February 18 2019
I recently used the Flashpoint eVOLV 200 Round Flash Head attached to an AD200 during a professional tango shoot. I like the modeling lamp in the head and find it brighter than the stock Fresnel head in the AD200. I used the light with a ‘voice activated light stand’ (a human) in this instance. Because the Argentine Tango dancers were moving freely a normal light stand just would not be the best tool for the job. Plus the room was filled with haze and the rays of light coming through the doorway made balancing light a challenge.
The quality of light produced by the Round Flash head is very very nice. I won’t ever hesitate to use it when it’s the right tool for the right job. And in this case it was.
UPDATE February 11 2019
I realized I had posted some of my lighting techniques under a different blog heading about the v2.0 Saberstrip modifiers, which I consider to be a revolutionary modifier, but had not updated this post. I do so because I find the v2.0 Saberstrips to be almost invaluable for me in creating dance imagery. In some cases I have used three of them to light dancers in studio. As an overhead light on a boom arm and two on each side of the dancers as rim lights. It creates a very dramatic sculpture of their forms as they move. I have also taken to using my 10″ Fresnel to light dancers. I love the light produced by a large lens Fresnel. A hard contrasty light that is unlike any other modifier.
The following images were all created with three v2.0 Saberstrips as shown in my photo above.
The following were shot with a backlight with a cone, three v2.0 Saberstrips and the Fresnel as a fill light.
And finally two v2.0 Saberstrips and the Fresnel as a key light.
For me experimenting with light is one of the most exciting parts of dance photography. Don’t be afraid to experiment, otherwise all of your images will begin to look the same. And what fun is that?
UPDATE October 12 2017
In my review of Cheetahstand’s Quick Stripbox and Lantern I have shown my lighting setups for a different dance troupe. You can view that post here.
I was recently hired to do an annual studio dance session by one of my long time clients. I’m posting this to show how I use xPLOR, eVOLV, Cheetahstand, CononMark, etc lights and modifiers in a session. This was an all-day session lasting approximately 6.5 hours of nonstop shooting. I had charged both the Xplor and eVOLV lights to full the day before. I never even ran close to running out of battery power on any of the strobes. All of the strobes showed half full at the end of the day. My Canon 1DXII showed 25% battery life left at the end of the day to give you some reference. I was using the WFT-E6A wireless transmitting dongle on my camera to wirelessly tether my rig to my iPad so the client could view the images as they happened. Using the transmitter uses more battery life than without.
There seems to be quite a bit of ‘talk’ that certain brands of modifiers/lights/etc. must be used in order to ‘be a pro.’ Nonsense. How one uses gear, how one engages with the talent and how one uses their imagination are the most important part of imagery to my clients. So I post this in hopes that it will help other shooters who are interested in multi light set ups, but not hung up on brand names or scientific theories about what makes a true parabola or other talking points. When people ask me what is the one thing I would have for gear over everything else, I always say your imagination. Years ago I was blessed to be able to spend time with Annie Leibovitz and I asked her “How do I shoot more like you?” Her response? “Don’t shoot like me Mark, shoot like you. It’s the only way to develop your own style.”
Some of my final images.
Update November 27 2018
Because I’m a small business I always try to support other small businesses first before larger companies. I know how tough running your own show can be even given all of the advantages. As I was told long ago “You don’t get something for nothing.” which applies to situations well beyond paying for things. I had originally purchased and assessed the Lightsaver bumpers back in June of this year. To summarize what’s in my original review: I found it better than the Flashpoint Skins sold by Adorama in terms of padding, but didn’t like that the battery compartment was covered.
I like to revisit sites of small businesses now and again to see if any improvements or new products are available. I was THRILLED to see that he has revised his bumpers to now include a battery compartment cut out!
For those who follow this blog you will notice that I use new v2.0 Saberstrip modifiers with my AD200s. (Let’s hope Scott releases them for sale sometime soon!) Although it’s not my exclusive use of those strobes, they reside in those magic little tubes of delight 85% of the time. Which means that the ends of the strobes stick out from the modifiers, exposed. So I purchased two more of his bumpers to install on my AD200s.
One of the side benefits of the bumpers is the ability to set the AD200 with the v2.0 Saberstrip flat on a hard surface. So often in dance sessions I use the SS’s as rim lights. The ability to just place them flat on the ground saves me hauling extra light stands too!
In the past I’ve used a Godox S bracket to hold my v2.0 SS’s flat on the ground with AD200s and to protect the fragile screen from damage.
Kudos to Lightsaver for taking the time to improve his design. I highly recommend his 20.00 solution to protect your AD200. Oh yeah, plus he’s a small biz like me!
Original Post June 6 2018
I purchased one of the LightSaver AD200 Flash Bumpers to determine if it offers more protection than the Flashpoint Silicone Skins which I have been using for the past year. I watched their demo video as they drop a protected AD200 from about five feet onto a carpeted floor. He was out of stock on all but his black units so I ordered the last one he had. It arrived on time and after installing the unit on my AD200 here are my observations:
I always appreciate when anyone develops a product that addresses a need. And in the case of LightSaver I believe he’s done that….to a degree. But by not having cut outs for one of the major access points I utilize often makes it a no go (meaning not purchasing another one) again. At 25.00 listed on his main page (but 20.00 on his buy page…?) versus 9.95 for a Silicon Skin I’ll opt for the latter. Again it’s all about personal preference. And as far as dropping ANY gear it’s a risk we all take. My main plan is to sometimes rest my modifier/AD200 combo on the AD200 when I set it down. And the Skins do a fine job of protecting the units under those instances.
Update November 17 2018
On a recent on location session in Seattle WA I encountered a situation where the R2Pro would NOT fire my strobes. I was in a club called The Triple Door to shoot publicity for my client’s upcoming performance for Rock of Ages. I had the room filled with haze for the session and the client wanted some shots with two of the stars in a booth. As I looked over I was blown away at the rays of light coming through the windows! The issue in obtaining the light rays just using natural light was the club is below street level and it was a cloudy day (Seattle! LOL) the sunlight was intermittently blocked by both pedestrians, vehicles and clouds. It was also late in the day so the angle of the rays of light would move quite a bit.
I had my partner go outside with both a 600Pro and an AD200, both with cones attached. My thought was that using a strobe through the windows would produce the same light I was experiencing with the natural sunlight, but not blocked by clouds or people passing by. Yet even in complete line of sight for test shots the strobes would NOT fire. I can only surmise that the combination of concrete, brick, the wiring in the club and my lower elevation to the strobes prevented the radio signals from reaching the strobes. And yes I tried both the 0-30 and 0-100 distance choices on the R2Pro. The distance from where I was to the strobes was about 35 feet and 15 feet below.
I always test my gear before putting it into workflow and did so with the R2 for the Pentax. But in this particular situation the radio signals would not reach the lights. Keep my experience in mind for your own sessions. I am NOT not recommending the R2 transmitters. Both my Canon and Pentax R2s have performed well. It’s just in this situation the R2 Pentax did not make a connection in this specific situation…..strange.
FINALLY! I was thrilled when the R2 Pro for the Pentax was announced! As some of you who follow my blog know, I’ve done a workaround for the 1/125th max sync speed for my Pentax 645Z which can be found here. The short version is I was using a Cactus v6II trigger combined with older Godox USB plug in receivers. It worked fine, but like all workarounds it had limitations. That’s all over now with the R2 Pro for the Pentax! Yay!
So I just did some testing to determine if the trigger works with the 645Z and just as important if any banding occurs with the trigger. You see, I had originally purchased a MBX1000 Priolite when the Z was first released. At that time it was the ONLY strobe that would perform HYPERSYNC with the Z rather than HSS. I found that in addition to being quite expensive, the Priolite produced a gradient in the image similar to using a graduated neutral density filter which I found to be unacceptable for such an expensive strobe. Sure it could be corrected in post, but why should I have to do that with an expensive strobe?
All that is over now and here are my test shots I conducted with the R2 Pro for the Pentax:
I could NOT use an eVOLV200 inside of the Saberstrip v2.0 because the USB port was covered when inserted into the SS. But since I no longer need a USB receiver I can now use my Pentax with these remarkable modifiers. I have not tested the trigger with the other xPLOR600s and 600Pros I own, but I have no doubt it will work well. If I find there are issues, then I will post them here in this short review. I have an upcoming client session on location where I now plan to use the Pentax and the new trigger.
A final note. Formerly while using my Canon R2 Pro attached to the 645Z (when not using HSS), pressing the shutter did not reactivate the R2 Pro after it went into sleep mode like it does on my Canon gear. I had to manually press a button on the R2ProC to wake it from sleep mode. Of course there were times I forgot to do so and missed a shot. Not so with the new Pentax R2 Pro. Now when I press the shutter it wakes the transmitter from sleep mode.
Thank you thank you thank you for producing a HSS trigger for Pentax!!!!
Update October 30 2018
No need to do this workaround anymore. Flashpoint has released their new Flashpoint R2 Pro 2.4GHz Transmitter for Pentax. You can read my findings here.
Update September 26 2018
I am preparing for a publicity shoot where I want to use my 645Z, so I had to remind myself how to shoot HSS with the method I explain below. A spider had built a cool web in my backyard so I had this crazy notion to use my eVOLV200 with the Pentax. BTW Flashpoint will be releasing the Flashpoint R2 Pro 2.4GHz Transmitter for Pentax (XPro-P) which will allow HSS without all the shenanigans I went through to make it happen. I sent this shot to a friend of mine who hate spiders. Now she’s not talking to me….LOL!!!!
UPDATE February 16 2018
I have confirmed that the new Flashpoint/Godox AD600 Pro works in HSS with the Pentax 645Z as explained below.
UPDATE September 8 2017
In my post about the Parabolix 35D I have some of my recent client work which was just released. All of those images were shot using HSS with my 645Z.
UPDATE August 31 2017
A visitor recently asked if the older AD360 line of strobes achieve HSS with a Pentax 645Z based on the method I describe below in my original article. The answer is YES it does. Rather than just ‘say yes’ under an ‘assumption’ that it would I decided to actually test it. I’m preparing for a dance session in two days and my partner who is making the move to all xPLOR/eVOLV units herself asked if she could borrow my old AD360s for the shoot. As a gift I had purchased an xPLOR TTL 600 for her so she wants to combine that with my old AD360s using my XTR-16 receivers. So a quick test before charging all of the units for her proves that the AD360 line works!
UPDATE August 20 2017
I ran a test yesterday of various modifiers along with the new AD-B2 mount and discovered that when you are using the USB receivers in the eVOLV200s the only level of modeling light that can be activated on the AD-B2 is the lowest level from the FT-16 controller.
UPDATE: July 29 2017
I have just completed testing HSS with the eVOLV200 strobes with my Pentax 645Z. I have included my test shots with “Bob” and all Flashpoint USB triggers and Cactus v6II settings are the same as the Xplor/Godox 600 lights. But I have outlined how I set the eVOLV200 lights below.
A few people contacted me to let me know they have been able to use HSS with a Pentax 645Z using other brands of lights with the Cactus v6II which I very much appreciated. But even though they have had HSS/645Z success with Profoto’s B1’s, Speedotrons, Photogenic Studio Max, etc. I wanted to make this work with the Flashpoint/Godox line of lights. Why? Well because for my work they fit my workflow with incredible innovation and the largest eco system of strobes. Using an xPLOR600 as either a monolight or pack/head system is just one reason. Combining two of them to make a single 1200 ws head when I need that power, creating their upcoming eVOLV200 twin head all combine to make it the line I love to use. I’ve had my fill of purchasing other strobes just for my 645Z, namely Priolites to achieve HSS. Now I no longer have to use separate brands of lights to do my commercial work no matter what brand of camera I’m using for the job at hand. And that’s great since I use three different brands of cameras!
Thank you to Cactus for developing a tool that is both remarkable and functional. It’s been a godsend for my work.
Original Test Review
To put it simply HALLELUJAH!!!! Oh my gosh for the past four years I have wanted with all of my want to have an option for HSS and my Pentax 645Z other than my MBX1000 Hotsync Priolites. Priolites do NOT use HSS, but rather hypersync and as the shutter speed increases the slight shading of banding increases as well. I’m not talking about black bars, but what looks like a graduated neutral density filter was applied to the image. Sure I could remove it in those instances where it’s obvious, but in my mind for $2600.00 per light it should NOT be something I have to do. Anyway there are several other issues that bothered me, but as ‘the only game in town’ for shutter speeds over 1/125th of a second when using strobes, I like other shooters was stuck. Ricoh never manufactured modern leaf shutter lenses for the 645 and based on their current financial situation and market share I seriously doubt they will. Plus leaf shutter lenses are expensive and limited to whatever focal length is produced. It’s one of the limits that smug shooters of Phase One or Hassy bring up when talking about the 645Z. I just laugh and now I snicker…
So here’s how I figured it out. I now use a Flashpoint R1 Flashpoint Commander Transmitter with older 433mgh USB receivers in my Xplor/Godox 600 strobes. The FT16 is placed on top of a Cactus v6II transceiver. And as you can see by the shots I’ve displayed below it’s a godsend. Will I miss 1000ws from my Priolite? Oh hell no, not when I can simply combine two Xplor600s and hook them to my 1200ws head. HSS using my beloved Xplor600 with my Pentax 645Z means Christmas came in July 2017 for me this year! Hallelujah!!!
Will I like it if Cactus develops a firmware update for their triggers so that I don’t have to use the USB receivers? Sure! It would also mean I could use my eVOLV200s with my 645Z too. But for now I’m damn happy to have figured out how to use my 600s in HSS with my 645Z. No shaded banding whatsoever using my Xplor/Godox strobes.
I truly am one happy person!
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:
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
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.
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.
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.
I know that I often state whenever I get a new modifier/strobe/etc. I ALWAYS test them BEFORE putting them into my workflow. I’ve had a suggestion arise lately about showing them in a group in addition to in each of my modifier/strobe posts. Sounded like a good idea so here we go, but I have no plans to make this post comprehensive for all of my tests. Just a few. The first covers the Saberstrip v2.0 that utilizes the Flashpoint eVOLV200s.
Bought this 1965 MGM Studios MR 412 Fresnel and converted it from a 1000 watt constant tungsten light into a strobe Fresnel. The following images were all shot AS TESTS prior to putting the Fresnel into my workflow.
Elinchrom 39″ Deep Rotalux
I NEVER place anything into my toolkit unless I’ve tested it previously. Too many unexpected situations come up in any session. Being unprepared with things you KNOW about is not wise.
Shooting as a pro means there are times when you have to prove yourself once again with an established client. Not doing a great job either in the finished product or through your service simply means you’re not used again. One of my long standing clients, Village Theatre recently changed Artistic Directors. Jerry Dixon, their new AD planned to attend two of the three on location publicity shoots all to be held in different cities in greater Seattle area. The first session for the play Curious Incidents is also the play he is directing. No pressure eh? LOL
The second aspect of this day that is always a bit concerning was that I NEVER SAW ANY OF THE VENUES IN ADVANCE of the day! Sure the Marketing Director sent me some camera phone photos and links to the MOPOP (Museum of Pop Culture) areas where she wanted to shoot, but I had never been there. Nor had I been to Spangler Book Exchange/Reread Books, the quaint bookstore where we were to shoot the Matilda publicity or the alley in Everett where I’d shoot the Howard Barnes publicity. Add to that the additional element of time. For each venue we were limited in time based on either the schedule of some of the talent or due to the venue’s prior commitments.
The only element I ever insist on from clients is to answer; “What is the mood you want from each session?” Why? Well because the expression of the talent(s) and the LIGHT is something I have to plan for BEFORE I hit the job….which leads me to….
The Marketing Director kept asking me “Mark, I need to know your power requirements for each venue so I can work with each of the operations managers to plan power for your gear.” Since I exclusively use Flashpoint strobes, guess what….they need no outside power!!! SCORE! I hauled seven, yes seven strobes from SF to SEA in a small Pelican case. 49.5 pounds…just UNDER the 50 lbs. limit! Three Xplor600s, one 600Pro and three Evolv200s! I split the four 600 batteries between me and my partner’s carry on camera bags instead of inside checked luggage to save weight (btw I always put gaff tape over the contacts of the batteries just in case…). All of the stands were rented in Seattle and for the smoke I advance shipped smoke grenades to the Marketing Director. It takes planning folks….LOL
For modifiers I took three v2 Saberstrips which use Evolv200s with their Fresnel heads. I cannot speak highly enough about both the Evolvs and the new Saberstrips. Together they create what I view as a revolutionary combination in camera lighting. Yeah they’re that good. I knew that both the MOPOP and the bookstore sessions would be VERY CRAMPED in terms of space. Using “traditional” modifiers or strobes would be a total pain in the ass. Sure it could be done, but would easily have been a 10/10 on my cussing scale. I knew I wanted a softer light for both the MOPOP and bookstore feeling, but a hard light in the alley. So I took three Fresnel modifiers for that session. All of my modifiers fit into my SKB hard sided golf case which I use to transport my light modifiers when traveling out of town.
So here’s how it all worked: (All of the BTS images are by my partner Tracy Martin)
Session 1, Curious Incident shoot at MOPOP
Session 2 for Matilda at ReRead Bookstore
A few of the Final Images
Session 3 for Howard Barnes in an alley in Everett WA
A few of the Final Images
I was so shocked to see an article written by James Spangler the owner of ReRead Books where we shot the Matilda publicity! All if not most photographers know that getting feedback is rare so this was both a nice and humbling surprise. My whole point on this post is to highlight the incredible leap in technology and innovation in the field of photographic lighting. Sure all of us can figure out how to do something even if it’s tough. But to have others who are helping to ease the stress of creating beautiful light is wonderful!
UPDATE June 2 2018
I installed the optional rear handle onto the Pro and love it. Being able to use the handle to adjust the angle of the strobe when it’s on a stand is so welcomed. Even though I often use a focusing rod modifier I do NOT like to use the rod as a lever to angle the strobe, so I simply hold the modifier to adjust the angle. There is one issue with the item I received. In order to install the handle you must remove the four Allen head bolts and use the longer ones which are supplied. I received two hex wrenches and I originally thought that they were different sizes, but they are the same. The issue is they both are TOO LARGE to remove or install the bolts. Luckily I have a huge tool supply and had the correct size of hex key. The supplier should investigate whether I just received an anomaly pack or if they’ve spec’d the wrong hex key.
The second issue is more of an annoyance than an actual issue. After I installed the handle the Pro would not fit into the cool little case that comes with the unit. Sad, I really like that case…sigh! But more importantly even with the handle installed it still fits nicely into my Pelican Case which is the one I use for airline transport. I recommend the handle, especially when a heavy modifier is mounted to the Pro.
UPDATE April 4 2018
My client has just released the press imagery for Hunchback of Notre Dame so I am now able to share them. The session was held on location in Seattle at the Volunteer Park Water Tower which is four stories. After obtaining the required permits we had to lug all of the grip and lighting gear up four stories and I HATE LUGGING! LOL… Because the remote head was not yet available I didn’t use any focusing arms for this session. My modifiers of choice were the Elinchrom 69″ Octa and the SMDV 110cm octa. I used the 600Pro in the Eli and an xPLOR600 in the SMDV.
UPDATE March 15 2018
During recent client sessions, both of which were on location I had the opportunity to use the AD600 Pro in combination with a number of modifiers. Because the remote head for the Pro is not yet released I did not use any focusing rod modifiers. In one session whose images I cannot at this time, I used the Pro in an Elinchrom 69″ Octa with both diffusion panels installed. I did not go over 1/4 power and was shooting HSS with my Pentax 645Z. The unit performed flawlessly.
In the session I can post images below I used the Pro in a SMDV 44″ (110cm) octa with both diffusion panels installed. The interior of the theatre where I was doing these portraits was very dark so I appreciated the very bright modeling light so that I could easily obtain focus. To date I’ve found the Pro model exemplary in recycle time, modeling light and ease of use.
UPDATE: February 21 2018
Yesterday I was able to utilize the Pro during a commercial session. Here are my observations:
- The modeling light is VERY bright, as bright as my former Einstein strobes.
- IF I use the modeling light at any power that enables the fan, the battery life is much shorter than the AD600. My session was only three hours and at the end of it I had only one bar left on power. Keep in mind that I was using the modeling light at 100% during the entire session. The strobe only went to sleep after 30 minutes of non use. I will need to experiment with power control on this unit, i.e, modeling light, sleep time, etc.
- The swivel mechanism is MUCH MORE ROBUST and far easier to adjust than the AD600. I tend to adjust the position of my lights often and in incremental steps during my sessions and the ability to pivot the modifier is excellent. Not having a ratcheting mechanism makes all the difference.
- The recycling times are extraordinary. Literally no waiting for the strobe to recycle IF you’re not using 1:1 power. One second can seem like a lifetime when I’m shooting, but I seldom use 1:1 in rapid shooting. Normally in studio I’m at power levels of 1/32 to 1/2 at the most. I’m not a “spray and pray” shooter so when I say that I shoot at will, it’s when I see a gesture or expression that I want. And at those power levels it allows me to shoot at will.
- Because the unit swivels so freely I will purchase the optional handle when it’s released. Although I plan to use the Pro with focusing arm modifiers and can use those to pivot the strobe, I’d prefer to use the handle.
That’s it for now. I used the Pro with the Adorama 65″ Glow Easy Lock X-Large Deep Beaded Silver Fiberglass Umbrella. Incredible modifier which I’m finding can rival my focusing arm modifiers in some instances!
I debated waiting to write an entire review of my experience using the new Flashpoint Godox AD600Pro strobe until I had tested most of the items important to me. Because this is my high season it would take me about six months to do a soup to nuts review. So I’m opting to write my findings piecemeal meaning – as I go along. Sorry, but I felt it best to do it this way for this strobe. As I integrate the unit into my workflow I will make mental notes and add my findings to this review.
Also since I almost exclusively use focusing arm modifiers now, I probably won’t have extensive use of the Pro until the remote head is released.
Things that are immediately apparent as improvements over the Flashpoint Godox AD600 units:
- The swivel adjustment is nice and smooth now. No more ratcheting which I hated and modified on my units.
- The modeling light is B R I G H T and adjustable to the output of the strobe. Like my old Einsteins. Love that
- The swivel mount now allows you to place the unit in a vertical (parallel to the light stand) position using a SuperClamp and a stud.
- I like the power button located on the bottom of the unit rather than the side. When I pack my strobes into my Pelican cases I often worry about the units turning on due to the pressure from the foam pads. So I always detach the batteries which airlines don’t like in checked luggage. Also simply pressing the power button now turns to unit off immediately. I like that. You must hold the power button down for 2-3 seconds to power the unit up.
- The Bowens mount seems much more snug than the AD600. But that depends on the modifier too.
Some people ‘may’ feel that the build quality is ‘better’ on the Pro but I never thought the AD600 exhibited poor build quality….except for the irritating ratcheting swivel which has been completely removed as well as improved. BTW the swivel adjusting handle can be moved by pulling and re-positioning it in the event the handle is being blocked by the strobe’s body or any attachments.
I’ve had zero issues with my units, only with the early remote heads where the LED modeling lights would fail after two months. If trolls are concerned about what happens if they drop the strobe, hell any strobe….well best of luck to them.
Of course the real aspect of the Pro will be the light quality/battery life/recycle time. I’m very interested in recycle times and the Masking feature. For color consistency a separate menu choice like the Einsteins is great. But during those times my clients need absolute precise color I have never depended upon strobe color temperature, but instead the X-Rite Digital ColorChecker Passport and a recently calibrated monitor.
I have confirmed that the new Flashpoint/Godox AD600 Pro works in HSS with the Pentax 645Z as explained in this post.
In preparation for a session this week I plan on using the Pro with my 69″ Elinchrom Octa WITHOUT a focusing rod. The session calls for a Vanity Fair style of light, so I will use ultra soft lighting which the Eli 69 delivers in spades.
Further aspects and more will be forthcoming….stay tuned.
Update May 29 2018
David sent me a note (which is in the comments below) stating that the 8mm nut I specify is not the correct size. So I measured the bolt with my micrometer. I don’t want to disassemble the pin so my suggestion is for you to take your 90 degree brass fitting to any hardware store and measure the threads on one of their nut/bolt measuring stations.
What is that mount you use to place the AD600 on a boom or lightstand when using the H600 remote head?
I had this article in my review of the AD600/xPLOR600 post. But so many people contact me about the self fabricated brackets I use to mount my xPLOR/Godox 600s on lightstands, I decided to copy the article about the brackets here as a separate post. To my knowledge no one makes a bracket that runs parallel with a lightstand so you can mount your strobe on the stand’s column. If you know of one other than what I describe below, please place a comment on this page so others can buy one.
I fabricated the mount I use because I could not find anything with a 90 degree angle that would not spin on a boom no matter how tight I’d tighten it down. My first try was with my trusty Manfrotto Superclamps which are great. But due to the weight/leverage of the AD600 base it just would not stay put enough for my taste. So I decided to use a truss clamp which never spins. But I had to fabricate the mounting…. (oh and thanks for asking if you can buy them from me, but I’m a pro shooter, not a pro fabricator….)
- ADJ Products JR-CLAMP Stage
- Anderson Metals Brass Pipe Fitting, Barstock 90 Degree Elbow, 1/4″ x 1/4″ Female Pipe
- Two 8mm bolts. One 10mm long, the second 30mm long not fully threaded
- One 8mm nut
The 10mm long bolt goes inside the truss clamp. It is necessary to grind or file down two opposing sides so the head of the bolt will fit in the recessed portion of the clamp and not spin when tightened. The upright bolt is the longer 30mm one that is screwed into the other end of the brass pipe fitting which becomes your light mount. Once you have tightened the bolt into the pipe fitting you will need to cut off the head of the bolt and either grind or file it down. The 8mm nut secures it to the pipe fitting so it does not loosen from the pipe fitting. I notched the stud so the screw from the AD600 would rest in that notch as an extra measure of safety in case the screw from the AD600 loosens.
UPDATE May 24 2018
CalArts has placed their entire Summertime Issue 2018 #3 online.
In January 2018 the Editor of The Pool, an alumni magazine for the California Institute for the Arts contacted me about a feature they had planned for their 3rd edition of the publication. CalArts was incorporated in 1961 as the first degree-granting institution of higher learning in the United States created specifically for students of both the visual and performing arts. It offers Bachelor of Fine Arts, Master of Fine Arts, Master of Arts, and Doctor of Musical Arts degrees among six schools: Art; Critical Studies; Dance; Film/Video; Music; and Theater.
The publication wanted to feature one of their alumni – Antoine Hunter a deaf dancer, choreographer and educator. The editor informed me that Antoine had specifically requested that I create the imagery for his feature which prompted CalArts to commission me for the honored task. I met Antoine when he danced for Savage Jazz Dance Company of Oakland where I created publicity imagery for their troupe.
As with all creative endeavors my workflow was to meet with Antoine over coffee to discuss the mood he’d like to have for his imagery. Once we had our meeting I contacted the editor to discuss his wishes and we scheduled the session in and around iconic San Francisco landmarks. He wanted the imagery to reflect the majestic flavor of Antoine’s home. Beyond that, the artistic elements were left to my discretion which I always appreciate.
In March the editor flew up for the day and we began the session. Even though there was a chance of rain I was confident that the areas I had selected would be shielded from rain if it occurred. As luck would have it, it was a glorious day with wonderful clouds in the sky that I adore. Antoine brought his 6 year old daughter to the event along with his ASL interpreter. Even though we had not discussed shots of him and his daughter, I took them anyway as a memento of that day which he could have for his own memories. I too have kids and having imagery of them never gets old. In the end the magazine used one of the photos which I felt added much to his story. I’ve often found that the images created outside of an assignment are often used and enrich a story.
For all of the images I used a two Flashpoint 600s with extension flash heads to keep weight on the modifier end to a minimum. The modifier I used was a PCB Omni reflector which is my go to outdoor modifier. I had written a blog post about how I converted it to accept a Bowens mount. It is great in wind which is always a concern with my on location shoots. I planned to utilize two of these and had both with me during the sessions. All of the images were created using HSS between 1/1000th and 1/2000th of a second depending on my location and the sun’s intensity at the time. Generally the aperture was f2.8.
My plan was to NOT make the images appear lit, but balanced in natural light yet with a high production value. The only exception was when I created his portrait in a tunnel that is very darkly lit. In this instance I used two of the lights, one as a backlight to rim his figure and the other as a key light. The back light modifier was a simple 7 inch cone on a Flashpoint 600. The magazine ended up using that shot for the cover and I’m really pleased with the results.
I continue to be impressed with the performance, flexibility and quality of my 600 units, both as a monolight or with an extension head. They are key to my work and the innovation in their ability to convert from a monolight to a pack/head or 1200ws head offers me options other manufacturers don’t offer or match at the price point. I often chuckle when I read others who are so concerned about a 1/3 drop of power when using the extension heads. I guess increasing their ISO 1/3 of a stop doesn’t occur to them! LOL!!!! Some people will bitch about absolutely anything rather then spending their time on creating.
Gallery of images. Not all were utilized in the publication.
I’m proud to have been named as a Finalist in the 2018 OneEyeland B/W awards under Nudes. I’m especially thrilled since Howard Schatz was one of the judges. I’ve LONG admired his work so I’m honored! My submission was one of the images I created for my “Tango in the Mohave” series with Eva and Patricio.
While reading an article that Markus Klinko wrote I found an effective glass diffusion dome to go over the AD600/1200 bulbs. He uses them primarily in Fresnel modifiers and I can understand why. Unlike focusing arm modifiers or diffusion panel softboxes, Fresnel lenses project a beam of light through a lens. So any details or more accurately patterns of the bulb element will be projected onto the subject. I found this in my own experiment with the now discontinued PCB Retro Laser modifier which projects light through a parabolic (a real parabola!). When I was using my 1200ws head that contains two bulbs elements the resulting light showed the separate bulb patterns in my test.
I noticed that the diffusion glass cover he uses is sourced from China so I found one that may be made in China but has a short shipping time. That is the one I’m reviewing which is the Opencloud brand I found on Amazon. It’s also less expensive which is interesting since the one he uses is sold by Opencloud as well…go figure!
I had to remove some of the foam tape located at the rim of the frosted glass cover so that it would fit over the bulb without too much friction.
I decided to test the cover to see if the diffusion reduces the output of the strobe. I placed my Sekonic meter 10 feet away and set the AD600 to 1:1 power without any modifier. Without the cover at 1/100, ISO 100 the output was f14. With the diffusion cover it was f13. Now before you all get your panties in a twist thinking “Wow that is very low!” remember that a 7″ cone reflector is going to amplify the light much more than just firing any strobe with a bare bulb. My point is NOT to show how powerful the strobe is but to test to see if the glass diffusion cover reduces the output, and it does by only a third of a stop.
I plan to use the glass diffusion cover whenever I use my Retro Laser, Fresnel, PCB Omni or any other modifier where the bulb is focused without diffusion where I notice an element pattern on my subject. It’s nice to have this inexpensive option.
If you never have to travel and transport your strobes via airlines, no need to read further. Because I travel for about 45% of my work via airline I am constantly placing my strobes and modifiers into checked luggage. All of that gear is subject to brutal, errr, TSA inspection. They open my luggage around 95% of the time to ‘see’ what’s in those mysterious cases. I use a SKB 2SKB-4814W Deluxe ATA Golf Travel Case to transport my Parabolix, Elinchrom, etc modifiers. For my strobes I carry them in a Pelican 1560 Case With Padded Dividers. I remove the batteries from the strobes along with the bulbs. I remove the batteries to prevent having a TSA agent accidentally turn on one of the units. In the past I didn’t remove the bulbs, but on one trip I discovered the agent (who conveniently neglected to leave an agent ID tag in the case) had broken a bulb. I always pack an additional strobe just as a back up, so it wasn’t a big deal.
Since that time I always remove the bulbs and carry them in my camera carry on bag. I searched long and hard for cases that would safely hold the bulbs. The only case I could find were for the AD200 bulbs and made by Cheetahstand. Alas Edward no longer carries any of the Godox line of strobes, or any of the bulbs or the protectors. Glad I got a bunch before he discontinued carrying them. But fret not, you can make your own out of some PVC pipe.
So here is my solution for AD600 bulbs:
AD200 bulb protector
Even though Cheetahstand doesn’t offer these any longer, you can easily make one out of some PVC tubing with end caps. I don’t know what diameter, but you can measure the bulb and determine that for yourself.
It’s no secret that I have enthusiastically adopted the use of focusing rod light modifiers. I’ve found them so versatile and the light quality they produce to my taste and my clients satisfaction. Sure there are times I love super soft light, but for me soft light, or the constant use of soft light is well….. boring. Indirect light like when using an umbrella produces some of the best contrast, detail of any modifiers I’ve used. the problem is umbrellas have their own issues one of them in controlling spill.
When I first was made aware of the Broncolor Para line of focusing rod modifiers I was captivated. It took quite some time for me to find a rental house that would not only rent the Para 88 octa, but the focusing rod as well. Once I tried one, I was sold. But the price was too cost prohibitive for my client base. At the time $4900.00 USD for one modifier was too pricey. So I made my own focusing rod which I wrote about here. I love the light it produces and the flexibility it gives me.
Since those days I purchased a Parabolix 35D, a CononMark 120cm focusing rod modifier and a Cheetahstand Chop Stick which I use with my Zeppelin line of modifiers. What has always frustrated me is I could never find anyone who produced a focusing rod that would accept ANY Bowens modifier. Each of the manufacturers I mentioned before including Cheetahstand all use proprietary mounting solutions for their focusing arms. 16 rods, or 8 rods, holes a certain size, you name it every manufacturer only fits their own line.
Prior to using focusing arm modifiers, my favorite modifier were my two Elinchrom Rotalux Deep Octas. The quality of lights they produce is delicious. Yet because of the Elinchrom speedring design I could never figure out a way to mount a focusing arm to those octas…until now.
I searched for a bracket that is used for speedlights which can be directly mounted to a swiveling Bowens adapter and found this one on eBay. The next issue was finding a male Bowens adapter that would fit onto the mounting bracket. After much measuring I determined that the Adorama or SMDV Bowens ring would fit perfectly. There is quite a bit of modification that needs to happen and perhaps at some point I will outline those steps. But for now anyone with motivation can buy those two items (which were the toughest parts to figure out btw) and make your own. And NO I will NOT be making/selling these brackets, so please don’t ask.
The one other issue many trolls will like to talk about is if this or that modifier is TRULY PARABOLIC in shape. While those folks are flapping their pie holes along with their constant need to be right, I simply look at how any modifier PERFORMS to my own as well as my client’s satisfaction to determine if it’s right for my taste. I love the flexibility of choice and having a bracket that will allow me to use any Bowens mount modifier with a focusing arm gives me freedom to choose. I’m even going to try hard modifiers with a focusing arm!!!! Who knows I may find out it works great…or not. But at least I have the option.
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.
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.
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.
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.
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….
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.
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.
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.
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.
UPDATE January 26 2018
I’ve recently written a post about my use of the xPLOR600/eVOLV200s with several different modifiers for a session. You can find that post here.
UPDATE October 20 2017
My client has incorporated some of my publicity imagery into their marketing campaign. All images were lit using Godox/xPLOR600 lights.
UPDATE October 19 2017
The most challenging lighting I’ve done to date was to recreate the Dutch Masters type lighting for a client with 90 musicians, props and instruments on stage. I used four xPLOR/Godox 600s to successfully light the scene. You can read that post here.
UPDATE October 2 2017
I have written a post about a dance session I conducted that uses these items. You can view that post here.
UPDATE September 10 2017
I recently posted an article on my use of all Godox units in one session. The article includes the use of this product. You can view that post here.
UPDATE: July 29 2017
I have written an article about how I achieved using the Xplor/Godox 600 and 200 strobes in HSS with my Pentax 645Z. You can read that article here.
UPDATE July 17 2017
I recently wrote an article about using all of my Xplor/Godox lights in one shoot including the eVOLV200s. You can view that post here.
I’m an early adopter on lighting gear. Always have been. And like all early adopters I run into the quirks and problems associated with early development of gear. I always test gear before I use it commercially, but sometimes my testing is not exhaustive enough to anticipate every situation. And as any working pro knows, something ALWAYS goes wrong on every shoot no matter how much you plan. It’s just part of the deal.
I was one of the first adopters of PCB’s Einstein 640ws strobes. Excellent t1 performance in a small package was enough for me. I’ve used Einsteins for over 7 years exclusively in studio from the time they were released. When Adorama released their Flashpoint 600ws Rovelight I was intrigued. Rather than having to haul an Einstein and a Vagabond II, the CyberSync triggers on location the Rovelights have a built in battery and receiver. So I bought several, tested them and took them out on a commercial shoot. I ran into issues during that shoot with the trigger’s lack of range. I wrote an extensive evaluation of them and complained with others to Adorama. An friend of mine (NASA!) who is an electrical engineer dismantled the transmitter and showed me the issue which caused the poor range. In the end I sadly returned all of my Rovelights to Adorama. Subsequent to the trigger issues Adorama had them redesigned and developed a RMA program to replace the original triggers to early adopters. As a working pro warranties and customer service are key. It’s one of the reasons I stayed with PCB for so long, excellent customer service. The fact that Adorama took the initiative to replace triggers is one of the reasons I respect them. I respect those that DO much more than those that SAY.