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Category : Studio Work – Publicity

06 Jun 2020

Saberstrip v2.0 Alternative

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.

FOTOCREAT 3″X20″

StrobiStrip 100

StrobiStrip 100 with the clear plastic installed.

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.

StrobiStrip 100 packed compared to my Fuji X00V for size.

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.

Interior of the SSv2.0

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.

Interior of the StrobiStrip 100

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.

Very convenient that the Round Head is just flush with the beginning of the StrobiStrip’s diffusion fabric. The swivel I use stops the tube from going further down the strobe too. Slick!

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.

Enough Velcro to secure the modifier around the 200 with the Round Head attached.

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.

 

07 May 2020

Parabolix 35D – UPDATE Update May 7 2020

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.

For the shot of the three actresses the Parabolix was the key light.

The talent waiting for me to get ready.

Five light shot with the Parabolix as the key light camera left. Mid focused.

Parabolix fully focused with grid in place.

Haze to create atmosphere, back lit, Parabolix fully focused with grid camera right.

L to R: Saberstrip, Aputure Spotlight (gobo) Parabolix 35D, Glow curved ARC softbox.

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.

Parabolix as the key light, camera right. Two Saberstrip v2.0s were used as an overhead and rim light

Parabolix as the key light, camera right. Two Saberstrip v2.0s were used as an overhead and rim light

My converted Leko stage follow spot is the key light here. The Parabolix is my fill light camera right.

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.

35D as the key light fully flooded. Cheetahstand Ricebowl 90 with inner diffusion panel only and grid as rim light.

Side view fully flooded. xPLOR600 with remote head is the strobe.

Image of the harpist.

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:

Shot against 140″ Savage White Seamless. In this BTS shot I didn’t have the Cheetahstand Lantern set up yet. The 86″ soft silver PCB umbrella was stacked behind the Parabolix. I used the 35D in mid focused position to bring out the faces of the talent. The Phottix folding white BD was used as fill when needed.

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.

All of the images were shot with a Pentax 645Z/Cactus v6II, xPLOR 600s using HSS 1/400th to control any ambient bleeding from the overhead lights which I could not turn off.

In this image you can see the Cheetahstand 26″ Quick Lantern which I control with an old PCB umbrella I cut to make it a drape. I use wooden clothespins to roll the curtain up when I want to direct the light to certain areas. I find this a much better method of overhead lighting than my former methods.

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.

Fully focused.

2/3 flooded.

Half flooded, meaning the strobe head is about halfway into the modifier. On the Parabolix scale on the focusing rod that is at level 5 of 10.

Fully flooded.

Fully flooded

Fully flooded.

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.

Original Post

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.

The shape is very similar to the Broncolor Para 88 I rented last year to test.

Like the Cononmark the Parabolix has sixteen rods. The interior fabric is pebbled and if it performs like the Elinchrom Rotalux Oct it’s a winner. You can see the slight slit at the 6:00 position in the modifier. This is for the cord from the light to the exterior. It’s hook and loop fastener.

The two large handles ratchet and are smooth. The knob to the right is where you adjust the focusing of the light. It has a numeric scale from 1 to 10 on the rod itself, but I forgot to take a photo. I think that may be of value in replicating flooding or focusing light. We’ll see. I have it in the fully flooded position here.

The modifier mounts to its focusing arm with a Profoto like clamp. I will say that even though this is a well made unit, the Bron Para 88’s four folding arms makes assembly and disassembly much easier. Is it worth an extra $3K? That’s up to each shooter. My main focus Saturday is to see the quality of light.

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.

Fully focused light pattern.

Fully flooded light pattern. So even!

Focusing rod numeric gauge. I think this will prove valuable. The other thing is its smooth operation is wonderful.

The optional grid is 2×2 and nylon.

One of the small details I appreciate is the grid attaches via Velcro which is nothing new. BUT the width of the rim is twice the size of the Velcro thereby allowing an edge about 1″ wide to protrude beyond the modifier to ensure that light spill is reduced even more. So good! Little details make a difference.

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.

02 Mar 2020

More than just gear

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.

12 oz canvas stapled to the floor and primer applied.

First coat of color.

All done waiting to dry.

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:

  1. Elegance
  2. Beauty
  3. Emotion

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.

Overhead light is my Cheetahstand Lantern with a cheap umbrella I cut up for its fabric as a drape. Foreground is my Aputure Spotlight with a window gobo. Phottix Softlighter is on the right as my key light.

Balancing the key light with the gobo light to remove the window pane pattern from her face without overpowering the shadows was tricky….but accomplished.

My Parabolix 35D is my key light here. The Fresnel light on the left was used to remove floor shadows from the Mole Richardson Fresnel spotlight on the right.

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.

The client looks over my shots in real time on my iPad so he knows when we’ve achieved the shot and can move on.

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!

15 Feb 2020

Flashpoint FV150 – Hybrid LED/Flash Combo – 2-15-20

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!

Nighttime with the FV150 LED at 100% through a lantern modifier. As a reference the backdrops are 10’x9′ in size.

This is the scene before using the FV150 during the daytime with the door and windows open.

Nighttime with the FV150 LED at 100% through a lantern modifier. Just before doing some test shots in strobe mode.

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.

1/80th f5.6 ISO 400. FV150 at 1/2 power

1/80th f5.6 ISO 400. FV150 at 1/2 power

1/80th f5.6 ISO 400. FV150 at 1/2 power

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.

Here you can see the FV150 in mid focused position in the Parabolix 35D

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 

Shot #1 ISO 160 1/80th shutter speed, f2.8 Constant Light LED mode, 70% power

Shot #2 ISO 160 1/80th shutter speed, f2.8 Constant Light LED mode, 70% power

Shot #3 ISO 100 1/80th shutter speed, f2.8 Strobe mode, 50% power

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

Very impressive that the Cheetahstand focusing rod does NOT bow under the weight of 7.2 pounds even when extended.

1/125th shutter speed, f4.5 ISO 200 FV150 at full power

Fully flooded 1/125th f4.5 ISO 200 full power strobe.

Setup for my fully focused test shot.

Fully focused 1/125th f4.5 ISO 200 full power strobe.

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.

1/400th which is HSS for a Pentax 645Z (1/125th is normal sync speed) f4.5, FV150 strobe set to full power ISO 200

Set up for the strip of light shot.

1/400th which is HSS for a Pentax 645Z (1/125th is normal sync speed) f4.5, FV150 strobe set to full power ISO 200. With the Saberstrip for fill set to 1/128th power

Testing various gobos with the Aputure Spotlight and the FV150 set to full power in strobe mode.

1/400th which is HSS for a Pentax 645Z (1/125th is normal sync speed) f4.5, FV150 strobe set to full power ISO 200

1/400th which is HSS for a Pentax 645Z (1/125th is normal sync speed) f4.5, FV150 strobe set to full power ISO 200

1/400th which is HSS for a Pentax 645Z (1/125th is normal sync speed) f4.5, FV150 strobe set to full power ISO 200

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.

1/400th f4.5, FV150 strobe set to full power constant light ISO 200

1/400th f4.5, FV150 strobe set to full power strobe mode ISO 200

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…..

How I set up Bob for the test. Glow octa with both diffusion panels installed.

FV150 set at 1/4 power, ISO 800 f2.8 1/320th shutter speed.

FV150 set to full power 1:1 ISO 500 1/400th shutter speed.

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!

Yup the FV150 attaches natively to the Aputure Spotlight, no adapter needed. And man is it bright in LED mode too!

The LED unit with the supplied 7″ cone which I used in my power testing.

The rear of the unit in LED constant light mode. It’s supplied with a remote control to change the settings while in constant light mode.

The light in ‘strobe’ mode. The lowest setting for the strobe is 1/8th power.

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!

04 Jan 2020

Learning with Light

I am constantly searching for new ways to use light and shadow. Much of my work revolves around dance and although I’ve been happy with most of my work, I’m always thinking my next shot will be my best shot. I study lots of dance photographers, Lois Greenfield is just one of my favorites. Her creations for movement are delicious. After spending time in nature and watching movies I’ve become inspired to try to recreate some of the concepts I see in my dance imagery. So for my first concept I wanted to create a wall of light and a ceiling and floor of light. I determined that the most effective way for me to accomplish this task was to use my Aputure Spotlight and the Leko follow spot I converted into a strobe. Both use blades to shape and focus the light with or without a gobo. If you’re not familiar with blades in follow spots, just do some Google searching.

Foreground is the Aputure Spotlight and the instrument on the right is my Leko follow spot.

Prior to attempting my wall/floor/ceiling concept I wanted to try using the blades on the spotlight for more static poses dancers often perform. The next two images were created using the instruments above. The dancers I asked to help me understood that the shoot this time was not about them. Not about the desire for perfect feet, hands, etc. but about the light. I was blessed that they understood the intent for this shoot.

I then filled the room with haze so the light rays would be visible.

I have switched to a non heat oil hazer. No it does not leave oily residue on the floor and the particulate is much finer than my prior heated hazer.

Test shots for walls and then floor ceiling of light.

Walls

Floor/ceiling

And here are three of my light test shots.

Walls

Ceiling/floor

An “X” of light

So I will continue to chase new light, sometimes it works, sometimes it does not….at least not initially. But experimenting is the only way I’ve found to break out of my norm.

13 Nov 2019

Glow Portable Frame Scrim Kit

Glow Portable Frame Scrim Kit Complete Studio Flag and Diffusion Set with Collapsible Frames (24 x 36″)

Whether or not you use scrims/flags/etc. in your work is a topic for a completely different post. I use scrims and flags extensively in my work. My issue has always been transporting scrim or flag FRAMES via airline travel. For local shoots it’s not too bad although some scrim/flag frames are not that easy to break down and transport. Even though they are two dimensional in size (yes they have depth too, but barely….) they can be cumbersome.

So when I was made aware and got a set of the Glow Portable Frame Scrim Kit in its own flat small carry case I was intrigued. Inside of the pouch are five frames which fold extremely small in size. And as I discovered after assembling them the scrims/flags can stay ON the frames even when folded! Halleluyah to this invention! Not only are they small enough for me to carry in my trusty SKB hard sized golf case with my other modifiers, but they are so easy to assemble and strike on location!

So for a recent out of town publicity session I opted to take one of the negative (fully black) reflectors and one net to cut light. I cannot display the images since they are not to be released at this point. But I will say that the flag and net worked very well. As well as my regular devices that do not collapse. 

My setup for this session.

My only complaint about these is Adorama does not currently sell nets/flags/scrims for this unit separately. There are times I need two, three even four of the same flag/net/scrim. And with this set up only one of each is offered. For those who need multiples of the same flag/scrim/net I would not recommend this kit until Adorama offers fabrics separately. But once they do I’d highly recommend this kit.

The carry case has two velcro slots to carry the frames. I found that I can leave the fabrics on the folding frames and they fit well into their slots.

The interior of the case has two frame slots and three clear pouches which hold the small circular and rectangular flags. I keep two small grips in the third pouch.

The flags and frames fit so nicely into my airline modifier case…an SKB hard sided golf case.  

24 Oct 2019

Flashpoint R2 Mark II TTL Transmitter (X2T-P)

Flashpoint R2 Mark II TTL Transmitter for Pentax Cameras (X2T-P)

I have tested and been using the Flashpoint R2 Mark II TTL Transmitter (X2T-P) for Pentax since mid September 2019 in my workflow. I have found that using the Scan feature included in the firmware with this trigger is critical to prevent misfires. Flashpoint has not released a Pro II version of their trigger for Pentax so this is the next best thing for my work. Sure it would be nice to have the same trigger configuration for all of my cameras that includes the Scan feature, but preventing misfires easily outweighs that convenience.

I should also note that I am using this trigger with AD600s, Flashpoint 600s and the Pro versions along with AD200s. All with the most current firmware. (As of Oct 2019)

I’m also a fan of the Godox Android app that mates with this Bluetooth enabled trigger. Unlike others I have NOT had issue with the app. Although I have used it sporadically in my workflow, I need to become more comfortable with its usage in a fast paced studio setting.

To date I have used the X2T-P in three client sessions. My misfire rate has been between 0.5 to 1.0% – a very welcome change from my previous experience with the R2 Pro for Pentax.

As of the date of this post the firmware version is 1.0 and I have not found any firmware update release later than 1.0 for Pentax on Adorama’s site. I will continue to update this post as I have more sessions with the R2 Mark II P and/or subsequent firmware updates.

As of 10-23-19 no firmware updates exists for the Pentax Camera.

27 Aug 2019

Glow EZ Lock Parabolic and ARC in combination

If you’ve read my review of the Glow EZ Lock Deep Parabolic you already know I find it to be a remarkable value in modifiers. I’ve also done a preliminary review of the Glow EZ Lock ARC strip box. So for this post I wanted to show how I combined both of those modifiers in two of my recent client sessions. I was asked by one client to create portraits of 21 individuals and then an overall group shot of the entire team of talent. For the portraits I used both the ARC and a 48″ Deep Parabolic. The Parabolic was the key light and the ARC was the rim/hair light.

My configuration for the portraits. AD600s were used for both modifiers. The Glow 48″ has the inner diffusion disk and inner baffle only along with the grid that comes with the modifier. The ARC has the inner diffusion disk inserted along with the outer diffusion panel.

I’m very pleased with the quality of light from both modifiers. The wrap and contrast on faces is just delicious.

Due to the curvature of the ARC it acts as both a subtle hair and rim light. Because of its curve I really love how close I can move the ARC strip light to the talent for subtle light.

The subtle wrap of these when used in combination is really flattering for portrait work. For the group shot below I simply used a single Glow EZ Lock Deep Parabolic 48″ with both diffusion panels inserted, but without the diffusion disk. A 600 was my light source. Wonderful coverage and quality of light.

Next up was my dance session for a long time client…I used two Glow ARC modifiers, one Glow Deep Parabolic 48 and one Saberstrip v2.0. All three Glows used 600 lights. Prior to this configuration I utilized three Saberstrip 2.0s, but since they are not available I wanted to see how the ARCs would fair in my use. I had tested the quality of light prior to the session and was pleased with the results. My client commented, “Man you bring new toys every time you come here!” LOL 

My lighting configuration for the dance session. The light on the right is a gobo projector where I use an AD200.

Glow Deep Parabolic with grid was used to focus on Alison’s face. Two ARCs as lateral rim lights and one Saberstrip v2.0 as the top rim light.

Two ARCs as lateral rim lights and one Saberstrip v2.0 as the god light were my configuration for this shot of Sky.

Gobo light modifier using a single AD200 as the key light and one ARC strip modifier was used as fill for this shot.

Two ARCs as lateral rim lights and one Saberstrip v2.0 as the top god/rim light.

When used in combination I cannot stress enough how elegantly these modifiers produce in terms of quality of light. When I consider the ease of set up and strike along with their inexpensive price points there’s not anything to bitch or argue about! Incredible combination I’ll use when it’s the right tool for the job.

26 Aug 2019

Glow EZ Lock Deep Parabolic 48″ Quick Softbox Update 8-26-19

Update August 26 2019

I have written a post where I use this modifier in combination with another Glow EZ product. You can find that post here.

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.

Light test for the group shot. Only the Glow 48″ and Elinchrom as a rim light for this test.

48″ Glow parabolic and the Wing Like 64″ modifiers were the key lights for this group shot. The Elinchrom was the subtle rim light.

Back light is a 5″ cone. Key light is the 48″ Glow.

Haze filled room. Back light is a coned and gobo’d strobe. Key light is the 48″ Glow.

Same light configuration as the image above.

Same light configuration as the image above.

Gobo light is the rear rim light with haze in the air. Key light is the 48″ parabolic with grid.

Back light is a 5″ cone. Key light is the 48″ Glow.

An authentic smile is everything.

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….

Celina and Hugo are such great souls! Oh and yes this was lit with the Glow 48! LOL

UPDATE 11-28-18

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″

Diana Huey stars as Sherrie in Rock of Ages at The 5th Avenue Theatre. Key light strobe is the 600Pro

Yeah she’s a funny gal that’s for sure.

“Mark you’re not gonna post that one are you?!”

Diana Huey as Sherrie and Galen Disston as Drew star in Rock of Ages at The 5th Avenue Theatre. Key light strobe is the 600Pro

Tough to light this one, but it worked out.

UPDATE 11-9-18

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.

Anyone who has created group portraits knows the difficulty. The ceiling in this club is only 8 feet tall. Due to the shape of the Glow 48 it was perfect for this job. Narrow enough to get the elevation I needed, yet wide enough to illuminate most everyone. This was a five light set up. One key light, three gelled ambient lights and one light shot through a Fresnel to illuminate the person in the very back.

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.

UPDATE 8-14-18

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

UPDATE 8-1-18

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.

Glow 48 camera left slightly behind the talent and feathered. Saberstrip v2 as the very slight rim light camera right.

Glow 48 camera right as feathered key light pointing away from the talent to just skim them. Saberstrip v2 camera left as rim/fill light.

UPDATE 7-3-18

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.

Light test. This is when I knew I needed to add a light to illuminate the sign behind the chair for the talent.

In this photo of Ashley and her ‘puppy’ the EZ was the key light camera left sandwiched between the couch and some other boxes. I only used the disk reflector and the inner diffusion panel since I wanted a more specular light for these shots. The Luna Command Center sign was lit with one SaberStrip v2.0

How the scene appears without the use of strobes.

You can see the EZ reflected in Kyle’s sunglasses, a rookie mistake on my part, but that’s OK too. A SaberStrip v2.0 was used camera left as a very soft fill. Again the EZ used with the metal disk and inner diffusion panel only.

I have found that the value and quality of light presented by the EZ is remarkable.

UPDATE 5-25-18

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…..

The comparison group. Left to right, SMDV 110, Glow EZ 48″, Parabolix 35D

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.

Light pattern of the Glow with the disk in it’s fully extended position which I call Mid flood.

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….

The setup. The reflector is a Glow Reflector Panel and Sun Scrim Kit 39″ x 62″ which I will review later. The light used in the Glow 48″ is a Flashpoint 600 Pro.

Shot A

Shot B

Shot C

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.

Glow 48″ with both diffusion panels installed, 600 Pro Strobe, feathered light. Hair/rim light is a Saberstrip Light.

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):

  1. Glow 48*
  2. SMDV 110**
  3. 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 Modifiers:

  • 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?!

UPDATE 5-19-18

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.

The low profile speed rings I use.

You only need to remove one of the #2 Phillips head screws along with the thumb screw and loosen the other two to remove the speed ring.

Here it is with the speed ring removed. As you can see I didn’t have to remove all of the screws.

Figures a photographer would have a shitty photo of the ruler!

Just to show I can replace the Bowens mount with a Profoto mount. I have these Profoto speed rings to replace them when I’m using my Parabolix focusing arm which is the exact diameter of Profoto’s speed rings. Obviously I won’t be able to do that with this Glow modifier due to the rods. BUT the movable disk is intriguing me…..

Original Post

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.

Ok…

Even though it’s marketed as a 48″ modifier, my measurements show it’s 46″ at the widest portion. Not a big deal, but if you’re looking for 48″ I didn’t find that to be the size of the opening. The outer fabric is a high quality rip stop nylon. I had read on some site that an individual didn’t like the yellow stripes and that their clients may disapprove. To each their own, but my clients could care less what my gear looks like, what I wear, what wine I drink, the brand of toilet I use ….blah blah blah. What they DO care about is my imagination, putting it into an executable and relevant concept along the quality of my imagery. 

I love it when retailers include a grid. Especially a high quality one like this. The squares are 1.5 inches and the grid fits very well in the rim of the modifier. No slop.

Just the other side, but I wanted to note that my 600 Pro holds this thing snugly and securely.

I always appreciate when the modifier fabric easily covers the speed ring. Not all do, but this one does. More about that zipper below….

I’m not sure why they’ve included a small zipper. Because of the rod that remains in the center of the modifier I cannot use a focusing rod where I would run a remote strobe head cable out of this opening. Perhaps it’s to make expanding the unit easier when opening. Because it’s DAMN TIGHT to open which is a good thing to keep the fabric nice and tightly stretched. Cussing level (4 of 7) to push the thing open.

I like to remove the rod ends from a modifier’s pocket to see the quality of the end caps. These are great and the pockets are deep enough so the rod ends don’t fall out unless you pull them out like I did to examine one. Also the width of the Velcro is nice and wide, about 2″. Even when I don’t use a grid, feathering light is much easier when a modifier has a wide dark edge.

The fabric is a shiny smooth silver made of a high quality rip stop nylon. I tend to prefer pebbled silver, but until I actually test the light quality I cannot say how it will perform to my taste.

In addition to the grid you get an inner and outer diffusion panel. As you can see they use a 2 stop circular piece of fabric on the inner panel to prevent hot spots.

A personal pet peeve of mine is when makers use those blasted infant clothing snaps on diffusion panels. Sure they’re fine to snap together, but a real bitch to take apart. I was pleasantly surprised that these are both easy to snap together AND APART. Cussing level 0 of 7!

This is the interior of the unit when expanded. The lock is very secure and almost identical to the Cheetahstand quick strip boxes I use. Very secure.

So Adorama includes this little disk which slides onto the rod using friction applied by a rubber ring. I “think” this “may” have a similar affect as my focusing rod modifiers. The marketing material states that the disk can be used this way or inverted to spread the light in a different manner in the modifier. I will test this when I have the chance.

I “believe” that the disk this close to the strobe “may” yield a more specular look to the light like my focusing rod modifiers. When I have my focusing rod strobes close to the center of the modifier I call it ‘focused’ which is much like this configuration.

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.

26 Aug 2019

GLOW EZ LOCK ARC Curved Strip Softbox – Update August 26 2019

Update August 26 2019

I have written a post where I use this modifier in combination with another Glow EZ product. You can find that post here.

Updated August 21 2019

A visitor stopped by and asked me if these modifiers will accept an PCB speed ring. So I took the time to measure it for him and others. I was formerly a devout Einstein user so I have some of those speed rings hanging around. Here’s what I found:

Like my other Glow modifiers the speed rings are easy to change. Remove the thumb screw and one other phillips head screw, loosen the other two and slide the speed ring out from the housing.

The diameter of the OEM Bowens speed ring is 5 15/16th of an inch or 150.8mm

A PCB speed ring is smaller than the OEM’s mount size.

The following three images shows the PCB speed ring compared to the OEM Glow Bowens speed ring….

All is not lost. If it ‘were me’ I would use InstaMorph to create some shims to take up the slack. But that’s just me….up to you. The important point is now you know the Glow’s diameter of the speed ring so if you want to change to another ring, just make sure it is the correct measurement. Hope this helps.

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.

This configuration is how I replicate a ring light glamour light. I really love what this has produced.

How it looks from my side. I opened my garage door. Doing so and taking a shot with my camera phone would blow out the entire image, so I left it closed. It is damn bright outside today. But the bokeh pattern is something I wanted rather than just a seamless shot.

Garage door opened. Pentax 645Z 1/1600th shutter speed, f3.5 ISO 160. 150mm lens

Garage door opened. Pentax 645Z 1/1600th shutter speed, f3.5 ISO 160. 150mm lens

Original Post

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):

Strip boxes were used to light this shot. Three, one above on a boom and two to each side. All three I consider to be key lights.

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.

A VERY SHORT rod is used for the ARC

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.

The diffusion disk attaches UNDER the locking mechanism.

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.

Something to note, the outer diffusion panel of the Glow ARC has the same kind of Velcro on both sides of the attachment strip. Perhaps a grid is coming…? The Cheetahstand strip boxes include a grid.

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 

Results:

Cheetahstand

  • Center f16
  • Top f14
  • Bottom f14

Glow ARC

  • Center f16
  • Top f16
  • Bottom f16

So…..

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…..

25 Aug 2019

Anatomy of a publicity session

Whenever I am hired by a client to create imagery my first question is always “What is the mood you’d like me to create for this session?” Sometimes they have a mood board established, sometimes not. The reason I tend to shy away from mood boards, meaning photographs; it is human nature to get a specific shot stuck in our heads. Much like those crazy M.C. Escher drawings where there are two distinct images, but once you see one, you have a hell of a time seeing the other. And since the client wants their marketing to stand out from what has been done in the past, photocopy photography (my term) just isn’t something I’m hired to do, nor do I want to do that type of shooting.

My beloved Mole Richardson Fresnel that I converted into a strobe is one of my most treasured light modifiers.

I almost always assemble all of my modifiers prior to placing them. Space as you can see was tight on this space.

We let the MUA borrow one of our LED lights and modifiers so she could apply makeup in the temperature of the light we were using.

General blocking of a shot is time consuming.

So the stage play “Nine” is based on the 2009 movie of the same name. The client wanted a Vanity Fair look and feel to the images which would all be in black and white….my favorite color btw! Since this is a new client for publicity I did not ask questions like, “How do you want the imagery to smell, taste and sound?” Crazy imagery questions right? But imagery, much like music is just the catalyst to begin a sensory process that takes the viewer into feelings, dreams and memories of their own. It is the reason why I judge imagery by how I feel when I gaze upon the vision. A pretty picture without feeling is just a pretty picture for me.

Poster for Nine the 2009 Movie

Although I would be creating imagery of each individual character, the money shots would be of the group together, nine people in total. For anyone who has shot groups, you know very well the challenges it produces. My situation was no different. Sculpting light for a group of people takes finesse and planning.

So here are the items I chose for this session:

Light modifiers

Strobes

  • All strobes used are Flashpoint 200s and 600s – a combination of pro and non pro I do not use TTL on any of them.

Camera

Atmospheric

The Glow Grand Para 70 is a REMARKABLE modifier. It has taken me six full months to begin to understand how to effectively use this beast. Unlike other focusing rod modifiers its most compelling use is not for the faint of heart, just like the Bron 133 Para line. BUT once I began to understand the nuances of its characteristics it has become my go to modifiers for many, many sessions. In its fully flooded focusing rod position it easily covered the entire group of 9 people. And unlike normal diffused soft or octa boxes, the color punch and contrast is delicious. My client base has been convinced of focusing rod modifier results.

With a group this large and arranged in the way the client wanted, a very large fill/rim light was needed. This is where I used my Elinchrom 69” with my focusing rod fully flooded. For directional fill I used the Glow EZ with the inner disk/diffusion panel and the grid to direct the fill to where it was needed.

The ability to focus or flood the Glow Grand Para and the Elinchrom 69” is wonderful. Focusing rods replace my need to haul and lug many different sizes and types of modifiers to obtain the characteristics and feeling I am trying to achieve in light. And as I’ve stated earlier, the light they produced when used properly is just exquisite.

As just an example:

This shot of Steve was created with the Glow Grand with the rod in its fully focused position. His ‘scream’ needed to have a spotlight affect the client desired. So instead of having to change the modifier to a ‘spot’ type or apply a grid I just adjust the position of the strobe in the modifier.

In using the Eli 69” as a fill I was able to either fully flood the modifier or use more of a spotlight fill in the situation where I wanted more of a pinpoint for fill. With a group this large that is a godsend. I also used my Mole Richardson as a subtle hair light in those instances where I wanted a glow on the person or persons hair.

The Saberstrip v2.0 which uses an AD200 rather than a speed light is just as remarkable as either a key light, rim light or both. I’m still not sure where Scott is in offering these to the general public, but if and when he does BUY some! LOL I cannot speak highly enough about these unique and incredible modifiers paired with an AD200.

I often find that using gobos to project light patterns on a wall, ceiling, floor or drapes adds more texture and mood to a shot. In this case I asked the client to pick the window gobo she wanted for this mood.

I used a light amount of cold haze to soften the light and the complexion of the talent. Subtle haze is something often used in film and I love how it affects the mood of a shot as well. It adds a very cinematic feel to the shot. I use a cold hazer rather than one that heats the fluid. I find the particulate much more fine than heated haze fluid.

03 Aug 2019

The Wonder of Water

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.

Testing the water pattern and illumination of the water. It was necessary to have a wind protected area to keep the water droplets from becoming uncontrollable due to wind. ALL OF THAT MUST BE CONSIDERED WHEN WORKING WITH WATER.

Another test of lighting and fabric flow.

A final light test with water raining down along with the key light and ground reflections.

One of the final shots for these costumes.

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.

Some fun antics after the shoot was over was called for!

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. 

The room was VERY small!

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.

19 Feb 2019

Flashpoint eVOLV 200 Round Flash Head

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. 

A haze filled room with rays of light coming through the open door was magical.

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.

11 Feb 2019

Dance lighting setup – UPDATE February 11 2019

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.

In this image you can see the three v2.0 Saberstrips, my Fresnel (a Hollywood spotlight I converted to a strobe) and my 69″ Elinchrom I converted to a focusing rod modifier.

One of my v2.0 Saberstrips which uses a AD200 as the light.

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.

Original Post

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.”

I used a four light setup most of the day. My key light was the CononMark 120cm inverted octa using an xPLOR600 with a remote head. I opted to not use my Parabolix D35 because the size I needed for the day required a larger modifier. And I’ve been very happy with the quality of light from the Cononmark. My two rim lights are Cheetahstand Quick Strip lights using xPLOR600s and the top overhead light is an eVOLV200 mounted into an AD-B2 housing. The modifier is a Fresnel adjustable head. For dance I always use a 140″ wide seamless. In this case I’m using black to give a grittier look to the imagery.

I use children’s ABC flash cards to help me know what light is in what group.

The great thing about battery powered strobes is I can roll the key lights or others wherever they’re needed when I want a different look for light

I had to be creative in sandwiching my eVOLV200 against the ceiling!

Some of my final images.

  

13 Jan 2019

Glow EZ Lock Quick Softbox (25″) – Update January 13 2019

Update January 13 2019

I purchased the 36″ version of this modifier based on my experience with the 25″ model. I’m not sure if manufacturing has changed, but the 36″ model’s snaps which hold the inner diffusion panel are of less quality than my 25″ model. They are EXTREMELY difficult to remove once they are snapped into place on the modifier. So much so that removing them is very difficult and one of them pulled the mating snap off of the modifiers. I now use a binder clip to hold that part of the diffusion panel in place.

Be aware that the modifiers may be of a different manufacturing level when purchasing these.

Original Post November 26 2018

I was recently asked by a client to create a portrait of one of their executives that will appear in a magazine article. They let me know only one day before my flight. This was a surprise since my trip was originally scheduled to fly up for a production shoot. This meant I had no plans to haul any strobes or modifiers up on my airline trip. So in order to keep my luggage small I opted to take my Glow EZ Lock Octa Small Quick Softbox for Speedlite (25″) along with my Flashpoint eVOLV 200 Round Flash Head as my lighting gear.

I really like how small the EZ Octa folds down. It fit so well into my suitcase and hardly took any space at all. Because the modifier is relatively small, I knew I would have to place the light close to the talent. I rarely use modifiers smaller than 39″ as my key lights, but in this case opted to use the 25″ due to packing space. I used the metal disk in its concave placement along with the outer diffusion panel. Although the Adorama ad shows that the modifier comes with a grid, mine did not…..

So here are some of the shots:

The shot of the executive which will appear in a publication. Light is camera right about 4 feet from the individual.

Of course I created a portrait of the Director of the play.

Never miss a chance to hug a director!

My assessment of the modifier is it’s ‘good.’ The light quality is good for a modifier this small. Its pack ability is excellent and I will continue to use it as a rim or hair light. Or when I need to pack very small as a key light as well.

23 Sep 2018

Seamless need not be boring!

Occasionally my clients ask that I shoot in front of seamless. Most of the time it is because they have a graphic artist add treatments to the shot. In other cases they don’t have the time or budget to go on location. Shooting in front of seamless is my least favorite type of shooting, but sometimes it’s necessary. In a recent studio publicity session for Noises Off the client asked that I shoot in front of white seamless due to actor scheduling issues preventing an on location shoot. In addition he conveyed to me that no graphic treatments would be added to the final image. The Director of the play sent me a photograph created in NYC by another theatre company for the same play, Noises Off. They had shot their publicity image on location. It conveyed the mood of the shot to me very well.

So my challenge was to recreate that mood in front of seamless. No room, no textures of walls, just plain white paper is all that I had. So after giving it some thought, I decided to combine three different light sources to create the shot within the Artistic Director’s confines, but give the Director the mood and story he desired. I asked that some furniture be used to create levels between the seven (yep 7) different characters in the shot. It would also provide a much less sterile feeling of the seamless. A chair, a small table and I opted to bring a prop lamp I had purchased from a theatre company long ago.

So here’s what I used to create this final image:

Testing my speedlight/Fong concept at home in the lamp before using it on the client’s shoot. I wanted to ensure I could balance the light with ambient light.

Setting up the ‘room’ with the lights and props. The talent found this very entertaining to see me flashing the lamp and gobo strobes while all of this was going on! LOL

It was at this point I opted to change from my Glow Grand Para with focusing rod to the PLM 86″ I was not content with the light I was getting for this session with the Grand. Right tool for the right job is my motto.

Key Light was a PCB legacy 86” Soft silver umbrella. I had intended to use my Glow Grand Para focusing rod modifier, but found that PCB worked much better for this shot. Camera left was its placement. I cannot vouch for the newer version of the PLM soft silver umbrella as I have not purchased or used one. The strobe I used for the key light was the Flashpoint 600.

Here you can see that I started off using the Grand Para. I use my Pentax 645Z for all of my publicity work.

 

Here you can see that I’ve switched from the Grand Para to the PLM 86″. In the lower part of this shot you can see that I always shoot tethered to my iPad so my clients can see the shots in real time. Saves a lot of time.

The lamp was lit using a Flashpoint Zoon R2 Manual Flash with a Gary Fong Lightsphere placed inside the lamp shade. Because I was using strobes, any normal light bulb would have been completely overpowered so I needed to illuminate the lamp with a strobe. It just added the authenticity of light that I wanted for the shot.

The ‘window shadow’ I decided to add was created using a Flashpoint XP600 Pro attached to a Flashpoint XP600 Pro Portable 600ws Extension FlashHead using a now discontinued Bowens Universal Spotlite Attachment with a Rosco window gobo. I wanted some visual interest and a cue to the interior of a grand room to add mood.

Just one of the best aspects of the new 600Pro is the intensity of the modeling light. Because of this I am able to accurately place the gobo light without any issues. As you can see I have the remote 600Pro head attached to the 600Pro on the lightstand. It acts as a great ballast weight too! I do wish the cord on the 600Pro remote head was longer…. It’s shorter than the 600 remote head.

Part of the story of the shot is the ‘butler’ dumping a tray of appetizers on one of the other characters. So in order to time the shot, I asked the ‘butler’ to nod when he was about to dump the tray. The tumbling of the items off of the tray was not done in post, but in camera. It’s just my workflow.

As professional shooters we are so often asked to create a mood and story out of nothing. It’s just the nature of the job. Using your imagination and different light sources/modifiers can do things that one can only imagine.

26 Jan 2018

5 Different Modifiers, 2 Strobes over 2 Days

A trombonist and his PR rep flew in from Nashville, TN to conduct two day photo sessions for his upcoming CD release in the Fall. We had spoken over the phone and via email about the theme for his shoot. I didn’t feel that a traditional musician with instrument would suit his personality. Nor did I believe it would show any creativity, so we agreed on two separate sessions. One on location and one in studio.

Day one was conducted on location at Ocean Beach in San Francisco just before sunset. During his trip it was the only day when rain was not forecast which meant IF the weather people were correct, the sky would have wonderful clouds, one of my favorite elements for outdoor sessions. As luck would have it, the sky and weather were perfect…whew!

BTS shot. Here I used one AD-B2 with two eVOLV200s shot through an adjustable Aputure Fresnel Lens as the key light. Another single eVOLV200 using its included Fresnel head was used to augment illumination of the fire/cello/violin fire.

For each shot on both days I used a total of six different modifiers, but only two different strobes. xPLOR600s, and eVOLV200s. Using AD-B2 and 600ws extension heads gives me flexibility like no other system. It’s one of the big reasons I have switched over to this system.

Two eVOLV200s mounted in a single AD-B2 shot through an Aputure Fresnel modifier was the key light. A single eVOLV200 using its native Fresnel head and barn doors with gel was used to augment illumination on the fire/cello/violin bonfire. Canon 1DX Mark II 1/400th.

Canon 1DX Mark II 1/400th using two eVOLV200s inside the AD-B2 shot though the Aputure Fersnel head.

Day two was shot in studio using four different modifiers on four xPLOR600s, two using remote heads. The modifiers were:

  • An Elinchrom Rotalux Deep Octa using a DIY focusing arm in its fully flooded position as key light
  • An Adorama GlowPop 38 with both inner and outer diffusion panels as a rim light
  • An Andoer Metal Conical Snoot on a boom to illuminate the martini glass with mini trombone
  • A Cheetahstand 40 inch (100cm) QS40 Silver Beauty Dish with diffusion panel installed as the model’s leg light

Although I use a wide variety of modifiers from many different manufacturers I only use Flashpoint/Godox strobes. Why? Well because their performance, value, quality and flexibility gives me options that I’ve not been able to find anywhere else. The battery life of either of those units is incredible. I have yet to exhaust the battery during an all day session.

04 Oct 2017

Fathom Entertainment

UPDATE November 8 2017

My client has used several of the publicity imagery in and around the greater Seattle area on billboards and bus banners.

My partner Tracy Martin completed and the client has released the film she created for their upcoming fall production of Holiday Inn. The film is a behind the scenes look into the making of the production which includes my publicity photo shoot for the show. This film will be shown nationwide through Fathom Entertainment in movie theaters. In the film you will catch short glimpses of the gear I used which includes xPLOR600, eVOLV200s, Parabolix 35D, Cheetahstand’s Quick Lantern among other items.

11 Sep 2017

Using the Godox System

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.

Original Post

I recently created a dance session using a wide range of the Godox strobe system:

My goal was to create the illusion of a stage, a grand hall using light, shadow and atmosphere. This was the very first time I used every single Godox light I have including a speed light. What is wonderful is how seamlessly all of the lights integrate into a system. I could not be happier with this line of strobes.

All shot with a Canon 1DXII, EF24-70 II. Most images shot at 1/500th at various f stops, ISO 100. I have quite a few reviews of the gear I sighted above. The purpose of this post is to simply show how I use the gear rather than update each review. I find actual usage much more helpful for me and hope this helps you as well.

The warehouse where I ran this session. The chandelier was borrowed from a theatre company. It is lit with an xPLOR 600 using a PCB Retro Laser modifier (no longer made) which is out of frame. The light to the left is to illuminate the talent using a 1200ws head and a Fresnel modifier.

Four xPLOR 600s, two powering the 1200ws head, one placed into a Parabolix 35D and one in the PCB Retro Laser modifier.

Cheetahstand Lantern as top light using two eVOLV200s in an AD-B2, Parabolix 35D camera right. Speed light rigged into the umbrella.

You can see how I rigged the speed light into the umbrella. I fabricated the handle since this is just a cheap photographic umbrella.

My fantasy composite of combining her image and a shot I captured along the Oregon Coast. When I created her umbrella image I had planned on working it into a composite, so I knew how I wanted the light/shadows to match the scene.

Two Fresnel heads. Parabolix camera right, low and fully focused.

Two Fresnel heads. Parabolix camera right and fully focused.

Two Fresnel heads. Parabolix camera right and fully focused.

Two Fresnel heads. Parabolix camera right and fully focused.

Oops, forgot to turn off the smoke machine again!!!!

 

 

05 Sep 2017

Why I use: xPLOR/Cheetahstand/Parabolix/Cononmark/etc

UPDATE December 9 2017

I recently conducted a two day session using two eVOLV200S mounted to an AD-B2 unit shot through a Cheetahstand Quick strip box. The strobes were used as second key lights combined with my xPLOR600 with remote head shot through a CononMark 120CM focusing octa modifier. The units performed well and the stopping power of the units is excellent. I shot all sessions using a Pentax 645Z whose sync speed is limited to 1/125th of a second. During jumping action shots the strobes froze the action of the talent jumping. I’m continually pleased with the performance of both the eVOLV and xPLOR  units. It should also be noted that I was able to complete two full days of shooting without charging either the eVOLV or xPLOR units.

The two eVOLV200s in the AD-B2 can be seen behind the Cheetahstand Quick Strip box in the center of the seamless.

Full body shot of the talent as she performed a leap into the air.

Full crop of the necklace to illustrate the stopping power of the strobes.UPDATE October 20 2017

My client has incorporated some of my publicity imagery into their marketing campaign.

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.

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 8 2017

In my post about the Parabolix 35D I have some of my recent client work which was just released.

UPDATE September 7 2017

I wanted to illustrate how I add lights during the session below.

First I see how I want the exposure using the Cheetahstand lantern as my overhead light.

A reluctant assistant stands in while I balance the overhead light. I find that the lantern is much more to my taste for an overhead light.

Then I add the rim lights using the new gridded Cheetahstand Quick Strip Boxes. I am only using the inner diffusion panels.

At this point I add my key light the Parabolix Deep 35 in its mid focused position.

And finally I move my camera right gridded rim light to illuminate her downstage leg to my taste while using the Parabolix in its fully focused position to capture her face.

Original Post

I want to make this simple. The ONLY reason I use a piece of gear is because I have found a piece of gear which works for me. I have long given up on most review sites with the exception of three I trust. I do listen to other pros I know personally if they find pieces of gear that work for them. It doesn’t mean those items will work the same for me, or vice versa. I am LOYAL to companies that service/warranty/customer service the products they carry with integrity.

I was recently hired to create some promotional imagery for a dance troupe. They have an upcoming performance this Fall and wanted me to create some marketing imagery. For this particular shoot I am not tied to an NDA so I am able to use some of the images and BTS shots I created, providing I don’t mention the troupe’s name. This posting is part review, part explanation as to why I choose what I choose for my work.

Cheetahstand

I often chuckle when I hear/read folks discount or complain about items “Made in China.” Sure I would love to purchase items made in the USA or specifically California, but this is a century which is global where items are made everywhere. Apparently innovation is now global….. (LOL) I remember the day people use to tease me that “Made in Japan” meant the items were ‘cheap’ and poorly made. Well guess fucking what? Times have changed….

Cheetah 12″x55″ Quick StripBox 

Well made, easy as pie to erect (versus put together), wonderful light, what’s not to love?

I HATE putting together softboxes, HATE IT. So when I read that Edward had designed and manufactured a ‘quick’ softbox I was skeptical. You see I have used Westcott’s Rapid Box line and although they are fine, I never really like the design. So I ordered one of his Quick Stripboxes and was duly impressed when it arrived. I especially like how he includes a fabric grid with his products. The mechanism that expands the four captured rods is genius. And the material he uses is of good quality.

You can see the Cheetah 12″x55″ Quick Strip Box in the background. The lantern is on a boom and I’m using an old PCB umbrella to control spill. My Parabolix Deep 35 was my key light.

The pair of Cheetah 12″x55″ Quick Strip Boxes in use. Those are symphonic musicians and a composer….Hahahahaha

Lit with only two Cheetah 12″x55″ Quick Strip Boxes.

Cheetah 26″ Quick Lantern 

I only wish I used a lantern earlier!

It’s no secret that one of my favorite lighting techniques is rim or back lighting the talent. Normally I’ve used gridded strip boxes, but when I happened upon the Cheetah 26″ Quick Lantern I thought it may solve one of the issues I have with strip box overhead lighting. By using an orb the light would be more evenly distributed on my subjects. Photographing dancers often means they MOVE around and are often out of the sweet spot of a strip light. The light produced by the Cheetah 26″ Quick Lantern is smooth and more natural looking for my work. To keep the unit’s light from spilling onto the background I cut an old PCB umbrella and use it to drape over the lantern. When I want to direct light other than straight down, I simply use some wooden clothespins to roll the material up to expose the lantern. Works great! Oh and assembly of the lantern is so easy. Love omnidirectional light when needed.

Cheetah 26″ Quick Lantern and two strip boxes used.

Cheetah 26″ Quick Lantern as the key light for this shot. The even light distribution is what I love about his orb!

This illustrates how I’m using the Cheetah 26″ Quick Lantern.

Cheetah 26″ Quick Lantern as my key light and two strip boxes.

Parabolix 35 Deep Package 

So well designed and manufactured. Beautiful light.

On a different post on my site I’ve done an initial review of the Parabolix Deep 35. I was not yet able to display any photos due to NDAs, but am able to do so here. I will simply repeat that the modifier is very well made and the focusing arm and pivot is top notch. The light produced is wonderful. Is it three times better than my CononMark 120? For me not three times better, yet it is wonderful.

Flashpoint Portable 1200ws Extension Head used in a gobo head. Parabolix used as a fill light fully focused. Rear light is a coned xPLOR600.

Flashpoint Portable 1200ws Extension Head used in a gobo head. Parabolix used as a fill light fully focused. Rear light is a coned xPLOR600.

Parabolix used as a key light fully focused. Lantern overhead and both gridded strip boxes used as perimeter lights.

My point to this post is I’m not influenced by brands or theoretical ‘views’ by other ‘photographers’ who love to spew out their views without any imagery. I try to find what works best for me and presents a good value. I value my freedom above all else.

Three of my fellow pro shooters are sponsored by photographic house hold names. In each case when I’ve said “Hey have you tried XYZ’s new lens/strobe/etc?” they respond with “Ugh I can’t because having agreed to be sponsored by ABC Company means I can’t use XYZ’s stuff.” I get it though; getting expensive gear for free is cool. But for me the freedom to use what works for me, means a ton more than free gear.

In the end it’s what I produce that’s more important than what brand of this and that I use. If people believe that a specific brand or model of anything is going to make their work better, then they need a reality check. HOW YOU USE any tool and HOW YOU USE YOUR IMAGINATION are the most valuable assets you can own.

And since I just received an email from a client I consider quite a hard ass who SELDOM hands out ANY compliments which said, “You my talented bad ass brother…is the man…” after viewing some of the shots, I’ll stick to my own methodology.