Hello, friends!
I continue to introduce you to new studio equipment and test them so that you can form the most reliable opinion about their capabilities.
Today we will talk about Bowens XMS 500 BW5300, first presented at Photokina 2016 along with its “brothers” at 750 and 1000 J.
Appearance
Monoblock Bowens XMS 500 BW5300 has a rather brutal appearance and somewhat resembles a projectile. Even the handle that allows you to tilt the monoblock body is made in an unusual way, in the plane of the body. Now you don't need to twist anything to tilt the device or fix it. This is an especially valuable plus for photo studios for rent because... Photography newbies won't break the crank by using too much force.
Also, the device’s leg is hidden in the body, which is convenient when transporting it.
All fingerprints immediately remain on the surface of the monoblock and it is quite difficult to keep it “ideal” for shooting yourself, even if it is new.
But this is different from most modern monoblocks. I don’t know what the point is in this, but even expensive brands use rubber that gets dirty in the first minutes, glossy metal and other materials that remain stained.
The monoblock has a mount Bowens, the most common bayonet mount in the world. A huge number of accessories are produced for it, including those made in China, so this allows you to save a lot on any attachments, which are usually required quite a lot.
This is a reflector that comes complete with a monoblock and on which you can just see the mount Bowens. The reflector is short and convenient, gives a fairly large spot of light.
If you want a narrower spot, then you need either a deeper reflector or honeycomb (or better yet, both). But to get started, there is already a reflector and that’s good.
Removing the reflector you will see a halogen lamp and a flash lamp. Everything is clear with the flash lamp; it has a classic shape.
But instead of a halogen lamp there could be an LED, but for some reason the LED is installed only on battery models for now (in the battery series of monoblocks Bowens XMT there is an LED modeling light). The LED heats up less and warms the room, but gives a harsher light. Whether it is needed here is a controversial issue.
A halogen lamp is easy to replace and is cheap, and the LED is usually soldered in, so a halogen lamp is more economical.
The monoblock is controlled from the rear panel, where there is a central button for power control and several additional ones for other functions.
Something interesting here is worth noting that the monoblock can be connected to a proprietary radio synchronizer and be completely controlled remotely. This is done easily and then you get access to all functions. It is worth noting that on the synchronizer you can see all the device settings - this is very convenient and, as far as I know, no other manufacturer’s device settings are displayed on the synchronizer itself.
The monoblock is connected to the network using a standard “computer” cord.
The monoblock has active cooling (fan) so there is no risk of overheating.
Promotional video
Specifications
| Power | 500 J |
| Adjustment range | 7 steps (7.8 - 500 J, 1/1 - 1/64) |
| Adjustment accuracy | 1/10 stop or 1 stop |
| Recharge time (230V 50Hz) | 0.2 sec (min. power) - 1.0 sec (max. power) |
| Pulse duration (t=0.5) | f4.0 - f8.7 = 1/2480 - 1/5180 f8.8 - f10 = 1/3080 - 1/4000 |
| Stability of output power | ±0.05 |
| Colorful temperature | 5600ºK (+/-30ºK) |
| Modeling light | 230V, 250W - BW1024 |
| Cooling system: | active, fan |
| Modeling Light Modes | off, proportional, free set |
| Sync Types | Cable, IR, IR pre-flash, radio |
| Radio synchronizer range | >30 m |
| Part number of spare flash lamp | BW3000 |
| Dimensions | 485 x 136 x 192 mm |
| Weight | 3.7 kg |
Peculiarities
Bowens is a well-known brand in the world of photographic equipment. The brand's headquarters are in the UK. In recent years, the struggle for the studio lighting market has become especially tough and Bowens had to respond to a rapidly changing market by releasing more modern devices:
With fully digital control (adjustable in 1/10 steps, LCD screen)
- with a new radio synchronizer (XMSR, 2.4 GHz, sold separately), which allows you to control any device from the group
Pulse Length Test
Since the monoblock is a studio one and was originally intended for use in the studio (there are external batteries from Bowens, which allow you to use it outdoors), then the user will be concerned about how short the candy bar pulse is and whether it will allow you to “freeze” the movement, because in studio conditions it is the short pulse that “freezes”, and not the shutter speed set on the camera, which, as a rule, always within 1/125-1/250 sec.
I used an industrial fan with known parameters and photographed it first when it was turned off so that you could remember what the numbers written on the blades look like when they are absolutely clear.
Turn on the fan and let's go!
First, the minimum power, 4.0 on the device scale.
4.0
As you can see, there is no question of “freezing” at high speeds (impeller rotation speed of at least 2200 rpm). But this is a tough test even for studio generators, which is why I use it so that there is a range from devices with the shortest pulse to various monoblocks that rapidly improve performance.
5.0
6.0
7.0
8.0
9.0
10.0
We did not get any “freezing” of the fan blades. This test turned out to be too difficult for a candy bar Bowens XMS 500 BW5300.
Our test would be incomplete if we did not compare the device with other monoblocks of the new modification. I already had it on the test Broncolor Siros L 800 from new products, so let's compare with it.
Compared to other monoblocks
At maximum power
At maximum for Bowens XMS 500 BW5300 it “freezes” power better than Broncolor Siros L 800, although in general both “freeze” poorly at such power.
At minimum (for Bowens) power
At a power of 8 J Broncolor Siros L 800 the impulse is slightly shorter. And this is not its minimum power. It also has a special “SPEED” mode for “freezing”. Let's compare...
Here you can see that a large adjustment range (including negative) turns out to be an advantage. Those. at Broncolor Siros L 800 The impulse is already a little shorter, but due to the fact that you can set the power even less and turn on the special “freezing” mode, it wins. But the candy bar Broncolor and costs much more.
Practice test
The test I used was throwing artificial ice into a glass cup. Who doesn't love splashes?
You can throw in very different ways. An ice cube may fall in such a way that only large splashes will be released, and they move relatively slowly. Or you can throw it so that there will be a lot of small splashes, the speed of which is much higher. I hope this experiment will show more clearly the possibilities of “freezing” movement with a candy bar Bowens XMS 500 BW5300
At minimum power
“Freezing” of water spray at maximum power does not occur.
Conclusion: you can still get a clear picture of splashes using Bowens XMS 500 BW5300, but at minimum power and with a successful fall of the object into the water. While the candy bar cannot compete with its more expensive colleagues, it shows a significant improvement over previous models in this parameter.
Results and conclusions
pros
New monoblock Bowens XMS 500 BW5300 much better than previous models (there will be a separate article about this, I hope) and occupies some average niche among studio monoblocks. The availability of accessories also speaks in its favor.
The Bowens XMS 500 BW5300 all-in-one has some nice extra features
Pre-Flash Number
Possibility of setting the light trap mode. It can ignore pre-pulses from the camera's built-in flash, if any. You can set the number of pre-flashes, the time during which you need to wait for the pre-flash and the minimum time for pre-flashes.
Model lamp resource saving mode - Lamp Saver (LS)
Set the minimum time after which the monoblock will reduce the power of the pilot lamp to a minimum. It is set in the range from 0-99 minutes and can be very useful if you stepped away for a minute, but you were gone for a couple of hours. This way you will save electricity and the lamp will not heat up in vain - it will extend its service life.
Battery saving mode - Battery Saver (bS)
It is especially relevant when using a monoblock powered by an external battery, but it also works when powered from the mains.
The monoblock can go into sleep mode and turn off the pilot lamps to save battery power or save electricity during long periods of inactivity (the value can be set from 0-15 minutes).
Mode Battery Saver can be used in conjunction with Lamp Saver to first reduce the power of the pilot lamps to a minimum and only after some time go into sleep mode (very convenient!). Any control actions will wake up the monoblock again.
I didn’t notice any problems with power stability, although I didn’t conduct any special tests.
Minuses
The pulse duration at t0.5 is not informative. We don’t know, maybe at first there is a short burst, and behind it there is a large tail of impulse decay. Those. on paper it looks more or less decent, but during the test we learned that the monoblock’s pulse is quite long.
Color temperature stability could be better.
It promises +/-30ºK from flash to flash, but this in no way describes the change in color temperature between maximum and minimum power, and the difference is noticeable.
To summarize what has been said
I would like to note that booklets and promotional videos have become extremely uninformative and you need to conduct your own tests.
So subscribe to my news here, thanks PhotoProCenter we have the opportunity to test the most modern and most interesting lighting devices! You can choose any one, but we try to provide you with more complete and reliable information about the devices you buy.
Bonus - video
Recently I encountered the problem of choosing a light for the studio (studio flash). I figured out the criteria for myself. I'll publish it if anyone is interested.
We proceed from the fact that you need to choose the best flash possible with a very limited budget. If it weren’t for budget restrictions, you could simply buy a device from a manufacturer known for its quality.
Choosing an unknown manufacturer is essentially a blind choice. I identified the most significant criteria that determine operational characteristics as follows:
Bayonet
Studio flashes are good because with the help of attachments you can simulate light in any way, in different ways. Most flash attachments are mounted on a bayonet mount. Bayonet mounts are different and are poorly compatible with each other.
Therefore, when choosing a flash with a certain mount, you limit yourself to a certain set of attachments (that is, compatible with this particular mount). There are adapters between mounts, but they cost extra money and not all of them are good enough, so in general it is better to do without adapters.
Personally, I chose the Bowens type S mount for myself (the name of the mount coincides with the name of the company that long ago began producing systems based on this mount). Because in our country it is very widespread. There is a large selection of flashes and flash attachments for this mount. From very cheap to very high quality.
Power regulation determines the level of electronics
This opinion, by Andrey Osipov, who has been involved in studio flash photography for several years (http://osipoff.ru), is given in a form adapted by me:
Digital or analogue adjustment - in general it doesn’t matter, it’s a matter of taste.
It is important to regulate the power as much as possible. If the characteristics of the device say that the pulse power can be adjusted up to 1 ⁄ 8, this means cheap electronics. Today it is not at all difficult to make a device with adjustment up to 1 ⁄ 16, 1 ⁄ 32, and if the manufacturer does not do this, then he saves a lot. Sometimes the characteristics of devices indicate the adjustment range “4 f” or “5 f” - this means that adjustment is possible up to 1 ⁄ 16 or 1 ⁄ 32, respectively.
The modeling lamp is often a sham
The thing is extremely useful. Needed for focusing and setting light.
However, very often manufacturers equip devices with pilot lamps only for show - the lamps are extremely weak. There are even lamps - attention - only 60 W. Often the manufacturer writes that you can install a very powerful lamp, but the plastic flash body without forced cooling makes you not believe this.
In my opinion, there should be a complete lamp of significant power - for a studio of 30-50 sq. m is 500-1000 W
Fan
The presence of a fan indicates that the manufacturer is serious about ensuring long-term operation. I was choosing a device for a heavy load, so this was an important criterion for me. In my opinion, the fact that a device without a fan just says that this device is not intended for professional work.
Charging time, if you don't pay attention, you can get caught
On some devices that meet other criteria, the charging time is as much as 4-5 seconds. This is forgivable for on-camera flashes, but for studio flashes this charging time will provide uncomfortable operation. Why can you get caught because of this? Because I myself noticed this parameter completely by accident!!! And I was unpleasantly surprised.
Flash lamp power
At 35 sq. There are enough meters of devices for 250 J and 500 J. With reserve.
A powerful device has one advantage - the flash will not be used at full power most often, therefore, in general, the device charges a little faster than a similar device, but with less power.
This powerful device has one drawback - it is difficult to shoot with a shallow depth of field (with an open aperture).
Other Considerations
Such important characteristics as stable color temperature at different puff powers and reliability of operation, unfortunately, are not simply determined in absentia from the technical characteristics.
What did I choose
I settled on Raylab Sprint, Raylab Etalon and Prograf ArtPulse - listed in ascending order of price. I knew where to buy them. I read enough reviews on the Internet - the devices are well-known, their problems and shortcomings were well described, quite good for the money.
The budget unexpectedly increased and allowed us to buy the most expensive of the devices listed above.
“The most difficult choice is when you have to choose not from two, but more”
Back to the studio equipment again. In previous articles, we examined the principles of creating photo studios (from small to larger ones). Now we will try to delve into the varieties of manufacturers in more detail and help the buyer decide on the question: what brand of studio light should he buy?
Stage No. 1. The concept of "bayonet". Types of studio flash mounts.
“Bayonet” is a type of quick-release accessory mount for studio flashes. Moreover, each manufacturer has its own type of fastening. But exceptions cannot be avoided.
The most universal and more or less “standard” mount, no matter how strange it sounds, is Bowens, also known as the “S-Type” mount. There are a large number of manufacturers with this type of fastening. The founder, as a rule, is considered to be the Bowens company, which is where the name of the mount comes from, but is registered under the ISO certificate as S-Type.
The best thing about this mount is that you can buy a studio flash from one manufacturer, but an accessory group from a completely different one, saving money on additional costs. equipment.
Below is a list of popular manufacturers with Bowens mount.
| Bowens | Mircopro | Visico | Arsenal | Rime Lite | Hyundai Photonics | Godox |
Ningbo Mircopro Photo Equipment Co.,Ltd. - a pure Chinese, manufacturer of equipment, not only flashes, but also reflectors, softboxes, lightcubes. The company has been offering its products on the world market for more than 10 years. Their geographic distribution includes most Western European countries, Eastern European countries, Asia and Australia. They are especially popular in the USA.
China Vistarfoto Co., Ltd (Visico) is a complete analogue of Mircopro. It is no different both visually and technically. The distribution is the same as Mircopro, but is aimed at a narrower circle of buyers. Same money, same quality, didn’t find the desired model from Mirkopro? No problem! Let's take Visiko!)
Former Hyundae Photonics (Japan), which experienced remarketing for the better. The range of lighting fixtures has been completely updated. At the moment, the company’s slogan can be considered “We need more speed and a built-in battery.” The last 4 flashes were released as high-speed ones with autonomous power supply from a built-in battery in the candy bar itself.
A classic representative of studio lighting, which has absorbed the best from the land of the “rising sun”. The quality is higher than the price, which is nice if you buy “good light for my favorite studio, but not very expensive.” There is a personal range of accessories (softboxes, reflectors, light-shaping attachments, etc.), which is quite decent in range.
Initially, an ordinary “noname” brand that produced almost everything related to studio filming. At this time, the company has risen quite significantly in recognition. The quality has risen to a level higher than at the start. Can be compared to Visico and Mircopro.
A list of “greedy” monopolists who decided to make their own mount. But justifying them, this is really high-quality equipment worth the stated money.
| Elinchrom | Hensel | Prophoto | PaulC. Buff |
- Elinchrom
Swiss company. The main office is located in the city of Renens. Elinchrom is one of 3 competitors in the “love triangle” Bowens – Elinchrom – Interfit. The most interesting thing is that Interfit is considered a direct copy of Elinchrom, since it is the only large company that uses the Elinchrom mount in the production of its equipment.
- Hensel
A company with more than 50 years of history. Founder Wolfgang Hensel. The first product was a front projection system. Beginning in 1976, the company launched the first flash, the Hensel Favorit/Miniflash, which was made by hand. Pure Aryan, quality corresponds to the stated price. Company slogan: More than just “Made in Germany”
- Profoto
"Typical Swede." The company was founded in 1968 by Conny Dufgran and Eckhard Heine right in the heart of Stockholm. I think the company’s slogan is “If something doesn’t work the way you want, do it yourself,” which is exactly how Koni and Eckhard started their joint business.
-PaulC. Buff
The name of the company, the personal name of the founder is Paul Conrad Buff (1937 – 2015). A truly legendary manufacturer of lighting for photography and video. The company was founded in 1980. “Einstein” flashes are considered “top” equipment.
Stage No. 2. Analysis of characteristics or “what is written there?”
The most interesting thing in this part is one of the concepts: “The level of power regulation determines the level of the insides of the monoblock, and, accordingly, the quality.”
In this parameter, it is important with what “move” you can adjust the flash power. If the description of the flash describes a “power adjustment stroke” of up to 1/8, then remember, this is an economy option, and the electronics there are quite cheap. But sometimes there is an adjustment indicator of 4F or 5F, here the value is equal to 1/16 and 1/32, respectively.
Built-in “pilot” or why there is constant light in the flash.
Modeling light is extremely important. How else will you focus in a completely dark studio? It also involves setting the light. It’s a pity, but often manufacturers equip flashes with pilots only “for show”, the power of which is extremely weak (75-150 W). The manufacturer may indicate the possibility of installing a more powerful lamp, but they do not write that with a powerful pilot, the plastic flash housing may simply melt.
Regarding the temperature heating of the device. If the flash has a fan or active cooling system installed, this may indicate that the manufacturer has taken a rather conscientious approach to production, thereby ensuring the long-term operation of its “brainchild”. If flashes are purchased to work with heavy loads, the presence of a fan is an important criterion. From here the conclusion is: Fan = professional flash, no fan = amateur or low-quality.
"Kettle, cook faster"
Flash pulse recharge speed. The main thing with this parameter is not to miss, since the flash recharge time of 4-5 seconds can provide rather uncomfortable conditions for shooting. Why can you miss? A camera with a 4-second burst takes a shot every 4 seconds - illogical. Sometimes it happens that the shooting is very dynamic (animals, children, subject photography), and “capturing the moment” once every 4 seconds is quite a difficult task.
Flash lamp power.
When calculating power per m2, take an equivalent in the range of 7.15 - 14.3. That is: With a quadrature of 35 square meters. meters * 7.15 or 14.3, flashes with power from 250J to 500J are enough. At the same time, 500 is already with a margin, but this has its own charm. It will be extremely rare to use such a flash at full power, so the pulse will charge faster than a similar flash, but with less power. But powerful devices also have a drawback: it is quite difficult to work with an open aperture (with a shallow depth of field).
"Fishing with live bait"
A radio synchronizer is built into all known pulsed light devices, or rather not a synchronizer, but a so-called light trap. We “ignite” the first one with the synchronizer, the rest light up together after the first one, but provided that there is not too much light in the room and the devices are not too far away from each other.
If you've been shooting with on-camera flash for quite some time, then the concept of "pulse reset" should bring back bad memories for you. With studio flashes everything is much simpler. If, when shooting, you set the power indicator to maximum, and then suddenly decided to switch to half of the maximum, then the first impulse will be carried out immediately after changing the power. The same circuit works in reverse order, from ½ power to maximum.
“SyncSpeed – what is this???!1!?!1” or how to make friends between the shutter and the monoblock.
The emission of a light pulse (the moment the flash fires) occurs almost instantly. The maximum duration of a flash pulse rarely exceeds 1/500 of a second, and in some cases it is even faster - 1/20,000 of a second. Therefore, we need to somehow make the flash fire when the camera shutter is fully open. And from here it turns out that due to the peculiarities of the camera, it will not be possible to perform full synchronization of the camera and the flash in the entire range of shutter speeds.
I won’t talk about the use of point-and-shoot cameras in studio photography, but I will briefly explain the principle of working with a “mirror”.
All DSLRs have a so-called focal length shutter (lamella, curtain-slot). The principle of operation of such a system: one curtain opens the frame window, and the second closes it.
Why so much attention for such a primitive concept? And all because it is at the shortest shutter speed of the full opening of the matrix that the light pulse of the monoblock most effectively interrupts natural light (constant).
Approximate range of camera parameters when working with pulsed light:
| Excerpt | f/ value |
| 1/125 – 1/250 | f/8 – f/16 |
And in little things.
Exposure is set manually by the photographer himself, since the lighting does not change during work without the consent of the photographer. Exposure selection occurs empirically, i.e. by trial and error.
ISO – Never use automatic ISO metering when shooting in a studio. Always set the minimum possible indicator manually.
W/B (white balance) - just like exposure, you can adjust it manually. If your shoot involves using a backdrop that is devoid of white elements or a neutral gray color, consider bringing along a sheet of A4 office paper or buying a “gray card.”
2015 © Andrey Nikandrov, especially for
Full or partial copying of materials without the consent of their authors is prohibited.
Softboxes are becoming more and more popular accessories for modern photographers. And manufacturers, naturally, adapt to consumer needs and expand the range of softboxes they produce. Today we want to talk about softboxes for on-camera flashes. They are produced in different types. Which one should you choose? Which one is right for you?
First of all, of course, you need to find out what kind of softboxes exist in general, what functions one or another of their many models has. Well, and then choose from all this variety the softbox that you need and need. So, let's start to figure it out slowly and in order. First of all - with the most important parameters of softboxes.
Fastening
There are two types of mounting a softbox on a flash: directly on its head or using a special bracket on a stand.
You can install small softboxes on the flash itself. Large ones require special separate mounting.
Those softbox models that are attached to the flash itself allow you to use it without removing it from the camera. Why is this good? And the fact that in this way we retain all the functions of the flash, namely TTL, HSS, rear curtain shooting and everything else. Large softboxes that require separate mounting also require separate synchronization. In these cases, you cannot do without a TTL sync cord or a radio synchronizer.
There is one more thing that needs to be said here. There are no large softboxes attached directly to the flash itself for one simple reason: do not forget that mounting this accessory in such a way assumes that the flash is mounted on the camera. And if it is located on the camera, then it means the lens is located directly under it. And if your softbox is large enough, then it will simply interfere with the lens. Well, or the lens will interfere with the softbox.
There are several types of softbox mounts for flashes.
The first, simplest one is on the so-called “Velcro”. Velcro is glued onto the flash head, and then the softbox itself is attached to this Velcro. Unfortunately, this method cannot be called the most convenient and the best. After all, by sticking Velcro onto the flash, you spoil its surface. And, besides, you won’t be able to put this softbox on another flash. At least until you buy a new Velcro.
The second type of fastening a softbox to a flash is a gel-based mount with an elastic band. The softbox is pressed against the flash head with a gel base, and then tightened on top with an elastic band. This type of fastening can perhaps be safely called one of the most universal. This type of fastening is very simple, and, unfortunately, not the most reliable. But, nevertheless, if the camera is not shaken very much during operation, then for a shooting day, for example, for a photographer shooting at a wedding, a mount of this kind may be quite sufficient. During this time, we think the softbox will not slide off the flash. And you don’t need to count on more.
The third type of fastening is fastening using a special adapter. And this mount cannot be called the most reliable and versatile. But this minus is more than compensated by its plus: the fact that this adapter allows you to install not only a softbox on the flash. Manufacturers have developed several sets of special accessories for detailed adapters.
Unitarity is the main disadvantage of adapters. The fact is that there are almost a dozen types of these devices. They are designed to fit different flash head sizes. Simply put, if your flash is not the most popular and popular model, then choosing an adapter for it will be very problematic. In some cases, it will even have to be modified.
Attaching the flash directly to the softbox
This is how large softboxes are attached. Until recently, there was only one mounting option of this type - through the flash shoe. But, alas. This type of fastening has a number of disadvantages. Which? Well, for example, if your synchronizer is quite large in size (at least Yongnuo YN-622C Canon E-TTL II), then such a flash mount simply will not allow you to place it as necessary.
And during reportage shooting, a softbox placed on a handle specially designed for this purpose, when moving on such a lever, can even damage the flash shoe, which is already experiencing increased loads.
Until recently, softbox mounts were exclusively on the flash shoe. But a few months ago, models finally appeared on sale that are mounted not on a shoe, but on the flash head. We would call this type of fastening more natural. After all, it captures the flash much more clearly.
Why are we so confident in the naturalness of such fastening? Here's why. Let's try an experiment. Take your flash in hand. Well, how did you get it? Surely, purely intuitively, you grabbed it by the head, as it was both convenient and safe.
Unfortunately, today softboxes with such a mount are supplied to Russia only for Grifon flashes. It’s also good that in addition to the softbox, you can install many other accessories on such a mount, for example, an umbrella or some other attachment that has a Bowens mount. This is a reflector, a beauty dish, and similar light modifiers.
Please note that in this mount the flash synchronizer will be located on its hot shoe. Considering that the synchronizer itself is 5-10 times lighter in weight than the flash, this will not give a critical load when moving.
Screen size and shape
Based on their shape, softboxes can mainly be divided into two large groups: octoboxes and quadroboxes. The former have an octagonal shape, the latter are quadrangular or closer to a square. There are also round-shaped softboxes, but they are quite rare. Round softboxes are mostly small.
The shape of the softbox screen first affects the shape of the glare it creates. And this glare is reflected in shiny objects that fall into the frame. Such objects, for example, could be a model’s glasses, glass from windows or shop windows, reflective surfaces of cars, and much more. In some cases, the shape of the softbox can even be seen in the pupils of the subject's eyes. Of course, if the photo is taken at a good level of quality.
And the size of the softbox primarily affects the softness of the light. Everything here is very, very simple. The larger the reflective surface, in our case it is a softbox, the softer the light it gives. But still, to be more precise, the softness of the light pattern is affected not by the size of the reflective surface itself, but by the ratio of these dimensions to the size of the object being photographed. If we explain this in popular language, then we can give the following example. Let's say you're photographing a tea cup for an online store. If you first shoot it with a softbox measuring 10x15 cm, and then with a softbox measuring 15x20 cm, you will immediately see the difference in the pictures. But if you take turns shooting a full-length person with the same two softboxes, you will hardly feel the difference in lighting.
In general, experienced professionals advise shooting portraits with softboxes with a screen size of 40 cm or more. This can be a quadbox 40x40 cm or an octobox with a diameter of more than 50 cm.
Types of softbox dome designs
Three of these types can be distinguished.
The first of these is the umbrella design. There is no need to tell how such softboxes work - this is clear from the name itself. Experts consider the umbrella design of a softbox to be the most successful. It allows you to unfold and fold the softbox quite quickly. Due to the fact that nowadays there are more and more girls among photographers, the amount of effort required to bring a softbox into working condition is not the least of its working properties. And for representatives of the stronger sex, the speed of deployment and collapse of equipment is also important. After all, sometimes you have to film very quickly.
Softboxes from Westcott and Phottix have an umbrella design among the softboxes supplied to Russia today.
The second type of softbox dome design is the Twist Flex design. This type of softbox unfolds like a light reflector. A hard springy hoop is inserted into each of its sides. This hoop gives the softbox rigidity and allows it to be rolled up without much difficulty. When folded, this softbox easily fits into a small handbag.
The third type of softbox design is the so-called regular softbox. Companies that today produce equipment for studio photography produce special adapters that allow you to install a regular studio softbox on spokes on an on-camera flash. On the one hand, this is very convenient because the same softbox can be attached to both a studio flash and an on-camera flash, but, on the other hand, the big problem here is the compactness of the softbox itself and the efficiency of work in general.
We told you today about softboxes that are produced nowadays for on-camera flashes. The leading positions in the Russian photo accessories market today are occupied by softboxes from companies Grifon, Fujimi, Falcon Eyes and several other manufacturers. The softboxes of all these companies are very different both in their quality and in their design. If you need more detailed and thorough information on photo accessories, we advise you to contact specialized companies and stores, including online stores. Well, for example, in Photogor. Usually they don’t refuse help there.
I would like to think that the information presented in our article today was useful to you and gave you some food for thought. Now you have at least a little knowledge of the various models of softboxes for camera flashes, and you can choose the accessory that is right for you and is right for you.