Beercat Loc: Central Coast of California

Adorama has the explorer 600 on sale and I'm giving it some thought. I think the only time I would use it is when I want to over power the sun, meaning rarely ....

For you that use mono lights what is your take? I love off camera flash and I like to be quick and mobile but it is a great buy .... give me your opinions.

Thanks

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Many photographers feel that speedlights and monolight are two completely different species, especially where wedding photography is concerned- what with fast shooting and mobility issues as major consideration in selecting lighting tools. There is, however quite a bit of overlap and integrated usages that can improve the quality of lighting in wedding photography.

Moonlights have been and still are part and parcel of my standard wedding gear since the 1960s when self contained studio-like strobes began to appear on the professional equipment market. Here's how I use them.

When working indoors, my moonlight, equipped with a 24” softbox is my 24/7 portable windows light for portraiture, full length and closeup formals and groups. I use my Pocket Wizard radios for synchronization. A simple setup consisting of the moonlight on a light stand and a flat (super silver) reflector can produce studio-like imagery whereby the monolight is the main source and reflector is the fill. Of course, with the modeling lamps on you can see and control the light exactly as you like it- no guesswork! I can easily move the main light from about 10° or 20° (from the camera subject axis for groups and butterfly lighting, to between 35° to 45° for loop and Rembrandt lighting respectively , to 90° for split light and as far as 135° for profile for rim lighting. For portraits I power down the monolight so I can use a wider aperture- usually around f/5.6 to about 6.3- with a full frame camera, I sue a focal length of between 70mm and 105mm and get good selective focus.

For full lengths and groups I use the monolight as a main source and fill in with my on-camera light. I can control the lighting ratio by varying the power of the fill light, using a light modifier or bouncing off a white ceiling. Again, you can adjust the light exactly as you like it. For groups, I power the system up so I can shoot at f/8 or f/11

In large venues, I use my moonlights as “room lights”. If there is a place of elevation such as a balcony or loft, I set the mono light up there- this time with the soft box removed and an ordinary parabolic reflector in place. I direct it so as to skim across the room and the shut off the modeling lamp. The I can work the room, the church, the dance floor etc with my on-camera light and the moonlight will provide a front, side or back light- depending on my position on the floor. This adds drama, texture and ambiance to all my candid shots and also provides depth of lighting to prevents “black hole” underexposed backgrounds. If the is no elevated position available, I can still set up the light somewhere in the room, in a non-trafficked area, on a 13 foot Manfrotto light stand. I lash it to something heavy or a pillar with a bungee cord. In very large rooms, I sometimes set up more than one room light. I expose for the room light(s) and control the ratio with my on camera light. I usually can shoot at one f/stop throughout the room so expose is no issue and I can shoot fast.

Of course, TIME is a factor. I do work with at least one assistant so they can set things up, oftentimes in advance, even before I get there. If there is no time for the setup, I simply work with on assistant with a second speedlight on a monopod until there is a break in the action and I have time to set things up.

I can still drag the shutter, when necessary to combine with ambient light as well.

Out of doors, I can either overpower, augment or fill the available light since my units have a wide variety of power settings.

I can use the modeling lights by themselves to augment candle light, lamp light or other incandescent sources.

The monolight with the soft box is also great for detail shots, flowers, rings, buffet setups and whatever you like.

I am not exactly familiar with the monolight you specify in your post so I am gonna Google it!. Make certain that it has variable power to accommodate a variety of apertures and has enough power to use with soft boxes, umbrellas or other modifiers and that the modeling lamp is strong enough, when bounced, to see exactly what you are doing. Most current monolights will qualify in all theses requirements. I use Photogenic Power-lights, mainly because I already have all kinds of them in the studio and have all the modifiers, snoots, barn-doors and reflectors in my equipment inventory. They have user-replaceable flash tubes and 250 watt quartz modeling lamps. They can also be used in bare-bulb mode.

Many of the guys and gals that I have mentored in this method use a variety of equipment successfully- Boens, Buff, Pro-Foto, Speedotron and many others.

OK- I looked it up- The FLASHPOINT 600 and is ideal for your purposes- indoors and out of doors! It will integrate well with your cameras as to shutter speed usage which is a big plus in daylight shoots...AND if the weather conditions are bad and you are forced indoors, doing a job that is all inside, or need to do your formals in a church or indoor reception setting, you can still produce great lighting. Great for outdoor night receptions as well! In my opinion, it's a good investment!

I hope this helps!

aflundi Loc: Albuquerque, NM

I have two of the TTL versions. They're quite useful, and the extra power over a speedlight can get addictive. Be sure to get the extension head:

https://www.adorama.com/fplfxp600.html?rfkref=productPage

which, combined with the shoulder carry bag, makes it much more versatile.

For the sort of things you do, you may want to hold out for the TTL version too. I've found that even though I didn't expect to use TTL at all, it has been surprisingly useful. Adorama has sales on those from time to time too. The non-TTL version wouldn't be as useful is the light to subject distance isn't static. The one on sale now would be super useful in a studio, but if you're in a studio, why pay for and deal with the weight of the battery? If you expect to use it for outdoor posed shots, sure it would be terrific for that.

cigar dude Loc: South Central MA

I ordered one and should receive it tomorrow.
I will let you know what I think about it

Beercat Loc: Central Coast of California

Thank you all for the feedback ....

Beercat Loc: Central Coast of California

Usually when I use a light to add to the ambient I use it in a manual mode once the evening light is steady, prior to that TTL is nice. Guess what I'm saying if I had this moon light I would use it usually in manual to light up the entire area a bit so the back ground would be dark, then a speed light on the far end that I would use at 105mm setting in manual to create my rim, 105mm to create a starburst pattern. Then use on-camera in TTL for fill.

So even though it doesn't have TTL it probably isn't a big deal ... Ed, how do you use the moon lights, TTL or manual?

E.L.. Shapiro Loc: Ottawa, Ontario Canada

My present Photogenic lights do not have TTL capabilities so I use them in manual mode. I have been using them for a long time, so I am familiar with the exposure settings and just after setting them up, I verify things with my flash meter. When the are set up as "room lights" I can usually remain at one setting for the duration of the job and wherever I am in the room.

I apply the same method to portrait shots. For folks that are used to TTL operation, however, it might be an additional convenience.

The method you mentioned sounds like a good workable plan.

Beercat Loc: Central Coast of California

Thanks Ed ... I value your opinions ;)

E.L.. Shapiro Loc: Ottawa, Ontario Canada

Oh- I don't wanna give you a GAS attack but I noticed they also had the Quantum flash (for on-camera use) on sale as well. Those are far superior to speedlights as on-camera main or fill lights. The have more power, interchangeable reflectors, user-replaceable flash tubes and bare bulb operation. They can be used in both TTL and manual modes as well. I still use my Lumadyne units- they have similar heads.

I find that all this equipment eventually pays off. In my promotions, I feature "Lighting Like in the Movies" as a selling point and it helps potential clients justify my higher rates. Of course, theses types of gear can be applied to many other kinds of jobs- other than weddings- portraits, fashion work, and many commercial requirements.

Beercat Loc: Central Coast of California

I bought one Explorer 600 $397 included a R2 on-camera transmitter. Also comes with a bag, reflector, diffuser, battery and charger. Can't go wrong at that price

jaysnave Loc: Central Ohio

Sounds like a great deal Jerry. However, the sale must be over. I cant find that price. Anyway, I am interested in a more powerful light primarily for the super quick recycle time they afford. Looking forward to your product review.

Beercat Loc: Central Coast of California

You will have it ...

jaysnave Loc: Central Ohio

Ed, your use of monolights was fascinating to read. I have two Bowens strobes that I use for the formal shots (large groups). I have often conceptualized the "room light" possibilities but the lack of assistants and speed of the events preclude me from taking that step. The other factor is that darn recycle time. If I need to use battery power then it is one thousand one, one thousand two .... one thousand eight, hold that expression, and then fire the shot.

There seems to be somewhat of a lighting evolution going on with Godox and Flashpoint leading the way (same thing). They are offering 400ws and above monolights/strobes with powerful batteries built in that afford almost zero recycle time at much lower costs (see Jerry's deal). They are also lighter and more portable. I have not made the leap yet, but these lights may reduce my excuses to venture into the Ed style wedding lighting. Just wish we were closer in proximity. You would find me on your doorstep with a sign that says "mentor me" :)

bkyser Loc: Fly over country in Indiana

Jerry, I was on the fence for that deal. As you know I just don't take advantage of TTL, so I was very interested in the same one that you got, the only thing that held me back was that I would have been using it in combination with my Yongnuo trigger system, and I didn't seem to find any info on the Nikon version if that transmitter had the pass through, so I could use both triggers. I know I could have just put a YN 622 receiver on the moonlight, but then I wouldn't have the capability of changing settings on it. The Nikon version of the 622 transceivers have pass through, but unlike Canon, the way you change the settings on the strobes from the transceiver is cumbersome and nearly impossible to do on the fly, so I rely on the 622tx, which doesn't have pass through.

With all that said, I'm still kicking myself, because that was an unbelievable deal. I'm hoping it comes around again near Thanksgiving. I'll probably just take the leap and figure it out later.

I am also looking forward to your review on the performance. Of course, you're ruining me, and making me think about going Sony every time I see one of those posts, so maybe I don't want a review.. HAHA
bk

jaysnave Loc: Central Ohio

Bob, the profoto B10 is exactly what we need. No matter how hard I try though I can't justify $1,500. However, you are rich because you have a lake house. Maybe you can buy us all one
https://www.youtube.com/watch?v=tYLYDfuAFO0&feature=youtu.be&refby=nmpi-facebook-performance&utm_source=facebook&utm_medium=cpc&utm_campaign=Profoto-B10-preorder-sept18