Update: July 28 2019
I have recently used this remarkable modifier in combination with others. It may be one of the best values I’ve encountered.
UPDATE February 20 2019
I continue to be incredibly impressed with this modifier. So much so that I utilized it for an important on location shoot in Los Angeles, CA for a professional Argentine Tango session. The client had hired me to create publicity imagery for their 2019-20 season. The space I chose was Monk Space located in DTLA. It has an incredible variety of rooms all with a different look and feel. In addition to the Deep Parabolic 48″ I used an Elinchrom 39″ Deep Octa, the new Glow Wing Like Parabolic, several cones, and a gobo focusing modifier.
Since everything had to be flown down in checked luggage (including my smoke machine) space was at a premium. Since the Deep 48 comes with a grid, two diffusion panels and a deflector ring it was the right tool for this job. Even though it is NOT my preferred focusing rod modifier, its quality of light and versatility is remarkable.
And in some cases the best modifier is no modifier at all. Sometimes I like to just use a bare bulb. While trolls will get an erection arguing over whether the shape is a ‘true parabola’ others of us will judge its quality by the light produced. I for one love this modifier. An incredible value that gives up very very little in light quality compared to other much more expensive modifiers.
My client was thrilled….
My client has released the press publicity imagery for Rock of Ages so I can now share them which were lit with the Glow EZ 48″
I will simply say having used this modifier for three months that it may be the best value in the business. I have found that it rivals my much more expensive focusing arm modifiers in terms of light quality when used with the disk at the maximum distance allowable on the short rod combined with the inner diffusion panel. Of course it does not have the versatility of a focusing arm, but the light quality is delicious.
The quality of light is both punchy and soft, much like a focusing rod modifier. Incredible value considering it comes with a grid as well. The ease of set up and striking is incredible. I use a short length of PVC pipe to push the locking mechanism down since my reach to the lock is tight. I’m sure smaller versions of this modifier are easier to reach.
I have also used it for a recent (this week) on location publicity shoot, but cannot share the actual photos at this time. Having used it for one of my longest standing large clients will attest to my confidence in the Glow 48. Remarkable. I can share the light test shot I did of the Marketing team for my client before the actual talent arrived from hair and makeup. In the actual shot there are eight people, but for the purposes of my lighting test I only had seven individuals.
Below are all shot with the Glow 48 as the key light camera left with a Saberstrip v2 as the fill light camera right behind the talent. Pentax 645Z with the newly released R2Pro.
Publicity imagery for A Christmas Carol. The only adjustments to these images were done in Lightroom for white balance, lens correction and contrast. Strobes were: key light through the Glow 48 was a Flashpoint 600Pro and an AD200 in the v2 Saberstrip.
Our client Hillbarn Theatre just released one of their publicity posters for the upcoming production of West Side Story. This image was shot using a Flashpoint XPLOR 600PRO and the Glow EZ Lock Deep Parabolic 48″ with disk and inner diffusion panel as the key light. Rim light was a Saberstrip v2 using an eVOLV200.
I did a re-shoot for a client’s West Side Story publicity imagery since they have actually cast the roles. I decided to use the Glow 48 with the metal disk and inner diffusion panel installed instead of my focusing arm modifiers for this session. I wanted a slightly softer yet still punchy look for the mood the client wanted created. I continue to be amazed and happy with the light quality and the ease of set up with this modifier. My only niggle is that it can be tough to push it open because of the size of the modifier. I have to stand to one side and really push down to get it to click. Ah first world problems eh? LOL.
I continue to be impressed with the EZ 48, so much so that it was only one of four modifiers I took for a personal editorial project down to El Segundo to shoot Luna Cycle. (I have an upcoming article on that trip along with photos of course….) The other two modifiers were my Fresnel and two the soon to be released SaberStrip v2.0 which comes out later this month. This project was editorial in nature over ‘beauty‘ in the traditional sense. (I find beauty in loads of things that may not seem obvious.) I know a good many of you (including myself) like to ‘learn’ about modifiers and how they apply to shooting beauty or product. But for me the real test of a modifier is just how versatile it can be in a variety of situations.
The light quality is always my first concern and the EZ has that down pat. The ease of assembly and if it is the right tool for the right job is my second consideration. For the two images below it fit both all three of those criteria perfectly.
I have found that the value and quality of light presented by the EZ is remarkable.
I had a client reschedule one of my sessions, so I decided to do a quality of light test today with this modifier against my SMDV 110 using a focusing rod and my Parabolix 35D modifier. Since the Glow comes with this little metal disk I wanted to find out if it could produce a similar quality of light to my actual focusing rod light modifiers. Spoiler Alert: Yes it can! With one major limitation…..
I was actually away at how good this 95.00 modifier’s quality of light is in real life. The major difference between it and my other focusing rod modifiers is its inability to feather light while using the disk. I almost always feather light using any modifier. I know that many people generally point a modifier directly at the talent, but my taste prefers having the light bounce away from the talent. It produces a delicious wrap that a direct shot just doesn’t accomplish. Because the light source on the Glow is pointing DIRECTLY TOWARD the talent, but is deflected back toward the modifier by the disk (much like a beauty dish), any angle not pointing directly toward your talent exposes the strobe bulb. This creates a severe hot spot and ruins the effects of the modifier. True focusing rod modifiers point the strobe bulb AWAY from the talent toward the modifier. That greatly increases the angle at which the modifier can be turned without exposing the bulb. In addition the housing of focusing rods which hold the strobes have a flange that also shields the bulb from direct line of sight.
One of the “potential issues” I had read somewhere is that the Glow 48 is passing light ‘through‘ the spokes of the housing skeleton. I’m always fascinated how people concern themselves with things like that. In my experience it does NOT affect the quality of light in this modifier.
For the purposes of this test I shot all three modifiers directly at Jenni, no feathering. In the focusing rod comparison, no diffusion material was used on any of the modifiers. The reason I prefer focusing rods is the extra contrast, smoothness and punch they produce in the quality of light. They’re certainly not for everyone, but my clients now insist on this type of light for most of their publicity work. There are exceptions, but it’s what we both prefer. The ability to focus or flood the very same modifier to give different lighting moods/looks is wonderful.
For the SMDV and the Parabolix I had the focusing arm in their mid-flooded position (both used the Parabolix focusing arm and an xPLOR 600 with remote head), meaning halfway out from the apex of the modifier. I did this because the disk on the Glow would only go about halfway from the apex of its modifier. I did notice a color difference between the modifiers as well. I’ve decided to post the images without identifying which modifier was which…until the end. After all we each decide for ourselves what we prefer and I don’t want to influence your view of this modifier. So here we go….
I also wanted to do a quality of light test using both diffusion panels which is the way most of the people will use the Glow 48. I did NOT use the diffusion disk in addition to the two diffusion panels. The inner diffusion panel has a 2 stop circular panel which effectively reduces any potential hot spots. My gold standard in a two diffusion panel configuration has been my beloved Elinchrom 39” Rotalux Deep Octa. I found the Glow achieves 90% of the light I love in the Eli. And considering the Eli is 290.00 PLUS an additional 55.00 for a Bowens speedring AND 86.00 for a hooded diffusion panel (no grid is made for the Eli Rotalux line) that’s a whopping 431.00 compared to 95 bucks. Is that 10% difference worth the extra three and change Benjamins? That’s totally up to how your client feels about the lighting. And if you’re not shooting client work, how you feel about the light quality.
So let’s do a little math:
- Glow 95.00 (46”)
- SMDV 110 (44”) 325.00 (not including a focusing rod)
- Parabolix 35D (89cm) Package 838.00 (including focusing arm)
In order of ease of assembly and breakdown as I used them today (without diffusion panels):
- Glow 48*
- SMDV 110**
- Parabolix 35D
* The Glow is the easiest to assemble and strike IF you don’t use the inner and outer diffusion panels. They must be removed and installed each time you use this modifier.
** The SMDV is hands down the fastest and easiest modifier to assemble and break down if the diffusion panels are installed. You don’t have to remove them when breaking down the modifier. They can remain on the modifier.
- Shot A: Parabolix 35D
- Shot B: Glow 48″
- Shot C SMDV 110cm
I will simply say that the light quality and value of the Glow Deep 48” Quick is REMARKABLE. Add to that fact its cost and it’s a no brainer. It is going into my workflow immediately and I’ll not hesitate to use it when it’s the right tool for the right job. A side note, Jenni the young woman I asked to be my test subject is also a photographer. She was so impressed she plans on purchasing a Glow 48. Hell who can blame her?!
Zarli, a visitor recently asked me two questions, one of which didn’t take long to research and I’m assuming others will have this same question so I’m adding it here. He wants to know the diameter of the changeable speed ring in the unit. The measurement is 144mm or 5 2/3rds of an inch. If the light quality is as I expect I will change the Bowens speed ring to a Cheetahstand low profile ring. I’ve done this for all of my Bowens modifiers when using them without a focusing rod. The reason is the Cheetahstand Low Profile rings allow my Flashpoint strobe bulbs to penetrate further into a modifier giving me a percentage increase in light output. It’s a very easy change and well worth the extra 25 bucks.
Although I have not had time to evaluate the actual light quality of this modifier, I wanted to give my impressions of the Glow EZ Lock Deep Parabolic’s physical build quality of the unit. As is my workflow, until I can test any modifier I won’t be using it on commercial shoots. Since this is my hectic time of year I’m not sure when that will occur. But once it does I will post my impressions here. And I’m not going to get into the fucking bullshit back and forth about whether this is a true parabola. If you’re one of those best of luck and start babbling about geometric facts somewhere else. My world is about creating compelling and excellent imagery, not having to be fucking right. Plenty of other troll places you can go online for that.
At this point it’s way too early to give my impressions of the light quality, simply because I haven’t tried it! But from a construction standpoint I feel that for 95.00 USD it presents a great value. Is it ‘better’ than this brand or that brand? I can’t say, but will say that IF the light quality is great to excellent I will add this to my workflow when it’s the right tool for the right job. More to come…..later.