Manfrotto Articles

I've recently been writing some articles for my friends at Manfrotto. They give some additional background on projects I've been working on lately. If you have time, head on over and take a look.

http://www.manfrottobags.com/author/forest-mcmullin/?display=stories#4428

Ken Iron Horse is Apache and Algonquin Indian. He's an artist and makes crafts inspired by his heritage which he sells alongside his paintings at the Blue Ridge Flea Market in Blue Ridge, GA.

 

New Elinchrom ELC Pro HD Review- A Lot of Technology in a Compact Package

I've been using the new Elinchrom ELC Pro HD strobes for a few weeks now. My friends at Manfrotto Distribution and Elinchrom were nice enough to send me both the 500 watt second unit and the 1000 watt second unit to test. I've been using their Style RX strobes for several years now and when they told me they were updating them, I remember saying to myself, well, that's nice, but the only thing I could think of that they needed was to build the Skyport receiver into the unit instead of having to plug in an adapter. Boy! Was I wrong! The ELCs are a serious overhaul and upgrade to the RXs.

At first glance, they look pretty much the same as the RX 600WS model. Although they're slightly larger (about an inch longer and little bit bigger around) they actually weigh less than the comparably powered RXs. The 1000WS unit is exactly the same size as the 500, too, which is especially nice when you look at the giant size of the older 1200WS RX.

The front of of the ELCs looks like what you'd expect. The only changes from the RX is that they've added a protective dome and the wattage of the modeling light has been increased from 150 watts to 300. The bright modeling light in the ELC generates a lot of heat, but it's no problem, partly because the cooling fan in the unit is extremely efficient. It's also very quiet- so quiet that you have to listen closely or you won't realize it's on.

The back is significantly different from the RX.

The biggest change is the OLED menu readout. If all you want to do is shoot with basic use, it's easy to do just that. Left and right arrows change the power up and down in full stops. The center dial, glowing green in the picture above, changes the power in tenths of a stop. Speaking of power, the strobes re-cycle VERY fast. The 1000WS recycles in under two seconds- 1.7 sec. by my measurements and 1.8 sec. stated in the Elinchrom specs. On lower power settings, of course it's much, much faster.

As I said above, these lights will perform admirably in the vast majority of "normal" uses. But the reason it has a menu system is that there are a couple of features built in that are very cool. The first one is that it is designed to have short- very short- flash durations. Many photographers don't realize that different strobes have different flash durations. For most brands and models, this may range from as slow as 1/300 of a second to much faster, say 1/2,000 of a second. And that duration changes depending on the power setting. For many kinds of shooting, the flash duration is relatively unimportant. The problem is when you're shooting something moving quickly and you want to freeze the motion- say a splash or a dancer leaping. If the duration isn't short enough, there will be some blur.

The ELCs not only have short durations, but the exact duration reads out on the menu. You can see what the duration is at every, single power setting. This allows you to adjust the power to find the balance between what f/stop you need and the duration that is fast enough to freeze whatever action you're capturing.

I'm just starting to play with this and I hope to have more pictures to post soon.

The other feature the ELCs have is a stroboscopic function. This allows you to set them from firing one time per second to as fast as 20 times per second. You can set the time of the burst from 1 second to 4 seconds. The following shot was my first effort. Joe was practicing his serve and I set the lights to fire 15 times per second for one second.

With the very talented Deborah Hughes in the studio, I thought I might try some motion studies with her, too. In the first, I just had her dance across the frame. The ELCs were set to fire 10 times per second for 2 seconds.

But then she showed me some fabric she had brought with her. Now the magic began. . .

I can't wait to get Deborah back so we can keep playing with this. I want to try it with different colors, with multiple dancers- there are tons of possibilities. They also have a sequencing function that allows the user to time up to twenty different strobes with a pre-programed  delay.

These effects aren't unique. There have been strobes that have done this for some time. The big difference is that, as far as I know, these are the first ones that can do it in completely customizable ways and at a very reasonable price. The ELCs will be available for about $1050 for the 500WS and $1450 for the 1000WS when they start shipping in the US in June. That's less than one fifth the price of other strobes that can do the same things. In fact, that would be a good price for monoblocs that don't have all these special features.

I really can't wait to continue working with the ELCs. They're excellent performers for regular shooting. And their special features are giving me lots of ideas on new ways to shoot. I really think these lights are winners.

New Line of Manfrotto Bags- Part 2

The new line of Manfrotto Professional bags I wrote about a while back includes five Shoulder Bags in sizes from the 10 to the 50. Like the Professional Backpacks, the Shoulder bags are well designed, well built and have a number of interesting, even unique, features.

The biggest difference between these bags and the older "Domke" style shoulder bags I used in the distant past is that the shell is made from the same semi-rigid material I described in my review of the backpacks. It gives structure to the bags and offers a high degree of protection. Many of the details are what we've come to expect on any high quality bag. A well padded shoulder strap and lots of pockets are there.

It has a couple of features that are unusual, if not unique. One is the way the internal sections are structured. They have a sort of hinge built in that allows a multitude of usable options, like having a camera at the ready with the lens pointing downward and stacking lenses with a padded section between them for protection.

The top lid has a weather sealed zippered slit, which let you get in and out quickly and easily if you find yourself changing lenses often. It's a nice touch and works faster than opening the lid to get things out.

The bags all have slots for laptops and/or tablets depending on the size of the bag. I tested the 10, 30 and 50. I particularly like the 10 since I'm using the Fuji X-E1 more and more. The 30 is a nice size, too, for when I'm using my Nikon or Pentax. The 50 is a behemoth! I can't imagine actually using it and trying to work off my shoulder. It's so big, that when it's loaded it's very heavy. I think it's probably more of a gear bag that has a shoulder strap to facilitate taking it short distances- not all day!

My only complaint about these bags- and it's a small one- is that there aren't any velcro tabs to make entry quicker that the zippers for situations when speed is important. Other than that, these are excellent additions to the marketplace. Well designed, well built, and very usable bags.

New Elinchrom Monoblocs

Elinchrom has just announced a new series of monoblocs, upgrading the top of the line Style RX. The new ELC Pro HD comes in 500ws and 1000ws maximum power. The major changes include much faster recycling (.6 seconds for the 500 and 1.2 seconds for the 1000) and very short flash durations. They're rated at 1/1430 at full power and as fast as 1/5260 at lower powers. That's fast! They have the wireless Skyport system built in. They also have several advanced features for the demanding pro shooter, including a stroboscopic setting that let's photographers do multiple exposure motion studies.

Shipping and prices haven't yet been announced. I'll post about them as soon as I hear. And I'll be giving them a thorough testing and writing about that as soon as I can get my hands on some.

Stay tuned!

New Line of Manfrotto Bags- Part 1

For the last few months I've had the opportunity to use and test a number of the new bags in the Manfrotto Professional Collection. I've been a very happy user of Kata bags for many years now and I was a bit skeptical about finding anything that made me want to switch. After using these new bags for a while, I can honestly say that, although they may not make me get rid of all my Kata bags, they are a worthy addition to my inventory.

Finding the right bag is a pretty personal choice. You need to find a balance between what is the perfect size for what you need to carry, what has the features you need, and what feels the best on your back or shoulder. I'm happy to report that these new bags come through on all these accounts.

First the backpacks.

Manfrotto Professional Backpack 20

These packs look a little different than a lot of similar packs- they have a more geometric outline. This is because the outer skin is reinforced with a semi-rigid material. It's not a hard bag like a Pelican, but it offers a ton of protection against the impact of any hard or sharp object.

In most ways, they're what one expects from a quality bag. They have well padded shoulder straps and backs and multiple padded inserts that attach with Velcro.

Manfrotto Professional Backpack 20

Manfrotto Professional Backpack 20

These packs are comfortable and have plenty of zippered compartments, inside and out. On a non-shooting trip recently, I pulled all the inserts out and found it to be an efficient briefcase/backpack. It held my 15 inch Macbook Pro in the slot in back easily.

Manfrotto Professional Backpack 20

Where these packs really excel for me is in a few details. First, they have quick release straps that serve as a back-up to the zippers. For those of us who routinely over stuff our packs this is a well considered and necessary feature to ensure the bag stays closed in case of a blown zipper.

Manfrotto Professional Backpack 20

Secondly, it has the tripod pocket built in. This may seem minor, but if you're like me, you don't carry a tripod all the time and when you do you have to find the pocket (sometimes a pain) and then put it on the pack to use it. Having it integral to the pack is a very nice touch. By the way, notice the little plastic feet on the bottom. These make the bag sit upright and not fall over.

Manfrotto Professional Backpack 20

Manfrotto Professional Backpack 20

The last detail I want to tell you about is so small you might miss it. Waist straps have to be long enough to accommodate a wide range of body types. Some people (me for instance) almost never use them at all except when carrying a large, heavy load. When you're not using them or if you're relatively slender, these straps are long and hang down, way down. Manfrotto has had the good judgement to include little Velcro straps that allow you to roll them up and keep them out of the way. I really like this.

Manfrotto Professional Backpack 20

These new packs come in three sizes- the 20, the 30, and the 50. I'll probably use the 20 most often since I've lately been shooting a lot with the Fuji X system. These cameras are smaller and lighter than my Nikons and the body, several lenses, and various accessories is held easily with the bag. The largest one, the 50 is big enough for me to use when I'm doing "Studio in a Backpack" shoots. The 50 is a bit smaller than the Kata backpacks I used to use for these shoots, but between smaller cameras and the smaller and lighter Elinchrom Quadra Hybrid strobes, the 50 is just fine. Its large, padded waist belt is very sturdy and helps enormously when I have to carry this heavy load.

My final verdict? If the size of one of these three backpacks is right for you, I really don't think there's any downside. They're well-built, have great features, and are priced right- not cheap, but competively. Now, they don't have twenty different sizes like some other brands, but if the size works for you, you should definitely take a look.

Back to Buford Highway (#15)

It's been exactly one month since I last posted, but I think most will forgive me if I plead "The Holidays". It's been a blur with all three of my kids and two of their significant others in Atlanta to spend Christmas with Andrea and me. Eating, drinking, and great good cheer were the order of the day(s).

But, I'm back with more pictures from Out on Buford Highway. I'm going to start with additional pictures from two of the restaurants I've already posted about and then add more new ones. Please check back here often or sign up to follow it via e-mail to stay current.

First, is a return to Ming's BBQ. They call themselves a "Peking Duck house". They serve a range of food, but duck is their specialty and it deserves to be. If you go for dinner, remember that they don't have a liquor license.

Wole Doherty, Nikon D600, 20-35mm, ISO 1600, 1/125 @ f/5.6

Juan Qin, Nikon D600, 20-35mm, ISO 1600, 1/125 @ f/4

Number 14 from Out on Buford Highway

Lee's Bakery is at 4005 Buford Highway. It's one of the most popular banh mi and pho places on Buford Highway and that reputation is mostly deserved. It can be tough to find a table during lunch hours, so consider take-out if that's the only time you can get there. The food is very good, but I like some of the places that are a little further off the beaten track. Maybe I'll write about those in the future.

Fuji X-E1, 18-55mm lens, ISO 200, 1/400 @ f/5.6

Fuji X-E1, 18-55mm lens, ISO 200, 1/60 @ f/5.6

Number 13 from Out on Buford Highway

Cho Sun OK Korean Restaurant is at 5865 Buford Highway. I ate there with a group early on a Saturday afternoon last February. I'm not terribly familiar with Korean food, so I just sat back and tried a little of everything. The myriad of kimchi was a revelation to me. I've never been fond of things pickled, but the flavors, textures, and spiciness of what was served was astonishing. The dumplings and fish egg soup were most excellent. And the staff was warm and helpful. I'm told the restaurant has changed hands since I was there, so I hope the quality has been maintained.

Dumplings surrounded by kimchi, Pentax K-5IIs, 16-50mm lens, ISO 1600, 1/60 @ f/2.8

Fish egg soup, Pentax K-5IIs, 16-50mm lens, ISO 1600, 1/50 @ f/2.8

Barbeque, Pentax K-5IIs, 16-50mm lens, ISO 3200, 1/60 @ f/2.8

Owner Hu Bok Chong, Nikon D600, 20-35mm lens, ISO 1600, 1/40 @ f/2.8

Waitress Jeong So (Miss Park), Pentax K-5IIs, 16-50mm lens, ISO 1600, 1/50 @ f/2.8

Waitress Kyung Sook Han, Nikon D600, 20-35mm lens, ISO 1600, 1/100 @ f/2.8

Number 12 from Out on Buford Highway

Pollo Norteno is at 2501 Chamblee-Tucker Rd. just east of Buford Highway. I haven't eaten there yet, but I'm told it's very good. I love the way it was glowing this night, just before the sun went down.

Nikon D600, 20-35mm lens, ISO 100, 1/200 @ f/5.6

Number 11 from Out on Buford Highway

Taqueria El Ray Del Taco, 5288 Buford Highway, is a fun Mexican joint. The outside is covered with colorful designs and the inside is a garish explosion of greens and blues. It will definitely wake you up if you need it. The staff is friendly and most speak English pretty well if you need a menu item explained. The house Margarita is good, but the real stand outs to me are their shrimp enchiladas. It's a big portion (not that I really care about that) and the green sauce is truly outstanding. It's quite spicy hot, but it's a slow burn that I wasn't aware of until the third or fourth bite. There was plenty of time to enjoy the great flavors before the heat set in. Very nice!

Nikon D600, 20-35mm lens, ISO 100, 1/640 @ f/5.6

Nikon D600, 20-35mm lens, ISO 100, 1/60 @ f/8

Fuji X-E1, 18mm f/2 lens, ISO 800, 1/105 @ f/2.8

Fuji X-E1, 18mm f/2 lens, ISO 800, 1/40 @ f/2.8

On Location

I recently took students from my Portrait Photography class to the sculpture studios at SCAD Atlanta. We did three shots in a little over two hours and had a great time. Susan Krause and Steve Jarvis were kind enough to let us take over their facility, as well as pose for us. We did three shots- one with four lights, one with two, and one with only one that also incorporated the available light. My Elinchroms worked perfectly and had plenty of juice to light such a large space. And the Skyports once again were flawless, both triggering and adjusting the strobes remotely.

If you'd like to see what it looked like, you can see a web gallery here.

Metz Shoe Mount Flash

The back-up strobe in my backpack was the Metz 58 AF-2 for Canon. I really like this flash. Metz makes them compatible with both systems that I use- Nikon and Canon. (They also make versions for Pentax, Sony, and Olympus) I'll admit, I'm not a power user of small flashes- I don't so complex system set-ups, or high speed sync, or commander/slave uses, but the Metz does do all that stuff. I use these things as an off camera and manual lighting source most of the time. In the backpack system, this means using it as a light somewhere in the background (there's one on low power in the shot above) and knowing that if the batteries on my Elinchroms died, I could still light a portrait. I've also used them as a direct handheld flash. They've performed perfectly in all these situations. And the best part? They cost about $100 less than the comparable Canon 580 or Nikon SB strobes. Nice.

I added the Metz P76 battery to power the 58, too. This is similar to the Quantum batteries a lot of people use. It's high capacity and high voltage, so you don't have to rely on AA's. I actually hate using this kind of flash with AA's. The recycle time is too long and they wear out way too quickly. You plug the 58 into the P76 and you can shoot hundreds of pictures and have the flash recycle much much faster than it does with AA's. And by using the Metz battery, you don't have to worry about compatibility and warranty issues that sometimes arise with Quantums.

In a week or two, I'll be posting a full review of the Elinchrom Ranger Quadra that is the centerpiece of my "Studio in a Backpack".

Tripod, Light Stands, and Modifiers

On the outside of the pack, I carried my tripod, light stands, and light modifiers. I didn't try to take these on board with me when I was flying- they went in my checked bags then. But, whenever I went out shooting, they were with me.

I don't use a tripod all the time- in fact, I use one for fewer than half the photographs I make. I generally like to stay quick and agile and move around a lot to find the perfect vantage point for whatever I'm shooting. I always have one with me, however. I don't like to be caught unprepared for any situation I might run into. For my European trip, I brought the Gitzo #1541 Series One tripod with the #GH1781QR Series One quick release ball head. I've owned other tripods in the past, but when I made the switch to Gitzo, I was shocked and amazed at what a difference it made. The sections always open and close quickly and smoothly. The legs open flat to allow a low vantage point. The ball head operates exactly the way I prefer. And they last forever. I actually own the larger 3531 to use when I'm not traveling. It's beefier and can hold big cameras with long lenses in the wind and stay steady. But the 1541 was the perfect blend of light weight, small size, and adequate sturdiness to be the right tool for the job I needed when I was carrying it on my back.

The light stands I chose were two Manfrotto 5001B's. Like the tripod and some of the other items in the pack, these were chosen because of their size and weight. They're not as heavy duty as the stands I carry in my usual shooting kit, but they raise to over six feet, they hold what I need them to, they are very small when folded, and they weigh about two pounds each.

I most often use portable softboxes when shooting portraits. Depending on the size, they provide a stunning quality of light. But they can be a little bit of a pain to set up and with the quick rings necessary, they're bulky and little heavy. Umbrellas solve the problems of set up time, bulk, and weight, but they just don't provide the control because their design allows light to bounce all over the place. (By the way, I carry both softboxes and umbrellas in my standard kit.)

The Elincrom Varistar was the perfect compromise. It essentially is a shoot through umbrella that has a black skirt on the back that keeps light from bouncing back and all around. It allows for almost as much control as a softbox, but it sets up as quickly as an umbrella- and there's no quick ring to carry. It's a great design and I carried two in the 33 inch size in my Studio in a Backpack.

In the next post I'll talk about my reflector/scrim set and the hardware I use with it.

Studio in a Backpack

In early 2010 I was lucky enough to live, travel, and photograph in small towns and villages throughout Europe for three months. You can read about it here . I had a specific look I was trying to accomplish in the photographs I produced and I put together very specific gear in order to do that. You can see some of the pictures I did there on my web site .  

Over the last year or so I’ve been doing workshops covering my “Studio in a Backpack” and I’ve been asked if I could publish a list of the items in that notorious pack. So here it is. Keep in mind that I had another case with various chargers, cords, and back-ups that I left in my room when I was shooting, but this is exactly the outfit I carried when I went out to photograph. Over the next weeks I’ll be posting follow-ups every few days with more detailed descriptions, estimated prices, and the reasons I chose those particular tools. For now, here goes.

Kata Beetle 282 Backpack

2- Manfrotto 5001B lightstand

2- Elinchrom Varistar umbrella-softbox 33”

Gitzo #1541 Series One tripod with #GH1781QR Series One quick release ball head

Lastolite TriFlip  30” 8 in 1 Grip Reflector Kit

Lastolite Trigrip Bracket

Manfrotto 026 Swivel Umbrella Adapter

2- Manfrotto 035RL Super Clamp with Standard Stud

2 each- Manfrotto #118 and 119 studs

2- Manfrotto 039 U-Hook

Metz Mecablitz 58 AF-2 shoe mount flash

Metz P76 Power Pack

Metz Mecalux 11 Hot Shoe Slave

FlashZebra.com Item #0126 Female Hotshoe to Elinchrom Skyport adapter

Elinchrom Skyport Universal Starter Kit

Elinchrom Ranger Quadra Head A Pro Set

Gossen Digisky and/or Digipro F light meter

small roll black gaffer's tape

various CF cards, straps, cords, etc.

Cameras to be discussed in a later post