Archive for the 'Flash' Category

28
Mar
17

Profoto Air Sync & Air Remote

The Profoto Air Sync and Profoto Air Remote are basically the same as each other with both having 8 channels, 300 m range, 10 to 140 hours battery life transmit mode fast /slow, 30 hours battery life receive mode, 30 min auto power off, and integrated antenna.

The difference is that the Pro Air Sync will only trigger a flash i.e. just fire it like a sync lead but without the lead. Whereas the Pro Air Remote also lets you control the flash so you can change its power setting and modeling light function.

Just to slightly confuse you the Air Remote also comes in a TTL version for Canon and Nikon (TTL = Through the lens). This means that the remote will transmit TTL information to any Profoto flash with TTL Air Support and this will allow for fully automatic point-and-shoot shots. It can also be used in manual mode (without TTL) or Hybrid mode that allows for you to shoot first with TTL and then switch to Manual mode to make adjustments, and that’s good because TTL is often inaccurate.

All Profoto Air Remotes can be used with non Air equipped flash systems by using 2 units, one on camera and one connected to the sync socket of the flash, just like a pocket wizard system. However this will not allow for the control of flash power, modelling light, or TTL operation. It’s worth noting that you can mix Pro Air Sync and Pro Air Remote to achieve this.

Profoto equipment we have that supports Air and or AirTTL operation:

Profoto B1 Air & Air TTL

Profoto B2 Air & Air TTL

Profoto B3 Only the Air

Profoto B4 Only the Air

Profoto D1 Only the Air

Profoto 7A Neither is supported

Profoto 8A Only the Air

Profoto Acute 2  Neither is supported

Profoto Air Synch & Remote

 

Broncolor

 Broncolor used to be simple, they had a RFS (Radio frequency Sender) that controlled power and synced the flash and that was about it. It was a bit fiddly as you had to alter a “trimpot” underneath the unit to change channel and double check that the pack was on the same channel, also the packs (Grafit etc) had a weak aerial that was either missing, forgotten, or broken. The Scorro packs we stock now have this aerial built into the handle.

Broncolor also did a little gizmo called an IRX (Infra Red Sender), an infra red sync trigger that came in surprisingly useful from time to time, particularly in areas with radio restrictions.

Broncolor has now upgraded the RFS to the RFS 2. It operates like the Profoto Air Remote and controls the power & more on any RFS equipped Broncolor Flash, like a Broncolor Scorro for example. An additional RFS 2 Receiver can be used to trigger non Broncolor equipment by attaching to the sync port with a short cable.

The Broncolor RFS 2 has 40 channels compared to the Profoto Air’s 8. I would think this is an advantage once or twice every millennium.

Broncolor

Pocket Wizard

Pocket Wizards are a third party wireless sync trigger and either the Pocket Wizard 2 or Pocket Wizrd 3 system will trigger any flash from any camera provided you have the correct cables to connect.

Connect one pocket wizard on to the hot shoe of your camera (or connect it to the sync socket using a small lead) and attach another one onto the Flash (again connecting to the sync socket with a small lead). Check they are both on the same channel and away you go.

Easy, just be careful that the correct size leads are supplied for the flash.

Historically Profoto used the larger jack and Broncolour used the smaller one but they are both changing this around to keep us on our toes. Here at Pixipixel, we ensure you’re supplied with the correct cabling, even if it means providing both sets for your shoot.

Pocket wizards however also have a few tricks up their sleeves that you don’t find on the brand specific triggers from Broncoor and Profoto.

Firstly, the Pocket Wizard 3 units will automatically switch to transmit or receive depending on what they are being used for, a very clever feature. The Pocket wizard 2’s came as a transmitter, receiver, or a transceiver; they can do both but you need to select which.

The Pocket Wizards claim to have the longest range of 300m and that’s pretty impressive as I can’t even see a camera at that range.  But it gets better, you can also use pocket wizard units as “repeaters” i.e. you could put one at a half way point 300m from the camera (transmitter unit) and a further 300 metres away from the flash (receiving unit) thus extending the range to 600 metres and this can be extended even further.

Based on rough calculations it then follows that, with the circumference of the world being approximately 400 thousand metres it would take approximately 133,333 pocket wizards to transmit a sync signal the long way round the globe from camera to flash, and lots of AA batteries too.

Ok I know that’s silly but I had a customer who used to put flashes up at the top of huge sporting stadiums and the like and use this “Repeater” facility to trigger them from his seat in the stands so it can come in very useful.

The same guy also used to make use of another function available on pocket wizards and that is the ability to be powered via a USB port on the unit. This is great if you have to set up the pocket wizards say 24 hours before you are going to use them, this can happen more often than you would think. During my years living in Melbourne, for “Carols By Candlelight”, lights had to be set up in the rigging and subsequently could not be accessed for a day so the pocket wizards would go flat by the time the sing-song got going. Attaching an external power source via the USB allowed for them to be left on and not go flat.

The other great use for pocket wizards is the ability to use them to remotely trigger a camera rather than a flash. A special cord is required to do this and it’s called a Trigger cable; it comes in Canon or Nikon. Useful when the camera has a high viewpoint up on a boom, for example. Another scenario could be when shooting two cameras at the same time.

A few motor sports guys will have a camera on the opposite side of the track to themselves and trigger it at the same time as the camera they are holding this enables them to shoot both sides of the can and also get some heroic selfies. The test button has a two stage action just like the shutter release button on the camera, so a 1/2 press wakes the camera and starts auto focus and more. A full press will release the shutter.

And don’t forget you can attach one to a light meter for remote triggering of the flash during that initial setup stage. This is particularly useful if you are setting up and doing the pre light on your own.

Pocket Wizard do a range of TTL units specific to Canon or Nikon, but we do not stock these.

Sync Leads

Old school sync leads should not be forgotten. They are still a great way to trigger your flash from camera or light meter. They don’t run out of battery power, and they don’t interfere with the guy in the next studio. They are uncomplicated enough for your average photographer to understand.

In fact the only real problem with a sync lead is that they get trodden on and so get damaged quickly like an iPad lead.

We include sync leads with all flashes hired out to our clients, as they will save many a problem just by being there as a backup. I would hope that most photographers and good assistants would have a spare sync lead in their own kit.

As an aside if you ever want to test a sync lead just power up a flash and plug in the sync then “short out” the other end of the sync lead with a paperclip or your keys etc and if the synch is in good condition it will fire the flash, you won’t blow yourself up as the trigger circuit is separate from the flash circuit in modern flashes. Perhaps best not to do this if you can see “Balcar” written on the flash and you are stood in a puddle.

Synch2

Synch

Also don’t forget that most packs or mono blocks have a slave cell so in a multiple pack shoot often you only need one pair of triggers and then use the slave cell on the other packs to trigger them to fire. As light travels at the speed or er..light, the tiny delay is not likely to cause any problems unless some serious high speed or short flash duration stuff is going on.

Coolness rating of sub zero, ok that’s mean, but lets face it sync systems are never going to be exactly cool are they? In terms of usefulness then the pocket wizard system has to be a high scorer unless you are a die hard Profoto or Broncolor shooter. Now if Pocket wizard would just incorporate the TTL capability for both Nikon and Canon into the Pocket Wizard 3 then I would have to rate them as icebox cool.

 

cheers all

 

Written by Bruce Lindsay

10
Jan
17

Litegear LiteTile 8×8 LED

Welcome to the new year everyone, we hope you had a great Christmas and a relaxing break and are now ready and waiting for the next twelve months of fun and games.

Now the new year seems to have brought with it a bit of a cold snap so with your best interests in mind as always we would like tell you about one of our Christmas presents to ourselves, a rather fetching blanket.

Yes we know that blankets tend to encourage you to stay in bed normally but not this one, in fact this one is definitely worth getting up for.

The brand new Litegear LiteTile is something rather special and we had our first play with it yesterday and we’re very impressed. We already have a good range of LED lights from Litegear and they are proving to be popular with you folks but this one is bigger and better than anything we’ve seen so far.

Imagine a flexible blanket of Bi colour LED’s that’s 8 foot square and what that would allow you to do. Now stop daydreaming because it’s here now waiting for you to enjoy.

Untitled.jpeg

I have to admit that personally I’d like to take it home and use it as a blanket on my 12 year olds bed, I cant help thinking that waking her up in the morning would be easier if I could make her whole bed light up at the flick of a switch!

To get a bit technical for a moment the LiteTile 8×8 actually consists of four 2×8 foot panels that can be configured to form a number of shapes, Velcro covered edges allow for each panel to attach to its neighbor or for that matter anything else that has a Velcro fastener on it. Also equipped with eyelets to allow for attachment to grip or butterfly frames as required.

Being made of hi-grade engineered textile the LiteTile is flexible enough to be configured round curves, folded, scrunched up and so on making them a truly versatile product.

As far as light is concerned the LiteTile is equipped with new CineMitter LED’s which boast a CRI and TLCI* rating of 95+ along and a extended colour temperature range of 2600K – 6000K. All new DMX enabled dimmers are supplied giving full local control of dimming and colour temperature or allowing for connection to a control desk.

Everyone will want to know what the maximum output is so for the record the LiteTile gives out a very useable and impressive 20384 lumens (that’s bright to you and me)

When it comes to powering, it’s not much more difficult than plugging in your electric blanket, granted it uses 16 amp leads but we have plenty of jumpers if you need to use a 13amp domestic outlet. Each of the 4 2ft by 8 ft panels has its own power supply so they can be used independently and we will shortly take delivery of a single power supply to run all four units together. A V-lock battery option is muted in the future and no doubt we will get one as soon as it’s available but this may be a while before it hits the market. The individual panels each have a header lead of 7ft or 2.1m in length, giving you plenty of scope to position the supply out of sight.

So if you’re in the market for a large flexible soft light then this could be what you are looking for and now you know who has it you’re really running out of excuses.

Litegear also make a 4 foot version but as you can fold the 8 foot in half and keep using it I don’t think we will rush to get the smaller one, bigger is better anyway.

untitled

The all important BCR (Brucie coolness rating) for this has got to be at least an 11 out of 10, its portable, powerful and versatile all of which are great attributes, but its also very cool and I rather like it. I can’t help but wonder what LED’s will turn up next, anyone got any suggestions?

You could take it to Glastonbury this year just to make finding your tent easier.

Thanks for reading.

 

 

TLCI means “Television Lighting Consistency Index” it’s calculated using a spectroradiometer and is a measurement of a luminaires spectral power distribution in the context of television. The results can be checked against the table below. Hopefully you all feel as enlightened and excited by this as we do.

 

 

85 – 100 errors are so small that a colourist would not consider correcting them
75 – 85 a colourist would probably want to correct the colour performance, but could  easily get an acceptable result
50 – 75 a colourist would certainly want to correct the errors, and could probably  achieve an acceptable result, but it would take significant time to get there
25 – 50 the colour rendering is poor, and a good colourist would be needed to improve  it, but the results would not be to broadcast standard
0 – 25 the colour rendering is bad, and a colourist would struggle for a long time to  improve it, and even then the results may not be acceptable for broadcast

 

 

23
Mar
16

Something slightly different-Sunlight

Sunlight

sunlight1.jpg

I don’t know about the rest of you, but everyone here at Pixipixel is well and truly over winter. Short cold and dull days are not exactly the stuff of great photographs or location shoots are they? This has however given me an idea……….

As a departure from my normal rambling “Kit Of The Week” blogs I’m going to try something a little different, more along the lines of a how to guide, and what better place to start than how to recreate sunlight?

So please don’t take this the wrong way, I know many of you will be well versed in this but you never know you may pick something up even if it’s only a nice tan.

Firstly a small bit of Brucie theory:

Sunlight (I’m talking about a bright blue sky sort of sunlight not an overcast miserable day) is a hard light. You can see this if you look at your shadow on a bright day, it will be well defined with hard edges and a high contrast between it and the surrounding ground, in fact often exactly what we try and avoid as image makers. So why is this?

 

Ok, so back to photography basics for a moment, a hard light is produced by a small light source like the sun!

Yes I know the Sun is big (1392000 km across ish) but it is also a long way away, so to us it appears fairly small in the sky. This would be different if we stood on Mercury, but we aren’t so stop being awkward.

Now with the light source being small and far away the light rays that “hit” us are reasonably parallel to each other and this is what gives us the hard edged, high contrast shadows that we associate with summertime. With me so far?

 

So it makes sense that to recreate sunlight we either need to find a massive flaming orb and install it at the center of our solar system and pray for a break in the clouds or use a small light source in the studio itself. I know which option is easier, but exactly which light source should we use?

 

Now up until this point I’ve been thinking in general terms but obviously you moving image types are going to need a continuous light, whereas us stills guys can use flash or continuous. This is no big deal because we have numerous options for everyone.

 

Starting with us stills guys and looking at flash lighting we have a couple of options. Firstly and most simply a bare head will work fine, provided it is positioned at a reasonable distance from the subject. The trouble with this is that the light rays will be scattered causing a more diffused effect and also any stray light will bounce around the studio, becoming unwanted ambient light and further softening the effect. A small reflector or even a snoot will greatly help with this, however a purpose built modifier will yield much better results.

 

Both Profoto and Broncolor produce Fresnel lensed attachments for their lights and these help to bring those pesky light rays under control and more parallel to each other creating a beam of hard light (much the same as a lighthouse). This is a great starting point and works very well. The Broncolor attachment is called a “Flooter” and the Profoto version is the “Fresnel Spot”.  Both are fairly large so will need to be positioned at a distance from the subject. Very small versions are available such as the Broncolor Picolite Fresnel Spot Attachment but they are best used for tabletop macro sort of work, also we don’t carry them at the moment, so best you forget I ever mentioned them.

 

profres.jpgbronpico.jpg

 

 

 

 

 

 

Happily this Fresnel approach works well, but it can be done better and both the big names in flash have specific light shapers for this, they are radically different to each other but both work superbly.

 

Profoto have the “Hard Box” this is essentially a T shaped tube with the flash head inserted into the bottom, it decreases the size of the light source and eliminates unwanted stray light giving a light rich in contrast and very similar to sunlight.

prohard.jpg

Broncolor have gone down a different path with their “Satellite” reflector. It’s a highly polished disc reflector into which a standard head is fired this reflector concentrates the light giving the daylight effect, it’s a bit like burning ants with a magnifying glass back in the schoolyard and must not be left in the back of a car on a bright day (I learnt that one the hard way myself).

bronsatt.jpg

Both the Profoto and Broncolor solutions work better if the flash heads protection glass is replaced with a special purpose one. Just to confuse us the Profoto frosted dome should be replaced with a clear one and the Broncolor clear dome should be replaced with a frosted one!!

breisepara.jpg

The next method to consider is the use of a parabolic reflector, now these “Para” reflectors are designed to bring those light rays parallel again and do a far better job than a spherical reflector, I won’t go into detail why but it’s all to do with internal angles of reflection and is also probably why rugby is a better game than football!!!

Briese make a really magnificent version specifically designed for the recreation of sunlight, it produces a spectacular fresnel like light that is also very enveloping and it can be used with flash or continuous lights.

sphericalvparabolic.jpg

See how I made the move from flash to continuous so smoothly…….. I think that’s called a segway. I’m getting the hang of this I think??

 

Ok so you moving image people have been very patient with me again, thanking you, now it’s your turn.

 

Nothing changes as far as light modifying is concerned between flash and continuous, I am pleased to say so all that stuff about a small light source with parallel rays of light giving a hard light is still correct.

You can use numerous lights to give you the “sunlight” look. Traditionally an 18k hmi Fresnel has been the go to fixture for film crews looking to recreate sunlight but with recent improvements to lights we no longer always require so much power. A good alternative is the Arri max 12K or the Arri m90 9k both of which have the unique MAX reflector giving a light quality similar to a fresnel but without the lens.
maxref.jpg

With the extra power delivered by the Arri Max range of lights you can afford to use diffusion to “take the edge off” so for an exterior shoot often an 18k or 12k unit will be used with a 9k through a scrim (1/2 stop) as a fill. In studio the smaller Arri M series units often will be employed and Kino’s or LED’s used to fill in.

The Alpha 18K K5600 is another very powerful light that could be employed to recreate daylight/sunlight, with its clear front it will give a slightly less hard light than a Fresnel but it comes with a Fresnel lens too if you need to harden up a bit so it gives you some options.

 

It’s worth mentioning at this point that despite recent improvements to cameras 18k is still the goto strength required to override sunlight, yes the Arri max range will give you the equivalent oomph at a slightly lower power rating but the sun is the sun and its not getting any duller just because the chaps at Arri are getting smarter. Film crews use 18k for one very important reason, clouds, if they appear and you don’t want to hear “cut” then you need the power of 18K to keep shooting. From what I understand this is not going to change no matter what improvements are made to cameras, well not until the sun goes super nova anyway and I think we will be safe from that for a couple of years yet.

 

Now one last thing to consider is the good old inverse square rule (remember that) it states that the strength of a light is inversely proportional to the square of the distance from its source. Now when you think about the Sun itself, it is so large and so far away from us that any exposure drop over say the length of a room is negligible, therefore a larger light positioned further away is going to give you more consistent light levels across your set than say a smaller one positioned closer. Now I don’t think I am contradicting myself as a large light positioned at a greater distance becomes a “smaller” light source just like the sun and hence retains the hard light characteristics.

tattoo.jpg

(I had to include this pic as it proves the inverse square law can also apply to people’s intelligence in relation to the distance from a tattooist shop.)

 

Ok so that’s how to recreate sunlight, easy eh it’s all about recreating the same characteristics in your light that would be present in real sunlight and in a studio when you don’t have real sunlight to work with it’s an extremely useful thing to be able to do, but once outside in the real sunlight is it a redundant skill, does it still have a use? Well to the uninitiated you would think that bright sunlight at lunchtime on a nice day would be about as good a light as you could get and it certainly is hard, high in contrast and powerful but that doesn’t really help us as photographers does it.

 

Bright sunshine is (somewhat counter-intuitively) not great for us image-makers. The high contrast nature of this light can cause us problems with tonal range and correctly exposing our subject and the background at the same time. Think about a beach scene on a bright summers day, you want to take a nice picture of the kids running out of the surf so you grab your snapper and shoot only to find that.

You have a beautiful blue sky and silhouettes for children or nicely exposed children and a washed out sky. “Damn it I spent a small fortune on this camera and  I can’t even get a snap of the kids!”

So how do we get round this problem?

Simple, you overpower the sun!

Now you can stop short of creating a small fusion reaction in your speedos to do this, as the sun is surprisingly easy to overpower (well for us stills guys it is anyway).

 

Essentially all we need to do is to meter for the background exposure and then add in some fill flash to light our subject. This flash needs to have the same characteristics as the sun to keep the feel, but we know how to do that now don’t we? Using flash for this is easy as we don’t actually need a particularly powerful flash, we as stills people only have to overcome the sun for a fraction of a second and flash equipment is good at that, it has the ability to push out large amounts of power (light) for very short amounts of time.

 

For you filmmakers however it’s a different story, yes the theory of exposing for the background and then filling the subject is the same but you need this light on for the full duration of each frame and for the entire shot. Therefore you need a lot more punch to do the same thing as us stills guys, traditionally an 18k Fresnel or similar is used for this (try running that off 4 AA’s) oh and if the kids are running any distance you’re going to need more than one to “keep them in sunlight”.

 

At this point I realize how lucky I am to be a stills guy, it puts me in mind of watching the odd orchestra walk through the green channel back in my former life, I always wondered if the double bass player was jealous of the flautist at airports.

 

That’s all folks,  let’s make this year’s summer brighter than last year by everyone using artificial lighting lots n lots. Perhaps we can bluff the sun into shining a bit more!!!!

Now before I go, the shrewd folks amongst you are probably jumping up and down screaming what about colour temperature but that’s something for a future blog I think as it’s a subject all on its own and depends a lot on what sort of sunlight you are simulating, be it midday or evening and so on I’ll get back to you on that.

Likewise if you are trying to recreate a diffused sunlight (overcast) look then we need a chat about scrims and so on, again that’s for another day.

 

I hope you all learnt something if only how to brighten up a miserable English “spring” day, or how to avoid work by reading a verbose and slightly silly blog?

Cheers for your time…… Now get back to work!

 

Merry Lighting BB

21
Dec
15

Day 9 of Brucie Bloggers Christmas Wish List

 

bells1

Second place (drum roll please) goes to the fantastic B2 250 Air kit from profoto.  Now this is right up my street being a flasher, as opposed to a continuous sort of a guy and if you are going to flash then really you need something to be proud of and this may not be the biggest in the world but its beautifully formed.

2          Profoto B2 250 Kit

 

Profoto B2 250 Kit

Right, I will start here by saying I have been a Broncolor boy at heart since working for their Australian importers for many years and I do love the Move system but…….. I was very very impressed with this system it really is portable with a capital P. It has loads of oomph and some very impressive recycling and duration times that would more than suffice for anything I am likely to want to shoot.

Now, if it only had a mains booster like the old Profoto battery packs had!!!!

 

profoto

 

Not to forget the runner up of the most revolting Christmas Jumper ever donned in our Christmas countdown … this is truly inspired……. Although I’m a little disappointed that we can’t see the blokes face, whether he looks mortified or proud??

o-ULTIMATE-CHRISTMAS-JUMPER-facebook

Well tomorrow is it the top of my list, I can feel the anticipation………. No really I can.

Cheers BB

27
Nov
15

KOTD- Lumedyne 400W 1 Head Kit

Lumedyne P4LX 400ws Power pack and Basic Head.

Today’s piece of memorabilia (sorry piece of equipment) is the Lumedyne P4LX 400ws pack and head. Now don’t let my description of this as memorabilia put you off, yes it has a vintage look to it but its still a decent set up and is still available to buy.

lume pack

Now as we all know looks can be deceptive, I’m only 21 really I just look older. (and if you believe that then I like you) The same can be said about this little unit from Lumedyne. It may look as if it belongs in Frankenstein’s laboratory but it’s remarkably versatile and despite its age and looks is still a very capable system.

When I mention this around the office, the few older staff members here all have very fond memories of using the Lumedyne system. One in particular claims to have strapped a system to her back and ridden pillion on her bosses K100 BMW motorbike, she told me that a couple of Lumedynes and a roll of gaffa tape was all she needed to sort out most lighting problems. I don’t believe this at all, she must be talking about her mother I think because she is only 21 too, just like me.

Anyway enough reminiscing, this little light as I said above, is still current and holds its own against many a younger system (the same can’t be said about the K100 BMW it only lasted to 1992 and I will make no comment about the staff member as I want to keep my boys bits in the correct place) Let’s look at some specs for the Lumedyne.

Lumedyne-alternative-for-Canon-70d-flash

Flash recycling times are as good a place to start as any and with speeds of 0.4s at 50ws to 2.5s at 400ws it is no slouch even by todays standards. So yes it can still keep up.

Hand in hand with recycling times, as a measure of usefulness, go flash duration times and again this OAP is faster than Supergran (possibly the worst TV show to come out of the 80’s). How about, 1/1500 of a sec at 100ws or 1/500 at 400ws. See it’s true that time speeds up, as we get older.

snootsupergran

I particularly like the Snoot for this system as it looks like the center of a toilet roll, all be it a toilet roll for Iron Man as its made of aluminum and topping that for fun are the instructional videos from Lumedyne in particular “Three lights on a rock for the warrior princess”

http://www.lumedyne.com/CENTER/DEFAULT.ASP

With a weight of nearly 2 kg it’s not the lightest thing on the market and with a range of only 4 stops it’s not the most adjustable either but they are only small quibbles and don’t let them detract you from the quality of this great system.

The more I look into this system the more I realized that I had miss judged it, sure it’s lacking the flash plastic box that today’s newer systems come wrapped up in but that’s it, as far as performance goes it’s hard to fault and I wonder how many of today’s systems will still be as in demand when they reach a similar age.

Going to give this one a 10/10 for coolness as it can still give the younger systems a run for their money and I like that being antique myself.

Finally to continue my quest for a free t-shirt I think one of these in XL would be useful, even if I don’t have the bum for it!

flasher t shirt

25
Nov
15

KOTW – Rogue 3-in-1 Flash Grid Starter Kit

Rogue 3-in-1 Flash Grid Starter Kit

Every now and again our camera department surprise me with a random purchase, the last one being a dog harness for the Gopro cameras, odd that Lawrence our Camera department manager has a dog, not that I am implying anything by that, “woof woof”.
RG040059

So yesterday I found myself being the subject of some unrequested portraits taken by Nerissa here using a Speedlight equipped with a rather natty little grid set.

Now the portraits are best forgotten about, but the grid set is another thing.

rogue 3.1

The Rogue 3-in-1 grid set as it is named is a small strap on (don’t start) grid set designed especially to fit onto speedlights. Now I’ve seen people stick drinking straws together in the past and use them as makeshift grids with reasonable results and that’s fine if you are playing at home or with some mates. But you really don’t want to spill a bunch of Mac D’s drinking tubes on the floor when your Heath Robinson grid set falls apart in the middle of a paying gig do you. So if you are in the market for a more dynamic look to your on camera flash and aren’t into the homemade look this may be a product for you.

roguekit

The Rogue 3-in-1 as its name somewhat gives away allows for 3 different levels of, err gridding for want of a better word. The kit contains 2 different depth grids that when used singularly or stacked together provide 3 different effects by limiting the beam angle of your flash to 16, 25 or 45 degrees. And the whole thing firmly attaches to your flash using a strap system so no need to stick Velcro onto your equipment thank goodness.

0913proshow31Grid-contents-in-hand

Cheers BB

18
Nov
15

KOTW- Profoto 4ft Octa

Profoto 4ft Octa

Profoto have added a new Octa softbox to their range. This one sits perfectly between their three-foot and five-foot versions being, wait for it, ………… four-foot.

Profoto 4ft Octa

We love a good Octa softbox don’t we? They are great for fashion and portrait work and put a lovely circular catch light into the eye of your model. Size as ever is crucial with larger lights producing softer effects and visa versa so what Profoto has done here is actually quite clever. By filling the gap in their range they have allowed photographers to fine tune the Octa box size to the subject perfectly.

I do wonder if too much of a choice may be a bad thing but only time and confused photographers will answer that.

4ftocta

Profoto describe this as being neither too big nor too small it’s just perfect. I don’t disagree with this but actually think its niche will be for the traveling photographer, offering a reasonably sized Octa soft box that will fit into a suitcase.

Failing that it should be fantastic for shooting Santa’s Elves over the festive season, Hobbits in NZ or Leprechaun’s in Ireland and so on and so on.

Seriously, I can imagine that this would be a perfect companion to the wonderful little B2 250 portable flash system from Profoto, for location work away from a studio.

BCR hovering about the 7 / 10 mark. It’s an Octa and they are great even if we have seen them before and this one gets extra for being cute.




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