A Walk Around the Monobloc, Pt. 2

Last time, we took a look at the control panel of a typical monobloc flash. And while they may have looked intimidating to some of you, in the end they really weren't that different from speedlights. This time we'll concentrate on the business end, where extra power is only one of the important differences between the two.
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Bigger, in More Ways Than One

Granted, the monos are more powerful than speedlights. Bigger capacitors, more juice --and exact same principle.

But more important than that for light quality is the difference in their physical size, which is easy to see in the comparison above. (Click the pic for bigger in a new window.)

The monobloc and the speedlight are both shown in a typical configuration -- flash tube inside a standard reflector. You really can't see the flash tube in the speedlight, but it is in there. It is the tiny center in a relatively big reflector. And by moving that tune/reflector assembly closer or further away from the fresnel lens in front, you can "zoom" the flash's beam, too.

But no matter how much you zoom it, you have a total of about three square inches of lighting area. That's gonna give you a hard light unless you modify it, which in turn is gonna cost you some f/stops in light output.

Looking at the monobloc, with its standard, 7-inch reflector, my pie-are-square math days tell me I have over 38 effective square inches of light source, or at least ten times that of the speedlight.

From a distance, they are both hard lights. But up close, the speedlight stays hard and the monobloc starts to take the hardness edge off a little bit. Now that I think about it, that is one reason I love the LumiQuest SB-III in close.

In surface area the SB-III starts to approximate the size of a standard reflector on a big light. And any lost power is not an issue, because you are typically in close. It's a way to make a speedlight not have that signature hard speedlight look.

So, in addition to being more powerful, the monos are physically bigger light sources, which can really come into play when you are in tight. And that difference carries over to any light mods which do not increase the size of the source, such as grids.

A gridded speedlight and a gridded mono are basically the same tightened beam, but look very different due to the relative sizes of the sources.



Now, lets remove that reflector and look at the business end nekkid. Removing a reflector is very easy to do with most monos, and part of their system-oriented flexibility. So, what do we have now?

We have a bare-bulb flash, in this case with the tube being hidden from view (but not effectiveness) behind that translucent honker of a modeling light. And all of the light's power is intact.


Bare Bulb on a Speedlight

You can approximate this look with a Stofen, a plastic bowl or a (*cough*) $100 piece of Tupperware (must... restrain... self...) and they all do the same thing -- get that light going in all directions at once.

They don't make the light softer or magical, no matter what kind of "merry song" is sung to you to get you to buy the $100 Tupperware. The softness happens because that light can go out in all directions and bounce/fill off of walls and ceilings. Which means that anyone using said premium Tupperware outside had better have some low altitude clouds to get any benefit.

I'm just sayin'.

The beauty of bare bulb is in its full angular coverage. There is no magic, unless you count the part where your wallet can disappear if you are not careful and spend $100 on Tupperware.

But with a speedlight if you stick your StoFen (or hot-n-sour soup container or rubbing alcohol bottle or insanely overpriced Tupperware bowl) on the flash to diffuse and disperse that light into all directions, it costs you some serious f/stops. Not so much with the already more powerful monobloc, as that bare-bulb architecture is built right in.

But I can zoom my speedlights, right? Yes! Speedlights for the win!

Yeah, well, you can buy telescopic reflectors for your monos, too. These are usually highly polished and can get very expensive. But the capability is there and you can really amp already powerful monos with a polished tele reflector.

In the end, monos will offer you power, flexibility a fast shoot/recycle times. You will be able to back them up a good distance and still have them be very useful. You can overpower the sun. You can light large objects in decent ambient light levels without fear.


So, What's Not to Like?

What they cost you is money, space, pounds and an attachment to AC power if you want to get full use of the modeling lights. So they are no more of a no brainer than are speedlights -- just a different solution to a different set of problems.

But if you are speedlight-based, you may well consider picking up a mono as a "big gun" to work along with your speedlights. When you need more light, it tends to be needed in one place. Think sun-overpowering key, or a whole-room bounce fill.

I currently am re-evaluating my monobloc system and potentially pulling out the wallet to do some damage. I will be working through that later, but wanted to make sure there was a basic familiarity with monoblocs in general before we got into that.

Hopefully, now there is. If there are still Q's in your mind, hit us in the comments and we will do out best to answer them.

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A Walk Around the Monobloc, Pt. 1

Speedlights are great, and I use them about 90% of the time. But that does not mean they are always the most appropriate tool for the job. Nor does it mean they might be the best choice for your style of lighting.

If you have learned to use your speedlights in manual, you should not at all be intimidated by the idea of using "studio strobes." In fact, you'll probably find the typical monobloc to be very familiar territory by now.
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Lose the Dogma

First of all, any time I shoot something with a monobloc, someone comments about it "not being Strobist," as if we had some kind of kosher standard going on around here. For Pete's sake, Strobist is the name of a website. I know, because I made it up in 2006. And there was no burning bush or stone tablets involved at all.

I used speedlights most of the time as a PJ, because they are the flashes I always had with me. And I created L101 and L102 around speedlights. But that is because speedlights are small, portable and the most accessible way for people to learn about lighting.

Most people learn to shoot with a little .22-calibre rifle, and save the .50 cal until a little later when they need to pierce an engine block at 700 yards.

IMO, to extend the speedlight ethic into a frame of mind where monoblocs (or pack and head systems) are somehow not to be considered is just silly. I am an available light photographer. Meaning, if a light is available I will consider using it.

Speedlight, monobloc, car headlight, iPhone -- I have used them all. If I think an ignited fart will improve a photo, then please pass the beans and matches. Speedlights are wonderful little lighting machines. But they are not the end-all, and they are not always necessarily the best tool for any given job.

There. Just wanted to be clear on that.

And I am kidding about the beans. Don't try that for a light source. At least, we don't to that in my family anymore. Not since that emergency room visit for my uncle Morris. (And I am not kidding about that, either.)


Been There, Done That

For lighting large objects (or overpowering sun at a reasonable working distance) bigger flashes simply make more sense than speedlights. My "big" flashes are two old White Lightning Ultra 600's. They are very similar to the current WL models and to today's AlienBees, except my 600's have had the crap beaten out of them.

I am currently re-evaluating my monoblocs and deciding which direction I want to go with them in the future. But I wanted to use the opportunity to take a moment and do a walk-thru for those of you who are unfamiliar with bigger flashes.

Today, we will walk through a typical control panel, much of which will be familiar to manual speedlight users.
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(Click the pic for bigger in a new window.)

Here is the control end of a WL Ultra 600, which is a 300 watt-second (WS) monobloc. It is typical in layout to most other mono's, and this one is about five times more powerful than your average speedlight.

Up top, you'll see the power level adjustment. This is exactly like dialing down your manual power level in a speedlight, except in this case you are not limited to full- (or half-, or third-) stop increments. This is a continuously variable, minus 5-stop power control, and one of the reasons I love the White Lightnings and AlienBees.

Actually, power level is an area where many speedlights and monoblocs intersect, too. For example, this a 300WS monoblock. If I dial it down a stop, it is now at 150WS. Down two stops is 75WS, which is getting into the neighborhood of an 60WS SB-800. So, they cross over in power output for the range of -3, -4 and -5 stops on the monobloc.

The efficiency of the reflector in the WL gives a little more light output per watt-second. But you will still find an area of crossover between the two. This is convenient, as it means you can use both types of flashes in conjunction if you only have one monobloc and a few SB's.

On the left is the modeling light switch, which will be of less importance to you if you have grown up using speedlights. They are nice to have, but also introduce some significant limitations when you try to power the mono's with batteries. More on that later.

Across the middle you'll see buttons, jacks and lights. The red "test" button is exactly the same thing as the test button on your speedlight. You push it and the flash pops.

Just above the test button is a "dump" light. This is an indication that the flash is storing too much power because you charged it up and then lowered the power level without popping the flash to bleed the unneeded juice. Most new mono's dump this power automatically. (They call it "auto dump.") But if yours does not this, is a good thing to know. If that light glows, pop the flash, Simple as that.

That round hole is the sync jack. What is a coveted but much-missing feature on many speedlights is standard equipment on a monobloc. Which is good, as you cannot very well mount a mono on your hot shoe. Pay attention to the type of connection for this jack, when shopping for a big flash. It can either lock you into proprietary connectors or free you to use standard, cheaper cords. My preference is 1/8" or 1/4" audio-jack-type connectors.

The white "model" button at center right actually helps you to know your flash is ready by turning off the modeling lamp until the flash is fully recycled. Some flashes can be set to emit beeps when recharged. A model-off-when-charging setting just gives you a visual confirmation.

The white dome further right is the optical slave receptor. Slaves on mono's are typically pretty sensitive, but you cannot aim them well because they are always gonna point away from the direction that particular mono is firing.

Speedlight slaves typically can be rotated to different directions from the flash head, which helps a lot. This is partially offset be the fact that the mono's will typically be firing more powerful light, so slaves can usually see the pulse better.

At far right you have the power switch -- simple enough. Just below that is a proportional model switch, which can get you an apples-to-apples modeling light comparison with WL monoblocs of different power settings.

Round that out with a circuit breaker (bottom left) and a remote control jack (far left). The latter allows the power and sync of a flash to be controlled by a wired remote.

If it looks complicated, it is not. At it's heart, it is a big, manual flash with a slider power control, a sync jack and a built-in slave. You already understand all of the important stuff.

And that's really all you need to know to handle most monoblocs just fine. They mount to your stands and light mods just like speedlights, as they have built-in umbrella swivels. And all of the theory and practice is the same -- you just have more power to play with.

You'd think the fancy control panels would be where the most important differences lie. But really, it is the lighting flexibility (and power) at the business end that mostly separates these guys from the little flashes.

More on that, in part two.

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Nick Turpin: Back on the Street

London-based speed-lighter Nick Turpin has brought a videographer along on another one of his snooted SB-800 street shoots.

For the shoot (done for MensHealth magazine) he simply approached appropriately dressed strangers on the street and created an instant studio around them.

Video, links and more pix after the jump.



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(If you are reading on RSS or via email, click on the post title to be able to view the movie.)

I love this look, as much for the low-impact gear aspect as for the results themselves. Just underexpose the ambient, then go in and carve in some highlights with the strobes to add depth and dimension to the scene.

In terms of needing permits for commercial shoots, the fact that Nick can work without light stands or tripods usually eliminates the need for any sort of street shooting permit.

Well, any place but London, maybe. Just carrying a camera in that city can get you in trouble.


Recent laws enacted in the UK pretty much equate just having a camera with being a terrorist. Literally, if you are taking pictures on the street in London you can be searched and/or arrested if an officer "reasonably suspects" you of, well anything.

How's that for a first-world free and open society?

Actually, Nick had a few words to say about that for iN-PUBLiC, an organization that advocates for street photographers.




I suppose they could rewrite the laws to allow only people with dinky little cell phone cameras to shoot on the street. But then, Nick just finished a worldwide ad campaign using only a cell phone camera, too.

They will probably outlaw people with photographic memories next.

Related Links:

:: Nick Turpin ::
:: iN-PUBLiC ::

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That's Not a Light Stand. This is a Light Stand.

UPDATE: As usual, alternate suggestions for humongous light stands coming in via the comments. Check 'em out if you are so inclined.
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Do you ever find yourself in need of more height and stability than your, say, 5-section compact speedlight stand can offer?

Do you sometimes need area-flooding back/separation lighting?

Are you strong enough to carry something around that is ominously described as "man portable?"

Then you, my friend, may be interested in a Luksa HI-VIEW 40-foot light stand.

Full extension pic (no jokes, please) and video link, inside.
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Make Mine a Tallboy, Please

After reading about the truck-mounted, 70-foot tall remote camera mast that Luksa makes, I clicked around in the site a little to find the "normal" light stands. They call them tripods, but they are designed just like light stands.

Only way bigger.

Here are some of the specs. The two models hit 30 and 40 feet tall, respectively. The 30-foot stand collapses to 6 feet.

There are two 40-foot models -- a normal one that collapses to 8.5 feet, and a "compact" version that closes down to 6.5 feet.

These bad boys extend with a winch (or 12v motor) so all of the sections extend at an equal rate, for maximum stability. And they will hold a 30- or 35-lb payload, respectively.

Price? Oh, yeah, that.

The bad news is that they will set you back $9,200.00 or $9,450.00, respectively.


Wait -- come back!


They are working on an upcoming lighter duty model that will go up to 48 feet, which will go in the $2,000.00 range. It is planned to have a 10-pound capability, which would make is perfect for a studio-sized head.

You may laugh, but just think what you could do with a 48-foot (as in 5-fricken'-story) light stand, as far as flooding a large scene with back/top light. Seriously, you could create a whole look with a stand like this.

Why just light a basketball court when you could light a night high school football game? Two AB1600's with sport reflectors feathered up back in the opposite corners would do it. (But only in Texas...)

I'm probably gonna be sticking to my Bogen/Manfrotto super compacts for the time being. But I figure this post has now gone on long enough to where Chase Jarvis is probably on Luksa.com ordering his right now. Especially after he sees this video.

As I always say, it is better to have a friend with a pool than to have a pool...


(Via the PW Blog)

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LP120, YN460 Feedback Coming In

If you are considering one of the new manual flashes on offer, make sure to see the original post on the trio of strobes. It has been updated with early user feedback -- and a scary video.

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Speedlinks: March 22, 2009

In this edition: Remote nuptials, utter normality, voyeurism, Malaysian mods, a portable office and free CLS videos -- after the jump.
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• "No, worries, ma'am. It's standard procedure to mount a G9 into any excess cleavage space in the wedding gown..." -- Forget the Final Four. Hassel Weems is using multiple remote PW'd cameras at weddings. (Via PW blog)

• 50 Sense: Photographer Kirk Tuck makes the case that normal is underrated.

• Get your voyeur on with Andrew "WTJ" Hetherington's silent, first-person POV video made during a visit to a cramped-but-cool NYC studio.

• Mod Squad: Don Giannatti has a pretty detailed open box post on the Speedlight Pro kit we mentioned a ways back.

• Top Shelf: Way OT, but something I wish I would have thought of when I was working as a PJ: This Gizmodo post slamming Brian Lam for his dress code (with which I personally have no problem, heh) also shows off a nifty mobile computing hack. Brilliant.

• Last but not least: For Nikon CLS newbs, Scott Kelby just started a three-part CLS series on his new weekly web video, DTownTV. It is unabashedly Nikon, but if you are new to CLS (i.e., if you have a pop-up camera and an SB and do not know how to marry them wirelessly) you'll wanna see this. And you can't beat the price -- it's free.
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NOTE: And to Canon (or other) users, I know I am banging the Nikon drum this week. If you see good quality venues for Canon E-TTL stuff (or other brands) give me a heads-up in the comments.

And no, that does not mean if you start a site on how to use flash with a 1972 Practika LTL-3, it is automatically gonna get featured here. Just trying to shake the trees for stuff at this level going on for other brands.

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Always Remember, Clients Can Smell Fear

UPDATE #2: Someone asked in the comments about Bert's "gunslinger"-type strap. It's a R-Strap.
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UPDATE #1: Bert detailed his post-production process on the shot here.
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What is your reaction when one of your best clients asks you to do a huge group shot in a dark, 800-seat auditorium? As Bill Cosby once said, "First you say it, then you do it."

Then you take a moment to calm down and pray that the ceiling in the cavern is white.

Belgian photographer Bert Sephani stepped out of his comfort zone and made it happen recently. And it goes without saying that speedlights need not apply on this one. But to Bert's credit, he accomplished it with two battery-powered Elinchroms, which were expertly aimed for even lighting across the auditorium.

Which is kind of interesting, really, because in all of Belgium there is only one Elinchrom Ranger available for rent. So he had to buy the other one.

Luckily for us, he produced a video for his excellent photo website/podcast, Squeeze the LIME, which should definitely be on your RSS list if it is not already.
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Related: More Bert on Strobist

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