Intro by Skip Cohen

I've shared a lot of different posts about Profoto and their products. One of the things I love about all their posts, videos and even the content directly on their website is the amount of educational material always shared. They're a company not only making great products, but focused on helping artists create better images.

Profoto has an incredibly large accessory line to enhance what's become known by most as the finest lighting gear in the industry, especially with the "game-changers" the new B1 and B2 Off-Camera Flash Systems.  In this post I've pulled from their archives, they've presented a terrific demonstration of the differences in the white, silver and translucent deep umbrellas. It's a great way for you to understand the differences, even when it's ever so slight.

A big thanks  Fredrik Franzén for pulling the story together and to Klara G for her work as a professional photographer demonstrating each difference.

by Fredrik Franzén

How much difference does it really make if you shoot with a silver Umbrella Deep, a white Umbrella Deep or a translucent Umbrella Deep? To find the answer, we asked photographer Klara G to do a little test for us. Here are the results. 

The umbrella is to photographers what the Technics SL-1200 is to DJs. In other words, the umbrella is, by far, the most common and most widely used Light Shaping Tool out there. It is so for a good reason. The umbrella is affordable, very easy to use, and extremely easy to fold and bring with you to an on-location shoot.

But that does not mean you cannot be creative and do a lot of different things with them. For instance, how you position and direct your umbrella has a huge effect on the light character. What size and shape of umbrella you use is also a determining factor.

Then there is the fact that most brands of umbrellas are available in different fabrics. All four sizes (small, medium, large and XL) of Profoto Umbrellas are available in white, silver and translucent versions. In addition, the white and silver versions can be equipped with diffusers, while there is a Backpanel for the translucent one. Adding any of these accessories will also change the light character.

But truthfully now, how much difference is there really between a white, silver and translucent umbrella. And how much difference do the accessory really make?

Let’s say you use only one light and keep it in exactly the same position and angle, but you switch between a white, silver and translucent Umbrella Deep – plus you try it with and without the optional accessories – how much of difference will you be able to see? To find the answer, we asked photographer Klara G to try it out.

“Umbrellas are, by far, my favorite Light Shaping Tools,” says Klara. “I love the beautiful, round catch light they create in the eyes. I also love the light you get when you put the subject close to a wall or a backdrop. The falloff looks great! You are also free to create some nice gradients and lighting effects by simply changing the direction of the umbrella, or by using a flag or a white reflector screen.”

For this test, we provided Klara G with one Umbrella Deep White S, one Umbrella Deep Silver S, one Umbrella Deep Translucent S, one diffuser and one Backpanel.

Klara G shot no less than 12 images with almost exactly same setup. The flash head stayed in exactly the same position. The umbrella shaft’s position in the umbrella holder was the same. The aperture was the same. There were no tweaks in postproduction. The only thing Klara G changed was the actual umbrella and its accessory.

“The setup was nice and simple,” says Klara G. “I had a single D1 Monolight on a boom, positioned 45° to the right and slightly higher than the subject’s face. The D1 and the umbrella were angled to the left of the subject’s face, so that only the falloff hit the subject’s face. It’s my opinion that if you aim the umbrella straight at the subject, the light gets too harsh. It gets a whole lot more interesting if you do it like this. You get a bit more drama that way. A bit more intimacy.”

Finally, Klara G put up two black screens – one to the left and one to the right of her subject. These were used to absorb spill light and to prevent the light from bouncing around in the room. With everything in place, Klara G started shooting.

You will find all 12 images below. There are some comments from Klara G on each shot, but we generally tried to keep it short and let you be the judge.

So what do you say? How much difference is there between a white, silver and translucent umbrella? Which one is you favorite? Do you have any question about shooting with an umbrella? 

See more Klara G’s wonderful world of imagery at her website.

“To be honest, I didn’t understand the Backpanel at first. So, it’s a big, black thing you attach to the back of the umbrella? So what? But then I played with it some, and now I get it. For this particular shot, it didn’t make much difference, except slightly reducing the amount of light spilling around the studio. But I’ve just on other shoots where it was actually very helpful. For instance, quite recently I did a shoot where I put the Umbrella Deep Translucent S with a diffuser right above the subject, pointing down. It created this really half-circle of light with a beautiful falloff. So, I’m sure you can do tons of stuff with it.

After these shots, Klara G replaced the black foam boards she used for flagging off light with white foam boards and repeated the entire process. Unlike the black foam boards, which absorbed spill light and created shadows in the subject’s face, the white foam boards reflected the light and created a more even light with less contrast and brighter shadows. The effect can clearly be seen in the images Klara G shot.

The effect was in all cases a more even light and brighter shadows compared to what she got when she used the black cardboard wall.

Intro by Skip Cohen

I'm sure most of you haven't seen this short video, featuring Simeone Quarrie. He does an outstanding job sharing before and after images so you not only get a feel for the ease of using the B2 system on location, but also how he's using the light to add more impact to his images.

Each of the eighteen photographers featured in the original B2 launch has had similar comments about the ease of use and portability of the system - it allows them to control the light anywhere they want. In fact, Simeone stresses the importance of their ease of use, "I can concentrate on my shoot and my clients because the technology works!"

With every one of these Profoto videos the artists themselves have played a role in how to demonstrate the off-camera flash system. I get a kick out of the creativity and have so much respect for each photographer's skill set. I especially loved the way Simeone decides to ride parallel with the B2 hanging off the side of his golf cart.

To see more of Simeone's work, check out his website. I love his approach to his target audience, 

"And, now that you know our story, the only questions remaining are, what’s your story and how do we tell it?"

Intro by Skip Cohen

Less than six months ago, Profoto launched the new B2 Off-Camera Flash System. The video below was a key in helping to get the word out, as eighteen photographers, all with different backgrounds and specialties, set out to put the new system to the test.

I wanted to share this short video for three reasons. First, if you were asked to be one of the eighteen, what signature moment or style of your own would you have chosen to share? Second, if you were to tell the story of your business, skill set and diversity how would you tell the story...in just two minutes? Last on the list, watch all the different situations this crew puts the B1 and B2 systems through. They couldn't be more diverse.

Profoto's Off-Camera Flash System is a family of products with a complete series of light shapers, all designed to help you maximize your creativity and exceed the expectations of every client.  It's a new level of efficiency and flexibility for artists to control the light no matter where they're shooting!

Intro by Skip Cohen

Profoto's YouTube channel, just like their blog, is loaded with some incredible artists and a level of creativity that simply becomes jaw-dropping. I've gotten in the habit several times a week of just wandering into their YouTube channel and watching at least 2-3 videos.

What I enjoy the most is the back story on each project. I love seeing the detail that goes into each shoot as the photographers often share with you how they created the image; built the set or just pushed the envelope until they got what they wanted.

For this first one, I was intrigued by the idea of a chocolate cannon. With the video was the following statement:

To put a delicious piece of chocolate in your mouth is to experience a flavor explosion. That’s what it tastes like. But what does it look like? If you were to photograph it, how would you do it? Here’s how photographer Finn Beales did it, with the help of two Profoto B1 Off-Camera Flashes.

Finn Beales has some remarkable work in his galleries. Visit his site and then check out his blog as well. 

The second video is with Christian van Hanja, and he's photographing BMX Bikers in the air. Again, there's a lot of great content packed into just a three minute video. You can also take advantage of YouTube's closed caption feature. Just hit the "CC" button on the bottom right of the frame.

From YouTube:

When you're constantly shifting between different kinds of photography, you need to have lighting equipment you can rely on. Fashion and action photographer Christian van Hanja knows this first hand. Watch him shoot one of the most famous extreme sports events in Europe, coming straight from the studio, with the exact same gear.

Check out more of Christian's work with a visit to his website. His presentation starts out with a spectacular video with time lapse, different videos and still images all put to music. It's a dramatic way to tell his story and includes samples of published work in various magazines.

When Profoto introduced their Off-Camera Flash System, I first heard Bobbi Lane talk about it being a "game-changer". Look at the finished images from both of these outstanding artists. Then, wander into Profoto's YouTube channel and enjoy a few more videos. Each time you'll see incredible results bringing the creativity of talented artists together with Profoto technology!

Intro by Skip Cohen

I'm a huge Peter Hurley fan, but then again, who isn't? 

What I love most about this video is the amount of pure content Peter packs into less than forty minutes. You couldn't ask for an easier to understand tutorial on portrait lighting. Plus, Peter's using Profoto's B1 Off-Camera Flash System for all his images. His quote below says it all.

                  "I can now take my studio outside! How cool is that?"
                                                          Peter Hurley

Peter, along with the Fstoppers.com site should be on your radar. You'll pick up great content, helping you fine-tune your skills and the quality of your work.

WRITTEN BY REBECCA AHREMARK 

In November 2014, Profoto teamed up with renowned photography site Fstoppers and top photographer Peter Hurley to create the definitive video tutorial on how to light a portrait on location.

During these 40 minutes Hurley will guide you through different lighting scenarios and different challenges a portrait photographer might face on location. He uses Profoto B1 Off-Camera Flashes and a selection of Profoto Light Shaping Tools to light men and women of different ages.

Not to brag or anything. But you’d be hard pressed to find a video lighting tutorial covering more than this in 40 minutes. For more information about Profoto and the B1 Off-Camera Flash go here: 

Profoto's blog and website are loaded with great content written by some terrific writers and sharing the work of many of the finest artists in the world. They not only manufacturer game-changing lighting gear, but they're always focused on helping artists to become better at their craft. Check out the Profoto blog and then make it a regular stop for outstanding content in imaging.