss in updating my findings utilizing this remarkable modifier. Most of the imagery I cannot share right now, but do have one which can be shown. This particular image is one of the publicity shots for Momma Mia. I used it pointed directly at the talent about 7 feet in the air. Two Saberstrips were also used, one camera left to illuminate the talent’s face as she was in complete profile looking up as she lifted the microphone to her face.
These images illustrate how the lighting was generally arranged.
Updated September 6 2018
I have an upcoming publicity session so it was important for me to test the Grand prior to deciding on using it for this project. I asked Sammi, a local actress to be my model for the shoot. I have decided to not use any other lights or modifiers when I test new gear to see how they stand on their own. I normally shoot with at least three lights and modifiers during a session. In this case I only used the Grand 70 using a Flashpoint 600 with the remote head. I did not use the Grand with anything other than the focusing arm, no diffusion panels at all. Here are my observations:
My first test was against seamless to ascertain the glamour capabilities of the Grand 70″
I wanted to see how the modifier handles full body shots. In each of the following images I stood directly in front of the Grand which was 10 feet from the model. I also wanted to see how the light quality would be effected by different outfits, some shiny some mat.
In the image below you can see in her eyes the light pattern which I had fully flooded to create a ring light affect. I’m standing directly in front of the modifier.
My next test was to move away from seamless to see just how angling the modifier can create a completely different look.
In both of the instances above the light was feathered to one side of the Grand in order to give dimension to the shot. Both were shot with the light in mid focused position to add contrast and drama.
I will continue to try other methods with this Grand that I was never able to do when I rented the Bron Para line of modifiers due to time constraints. At this point I will simply say that the Glow Grand Para line, at least this 70, truly competes with the Para 177 at a third of the cost. I find the light quality as good for glamour imagery and am thrilled that Adorama has started to carry a line of modifiers like this. I recently purchased and am awaiting the remote head for the 600Pro which I am anxious to try with this Grand. I also plan to use the outer diffusion panel with the focusing rod to experiment with the light characteristics with that combination. Stay tuned, but for now I highly recommend the Grand line if you are looking for a viable alternative to the Bron Para line of modifiers.
Updated August 27 2018
In just over a week I will be testing this modifier on actual talent. I am anticipating a very good result. So much so that I had a client meeting this morning for an upcoming publicity shoot on location in front of a grand staircase at a Fairmont Hotel. Because I anticipate using the Grand Para 70 for that shoot I had to determine if it would fit into my SKB hard sided golf bag! IT JUST FITS thank gawd! LOL
Original Post 8-22-18
These are my initial impressions of the Glow Grand 70 and the Zoom-In Bounce Rod. I won’t be able to test the modifier on talent until early September. So for right now I will go over some of the facets of the modifier and bounce rod, AKA focusing rod. It’s the first 24 rod octa I’ve owned, although not the first I’ve used. The Broncolor 177 ($4300 USD) is the closest in size to the Grand 70” ($1150 USD plus $490 for Bounce Rod = $1640 USD). The Bron Para 177 measures 77” across its face, 7 inches larger than the Grand 70. Both utilize 24 rods in this configuration. The Grand 70 comes with a choice of strobe mounts; mine arrived with a Bowens ring although I won’t ever use it without the Glow Grand ParaBox Zoom-In Bounce Rod.
The assembly of this octa is very different than any other modifiers I have owned or rented. The new configuration consists of 24 levers that are spring loaded which must be ‘locked’ into adjoining bars on the modifier.
This is where I encountered the most difficult part of assembling the Grand Para. In order to put enough tension on each individual arm, I needed to stretch each arm out from the center of the modifier. Doing so alone without assistance, I found that I could not create enough leverage to push each rod away from the center of the modifier to get the lever to ‘click’ into its corresponding bar. This may be easier with the smaller modifiers. Right now this is one of the primary differences between the Bron Para 177 and the Glow Grand 70. The Bron’s rods are hinged in the middle and must be extended before using a crank to expand the modifier. Much easier to do and keeps the fabric taut. Because they’re hinged the Bron’s collapsed length is shorter than the Grand, but its collapsed diameter is larger. The Grand’s interior fabric is very similar if not the same as the Bron; a very shiny silver and very tight as well. The Bron’s outer fabric is thicker than the Grand, but I believe both are very durable.
This is the interior reflective fabric of the Grand. The eyelet is for the supplied inner diffusion material.
A close up view illustrates how each rod ‘snaps’ into place using a hooked tab which engages a bar on the latch.
In order to gain enough leverage to bend each rod to engage the bar, I found it best to use the Bounce Rod for leverage. I GENTLY pulled the rod toward me and then the rods would easily snap into place. The rods are fiberglass so they won’t permanently ‘bend’, but using caution is always the best practice when stressing any modifier rod be they fiberglass or a metal material.
The octa itself is very well made and much lighter than I expected. It has a ‘pass through’ slot which I had hoped would fit/accept my Flashpoint Portable 600ws Extension FlashHead. But unfortunately the opening is not large enough to allow the Extension socket to pass through. No matter since the cord is more than long enough to allow it to come through the front of the modifier to easily reach the strobe body.
The Bounce Rod attaches to the Grand 70 via four spring loaded/nylon shimmed Phillips head screws. I changed them to wing nut/turning knobs so I would not need to have a Phillips head screwdriver with me when I set this up.
The Grand Para will not fit into its supplied case with the bounce rod bracket attached. It WILL fit into the case by detaching the bracket, inverting it and inserting it into the ring hole which reduces its length to fit into the bag. The modifier comes supplied with an inner and outer diffusion panels (not shown) as well as a speed ring for your strobe connector of choice. Mine came with a Bowens mount (not shown). I doubt I’ll ever use it as a traditional octa bank. I prefer the look/flexibility of focusing arms. Adorama also supplies an empty sand bag (not shown) that can be used as a counterweight on either the Bounce Rod focusing arm or the leverage arm.
The focusing arm has an eyelet on the end for the sand bag.
The leverage arm also has an eyelet for the sand bag.
I did not find a need to use the sandbag to counterweight the modifier. It may be because I am using an extension head rather than the weight of an entire moonlight on the focusing arm. Although I believe the Bounce Rod would support the weight of a moonlight I would highly recommend NOT using that method.
One item that was NOT included with the Bounce Rod is a flash head bracket. I thought this was very strange since in order to use a focusing arm, one needs to have a strobe head holder. In the image above I am using a Cheetahstand BirdCage for Chopsticks for Bowens mount lights. Because I have a number of focusing rod modifiers, I have several extras. But if you order a Bounce Rod, be sure to obtain a light cage of some sort.
The construction of the Bounce Rod is excellent. The only part I will replace is the pivot swivel handle. It is made of plastic and does ratchet, however the ‘feeling’ of the lever does not instill confidence in me. That is NOT to say it will break, it just means my preference for a piece of hardware that provides this much torque should be metal.
The focusing rod is located on the top in this photo. The leverage rod is the bottom one. Both are removable from the bracket and easily store in the supplied carry bag. The plastic swivel handle is located in the U shaped bracket. The whole bracket is well constructed.
I’m all about options so I appreciate that the bracket has both a vertical and horizontal mounting hole. IF I’m ever inclined to mount this modifier facing down on a very sturdy light stand I have that ability.
The focusing rod has two sections, the first slides into the housing and is secured by the turning knob on the top of the main cylinder. It can be moved in and out as needed for distance. The second portion is adjusted using a friction knob. My preference for using the focusing rod is to slide the first section all the way into the cylinder and use the friction knob portion to move the light to the fully focused, flooded or anywhere in between position.
I prefer to adjust the focusing arm distance from the front of the modifier. The Grand allows me to do that due to its rod configuration. It’s smooth. I am able to see the effects of the position of the light while in front of the modifier rather than from behind.
This is an example of how I adjust the light position.
One of the most attractive aspects of the large Bron Para line with focusing rod is its ability to replicate a ring light flash and sculpt the light by simply adjusting its angle. But unlike a ring light the ability to stand in front of the modifier while still creating a shadow less light on the talent is wonderful. And then the ability to sculpt the shadows simply by turning the angle of the para to remove or add light to one side or the other is another fantastic feature. Bron has created a well done video about the method to which I’m referring.
Light Pattern Test
To determine if the Grand can accomplish the light control of the Bron, I ran a preliminary test with my partner. Here are my results:
The light position in its fully flooded positon creates a ring light affect which is wonderful. As you can see in the photo the light is shadow less, much like a ring light. I was standing directly in front of the modifier and my partner is about 9 feet in front of me.
A close up of her eyes reveals the ring light affect.
All of this means very little if the light quality of the Grand is not excellent. BUT having said that and having had experience using quite a few modifiers I can say with 90% certainty that this will easily compete with the Bron’s quality of light. In early September I have scheduled a shoot with talent to actually test this modifier in a studio session. Of course I’ll be posting my thoughts and images here. I’m really excited about this modifier!
I know there are a ton of online sites that show specific lights/cameras/etc. along with their specs and such. I wanted to write this post about combining all of the tools we all have at our disposal to create an image. FIRST AND FOREMOST the paramount factor in my shooting is NOT the gear, but the concept. Of course the right gear makes my job easier, but without a solid concept and how to execute that concept, no amount of cool gear matters in my world. My clients come to me looking for several solid concepts to create for a final image. Most have ‘some‘ ideas, but they are depending on me to flesh out their ideas. The two most valuable assets I can provide to them are the final concepts and the talent’s expressions. Authentic expressions can’t be created in post processing.
I wanted to share the video my partner created as I was shooting the promotional materials for a small theatre company’s production of “Heathers.” This video shows in detail how the shoot was created for the client. BTW I always shoot wirelessly tethered to my iPad using the Canon WFT-E6A (replaced by the WFT-E8A) through Shuttersnitch. Both the client and I then know when the shot has been achieved and we can then move onto the next shot. Much more efficient for me than taking a break to show the talent and client things on the back of my camera. I still do that when needed, but it is much more the exception rather than the rule.
Here are the items I used AFTER scouting a location for the shoot and conveying my concepts to the client:
- 6 Flashpoint XPLOR 600 HSS Battery-Powered Monolight (Non TTL)
- 4 7″ cone modifiers
- 1 PCB Omni reflector
- 1 Aputure Fresnel Lens Mount for COB 120 Series Light Storm
- 1 Yamaha EF2000iSv2 generator
- 1 Chauvet Smoke Machine
- 1 EGO Power+ leaf blower
- 1 Flashpoint R2 Pro 2.4GHz Transmitter for Canon
- 1 Glow Grand ParaBox Pro Softbox (70″) (for in studio publicity shots not shown here)
- 1 Glow Grand ParaBox Zoom-In Bounce Rod (for in studio publicity shots not shown here)
Using battery powered equipment is key to my on location shoots. Wireless everything has been a godsend in the last 12 years. No more cords which were replaced with remote triggers, remote control over strobes…wow. The only reason I used a generator was to power the smoke machine. In those instances where gas generators are not allowed I use a Goal Zero Yeti 1000 solar generator for my smoke machine when called for in a shoot.
I selected the Ego Power leaf blower because it has variable power, not stepped power. During those times when I need to have a wind machine I need the ability for my assistants to either subtlely or forcefully use wind. As of this posting I cannot show the actual publicity shots the client will use, but can display shots they have opted not to use for the promotion.
What will be of interest is the video my partner Tracy Martin created for the client which has been released. My point of this post is to help others in displaying how combining all of the tools now available to photographers is only limited by your imagination.
Four strobes in various positions including to illuminate the smoke. Key light using the PCB Omni reflector. It’s great in wind and produces the quality of light I wanted.
UPDATE February 26 2019
Update to the update. The visitor who left me a message stating the baby pin did not come with their stand was mistaken. THE STAND DOES INDEED COME WITH THE STAND AND CAME WITH THEIRS. I have deleted their comment in the comment section.
UPDATE May 15 2018
I continue to appreciate the strength and build quality of the stand. I have been using it to hold my Mole Richardson 412 converted Hollywood Fresnel. The total weight of the Mole with barn doors and 1200ws strobe head is 29 pounds. Add to that the weight of one or two Flashpoint 600s and this thing remains rock solid. The only downside? It’s a bitch to lift that spotlight up! LOL
UPDATE December 22 2017
The more I use these stands the more impressed I have become. Not only do I find they present a better value than Matthews stands, but their wide footprint makes them invaluable for my work. I use one religiously whenever I’m using a long boom arm to suspend lights/modifiers over the talent. I’ve found that by placing my 15 pound counterweight on one of the legs rather than on the boom arm is beneficial for two reasons. First I am not having to lift an additional 15 pounds up while raising the height of the stand. Secondly the lower placement of the counterweight is more effective in offsetting the weight of the modifier and light head than placing the weight in a higher location on the stand.
UPDATE October 19 2017
I’ve had the opportunity to use this stand extensively over the past few months. I will simply say that whenever I need to ENSURE that my light/boom/whatever combination needs to be rock solid it is my go to light stand. I always use it when I’m using a boom arm for an overhead light. Or when I use my 59″ Zeppelin. Do I like lugging it to locations? Oh hell no!!! It’s damn heavy, but the trade off of stability and rock solid dependability to ensure the talent is never at risk of being injured is well worth it!
UPDATE August 16 2017
I am preparing for a fashion shoot and due to the way I will configure my 59″ Westcott Zeppelin on my boom I could not be happier with my Flashpoint Junior Steel Wheeled 12′ Stands! Their huge footprint makes them so stable for things like this.
UPDATE July 17 2017
I recently wrote an article about using all of my Xplor/Godox lights in one shoot including the Junior Stands. You can view that post here.
UPDATE: February 18 2017
Today I ran an eight hour studio session for a client’s upcoming season brochure. I was able to use the Flashpoint Junior Steel Wheeled Stand – 12′ for an entire day. I should explain that this day involved shooting seven different scenes with different talent for each, so moving lights around was constant. I will simply say that the stand performed FLAWLESSLY and I will not hesitate to purchase another and another. The wheels are incredible and roll over extension cords with ease. Granted none of my strobes use cords, but my smoke/haze machines/wind machines do! These stands are highly recommended for its performance and value. Be forewarned these are not sissy stands, they’re heavy and beefy, use them in studio only!
February 18 2019
I recently used the Flashpoint eVOLV 200 Round Flash Head attached to an AD200 during a professional tango shoot. I like the modeling lamp in the head and find it brighter than the stock Fresnel head in the AD200. I used the light with a ‘voice activated light stand’ (a human) in this instance. Because the Argentine Tango dancers were moving freely a normal light stand just would not be the best tool for the job. Plus the room was filled with haze and the rays of light coming through the doorway made balancing light a challenge.
The quality of light produced by the Round Flash head is very very nice. I won’t ever hesitate to use it when it’s the right tool for the right job. And in this case it was.
Update February 18 2019
I had the opportunity to use the Glow Wing Like during an Argentine Tango shoot to create marketing imagery for the dance troupe. I will say that the modifier is a great medium in terms of light quality between the Glow EZ lock Parabolic Softbox and an Elinchrom 39″ Rotalux Deep Octabox. The primary difference is of course the fabric being white. And its ability to be feathered is not as keen as a normal octa or umbrella. But its shape came into play during this shoot since the ceiling was very low and I needed to have the modifier as high as possible.
You can view more of the images I created using both the Wing Like and the Glow EZ Lock Parabolic here.
AD600 with a 5″ cone reflector was used as my back light/smoke illumination light. Water on the concrete floor creates the reflection. 64″ Wing Like Parabolic is my key light placed horizontal to the ground all the way up to the eight foot ceiling.
Original Post February 11 2019
I recently received the Glow EZ Lock Wing-Like Parabolic and am completely intrigued! It’s not just the shape of the umbrella or the oh so popular parabolic title, but the inner diffusion panel. I’ve NEVER seen any umbrella including the Angler ParaSail Parabolic Umbrella with the Glow’s configuration of diffusion panel.
The Glow has diffusion material OVER the umbrella ribs. Sure there are flat diffusion panels which go completely over an umbrella opening, but I’m not aware of one like this.
It’s a bit difficult to see in Adorama’s stock photo, but the ribs of the umbrella are covered which then creates a cone of diffusion material…so interesting! I was watching some friend’s 11 year old daughter while they attended an ‘adult theatre play’ so Lily was NOT a willing light test victim…hahahahaha. But I wanted to give some initial observations before I do an actual test of the units.
- It ‘appears‘ that these can be used without the inner diffusion panel, BUT and this is a big but; it would be a total hassle to remove the white fabric. Each rib is attached not only at the ends, but with two additional threads points which hold the fabric onto the ribs. Sliding the fabric off of the ribs would be easy. Reinstalling them onto the ribs would be a whole different story. So I’m not sure if it’s meant to be used without the diffusion panel.
- The inner silver fabric is smooth and shiny, much like the original PCB Extreme umbrellas. If you’re not familiar with those think of the shiny side of aluminum foil and you’ll get the picture.
- Some of the nibs that hold the inner and outer fabric can come loose from the umbrella ribs during shipping. But after that they’ve stayed in place nicely.
- The shaft of the umbrella is well made, seems solid rather than hollow. Doesn’t dent too much when screw down umbrella mounts are used.
- On strobes or holders that don’t have a screw down mount for umbrella shafts the unit will rotate a bit, as with the 600 Pro which only has a friction holder for umbrellas shafts.
- The construction is a 7/10 and should hold up well for those (like me) who treat their gear well. For rental houses where people who rent could give a shit about care they’d have a much shorter life.
- They come in three different sizes, 45, 60, and 88 inches.
I will of course be testing the quality of light and some unusual ways to use these because of its shape. People who have used this shape of modifier talk about how great it is in tight spaces or low ceilings. I can see how that would be of high value. But I have some different ideas on how well these will perform…..more to come.
I really wish I had these to try during a recent all day publicity shoot. Not that I would have used them for the actual shoot, but done some testing with real talent in a great environment. Oh well….
First Post – February 15 2019
For years I have used Sunbounce reflectors. I have found them both durable and ‘OK’ in the wind. I say good rather than excellent because just like anything that is fabric (like sailboat sails…) it catches the wind. When Adorama came out with their Glow Collapsible Circular Wind Proof Reflector with Handles I wanted to test them. I chuckle at the term ‘wind proof’ since for me that would mean even in a tornado something would survive! But I know what they meant, ‘wind resistant’ is the term I would use.
When my photo partner and I unpacked the 32″ one (the one that’s reviewed here) it was a sunny day so we tried ‘reflecting‘ sunlight with the Glow 32. Although I felt that it was comparable to my beloved Sunbounce 32″ she said “Oh it’s not as good.” Hum…. So today I decided to actually test the reflective qualities of the Glow 32. I used one of my AD600s set to 1:1 full power, attached an eight inch cone and placed the strobe about 6 feet from the reflector. I then held my Sekonic meter at the end of the AD600 above the cone and fired five shots for each reflector.
Here are the results all metered at ISO 100 at a shutter speed of 1/100th:
- Sunbounce 32″ silver/white reversible reflector using the silver side
- Glow 32″ Wind Proof
So the Glow is 1/3 of a stop more reflective even though it’s not a solid fabric! Now to be fair my beloved Sunbounce (which I shamed Greg Gorman into giving to me btw) is old and NOT as silver as it was when I got it. BUT it’s still very reflective. So for me even if the Glow was a third of a stop less reflective the fact that it’s so efficient is incredible. The real test for me is its advertised wind resistance so….
I have a battery operated leaf blower which has variable stepless power that I use as an on location wind machine. I set it to “Low” and placed both the Glow and Sunbounce on a reflector arm and set it onto a light stand. Don’t bother being a troll and asking me the MPH or other shit trolls like to ask. This is unscientific and I just wanted to see how it compares to a regular piece of fabric in wind. Needless to say the Sunbounce IMMEDIATELY started turning around the light stand. The Glow on the other hand only began to turn as I placed the blower closer to the mesh. Incredible! I’d estimate my seat of the pants difference to be about 60% LESS affected by wind.
There are several other facets to the Glow I appreciate. The metal rim is more narrow than my Sunbounce which makes it much easier to attach to my reflector arm. Normally I have a 4/10 cussing with the Sunbounce. With the Glow it’s 0/10! The other thing the Glow has are two female attachment points in the handles. On one side is a 1/4 20 and the other a 5/8s thread. I prefer to use a reflector arm bracket but in a pinch being able to mount the reflector on a male threaded light stand is great!
It’s not reversible like my Sunbounce with one side silver and the other white. So if you’re looking for that versatility then the Glow Wind Proof isn’t the right one for you. I’ll be trying these on location shoots for sure knowing the reflective/wind resistance quality is good!
Perhaps an unforeseen advantage of these reflectors is the fact that the screens can be seen through presents a HUGE advantage for me. Assistants can view how the light is falling on the talent even if the reflector is blocking their view. This will come into play when using Glow’s larger reflectors as well. For me that is even more important than being wind resistant….well as important.
I’ll be using these both in studio and on location. I prefer more specular light in most of my sessions. Will I give up my framed Sunbounce reflectors? Nope, the right tool for the right job is my motto. And in wind or when an assistant needs to look through the reflector these are the right tool for my work.
UPDATE February 11 2019
I realized I had posted some of my lighting techniques under a different blog heading about the v2.0 Saberstrip modifiers, which I consider to be a revolutionary modifier, but had not updated this post. I do so because I find the v2.0 Saberstrips to be almost invaluable for me in creating dance imagery. In some cases I have used three of them to light dancers in studio. As an overhead light on a boom arm and two on each side of the dancers as rim lights. It creates a very dramatic sculpture of their forms as they move. I have also taken to using my 10″ Fresnel to light dancers. I love the light produced by a large lens Fresnel. A hard contrasty light that is unlike any other modifier.
The following images were all created with three v2.0 Saberstrips as shown in my photo above.
The following were shot with a backlight with a cone, three v2.0 Saberstrips and the Fresnel as a fill light.
And finally two v2.0 Saberstrips and the Fresnel as a key light.
For me experimenting with light is one of the most exciting parts of dance photography. Don’t be afraid to experiment, otherwise all of your images will begin to look the same. And what fun is that?
UPDATE October 12 2017
In my review of Cheetahstand’s Quick Stripbox and Lantern I have shown my lighting setups for a different dance troupe. You can view that post here.
I was recently hired to do an annual studio dance session by one of my long time clients. I’m posting this to show how I use xPLOR, eVOLV, Cheetahstand, CononMark, etc lights and modifiers in a session. This was an all-day session lasting approximately 6.5 hours of nonstop shooting. I had charged both the Xplor and eVOLV lights to full the day before. I never even ran close to running out of battery power on any of the strobes. All of the strobes showed half full at the end of the day. My Canon 1DXII showed 25% battery life left at the end of the day to give you some reference. I was using the WFT-E6A wireless transmitting dongle on my camera to wirelessly tether my rig to my iPad so the client could view the images as they happened. Using the transmitter uses more battery life than without.
There seems to be quite a bit of ‘talk’ that certain brands of modifiers/lights/etc. must be used in order to ‘be a pro.’ Nonsense. How one uses gear, how one engages with the talent and how one uses their imagination are the most important part of imagery to my clients. So I post this in hopes that it will help other shooters who are interested in multi light set ups, but not hung up on brand names or scientific theories about what makes a true parabola or other talking points. When people ask me what is the one thing I would have for gear over everything else, I always say your imagination. Years ago I was blessed to be able to spend time with Annie Leibovitz and I asked her “How do I shoot more like you?” Her response? “Don’t shoot like me Mark, shoot like you. It’s the only way to develop your own style.”
Some of my final images.