Using gels is often a problem when working with strobes. Getting them to fit around the bulb can be a pain, and trying to cover the front surface of a giant softbox is just impractical (and expensive!). Well, the folks at FlashGels have solved this issue for the Godox AD600Pro and AD400Pro with pre-cut gel kits that slip right over the bulb.
The whole “continuous vs strobes” choice is pretty easy if you shoot video. But for photographers, it can be a little more challenging. New lights of both types are coming out all the time, and a lot of photographers wonder which type of light they should go with. In this video, Jay P Morgan looks at the advantages and disadvantages of both types of lights to see what tasks they’re better suited to.
I’ve reviewed the Godox XPro trigger before, a little over a year ago. Normally, I wouldn’t review the same product again just because it comes out with compatibility for a different camera system. My original review was with the XPro-C, but I didn’t review the XPro-N, XPro-F, XPro-S or XPro-O. So why am I posting a review of the XPro-P for Pentax?
Well, to put it simply, it’s kind of a big deal – at least for Pentax shooters. Pentax has traditionally had very little 3rd party flash support. It’s had some from Cactus with the whole X-TTL thing, but the recent demise of the RQ250 has left Pentax shooters with very little confidence in Cactus’ future. Other options have been iffy at best. But now there’s a new kid in town. The Godox XPro-P.
The Godox AD400 Pro is the newest portable all-in-one strobe from Godox. It’s basically a 400Ws version of the AD600 Pro. It has a few design differences and a little less power, but basically an identical feature set.
I’ve been playing with the AD400 Pro over the last couple of weeks to see how it handles and how it compares to some of the other portable strobes in the Godox product range.
Flash duration. Sounds a simple enough concept – but is it? Yes…and no. When I decided to write about this subject, I wrestled with how to explain the practice and principles of flash duration in a few words and (of course) pictures. Hope I’ve done a reasonable job because the better our understanding of the principles, the more control we have and the more creative we can be with our photography.
People make a big deal about the AD600 (now AD600 Pro) and AD200 strobes when it comes to Godox. They offer a lot of power in a nice easily portable package. But they offer so many more strobes than just these two. While those mentioned above, along with the AD360II are fantastic for shooters looking to get light on location, there are quite a few photographers who never take their lights out of the studio.
And that’s where this handy video from Rob Hall comes in. It covers and compares the entire range of mains-powered Godox studio strobes compatible with the X1T, XT32 and XPro triggers. It’s a pretty extensive list of lights covering a range of requirements, and those on 220-240v power even see some flash duration perks that 110-120v countries do not.
If you’re new to studio portraits, there’s just so much to learn about the light. Also, you have a choice between strobes/speedlights and continuous LED lights. If you can’t decide where to start, the latest video from Joe Edelman could be helpful and get you on the right track.
In this video, Joe breaks down the differences between these two types of lighting. You’ll learn their main uses, and also why it’s good to use one or the other in different situations.
All the time, I see new flash and strobe owners ask “How do I fire these things?, which isn’t an unreasonable question. For speedlights, it’s fairly straightforward. You buy the one that fits your camera’s hotshoe, slide it on, and beyond that you read the manual to figure out what all the different functions do. But what if you want to get it off your camera, or you’re using studio strobes?
In this video, Jay P Morgan shows us the three main ways to fire flashes with your camera. It’s fairly simple to do using either a sync cable, optical slave or radio slave. But each method has its own advantages and disadvantages. Not all methods suit all circumstances. So, it’s good to know and understand all three, and when might suit a certain situation best.
Some shots need a sun. Sadly the sun is not at the optimal angle at all locations. Heck, if you are indoors (say at your studio) there may not be a sun at all. This is why there is a need to create a fake sun.
Creating a fake sun is easy, once you know the light qualities of the sun, and really, there are only two of those. It’s (1) small, and (2) orange. Actually, the sun is not really that small, it’s huge, but it is so far away that it small in relation to our field of view. The sun is actually not orange either, it’s white, But the light that gets here to earth becomes orange after it goes through the atmosphere. So while the Sun is neither small nor orange, it is small and orange for us. And this is the light we are going to reproduce.
While you’d think that the Profoto will nuke the AD600, this was not the case at all, and in most parameters it either won the battle or stood up fairly well. There was one exception to that, and I think that it’s one of the main reasons that the B1 is so0 much more expensive.