derek walter wrote:
Question.....
Why would one want to use the white plm (with spill kill) vs using the silver with the diffusion?
The white PLM doesn't focus light, as does the silver. So it's really a big 16 sided umbrella. Very useful as that - particularly since the 16 segment effectively yields round catch lights. If you don't mind spill, it's a superb 86" umbrella and doesn't cost much.
If I were a customer I would but the silver plus front diffuser over the white plus diffuser plus black cover - easier to use and approximately the same effect.
derek walter wrote:
Question.....
Why would one want to use the white plm (with spill kill) vs using the silver with the diffusion?
The primary difference between silver and white will be seen in the spectral highlights of your subject, as they are a direct reflection of the light source itself. Best example of this is catchlights in the eyes, but more appropriate examples of where you might want to control spectral highlights would be on oils of skin, hair or fur, the lustre and color of fabric or where ever there is moisture. Silver will bring out these shiny highlights, white will tend to mute them. Fashion and pet photography are areas where silver is often used, white is more commonly used for portrait photography.
The secondary difference is in diffusion. Silver is more a direct source than white, which is by nature more diffuse. Basically, silver will produce more contrast than the white.
Reasons why I personally think the silver PLM is the best way to go is because:
1. more versatile - you can use it either as a silver reflector or a white diffused light source
2. as a parabolic design, efficiency is maximized and pattern is more controlled with silver
3. it fits certain applications that most people don't typically have a good surrogate modifier for
Bottom line still comes down to what are you trying to improve or enhance in a specific shot or with your photography in general?
Carmen, I pretty much agree with your excellent answer. I disagree a bit on the contrast part though. The main contrast difference is between the specular highlights and the bulk of the shot. Part of the contrast equation relates to standard 8 spoke umbrella, which tend to project eight spokes of light as opposed to the more continuous octagon of light from a white umbrella. The 16 spokes of the PLM goes a long way toward eliminating the "star pattern" effect and generally produces catchlights that look more like a beauty dish than an umbrella and which don't identify as an umbrella look.
Thus, the silver PLM appears more as a bridge between a silver umbrella look and a white umbrella. This shows up in many of the examples posted . . . it is definitely not a contrasty looking source except when it's used where part of the subject light is feathered outside of the primary pattern and the light falls off quickly. This use definitely does increase the contrast between dark and light areas - usually on purpose.
Paul Buff wrote:
Carmen, I pretty much agree with your excellent answer. I disagree a bit on the contrast part though. The main contrast difference is between the specular highlights and the bulk of the shot.
Paul,
My comment on contrast was intentionally an over-simplified generalization intended to keep the first point the primary reason for surface selection.
However, I will admit that I was also intentionally trying to avoid the entire discussion over "hard" and "soft" light, since I am clearly in the minority of vocal participants on this forum with regard to use of these terms.
Sometimes it's better to simply understand the effects than to get hung up on terminology or semantics.
My comment on contrast was intentionally an over-simplified generalization intended to keep the first point the primary reason for surface selection.
However, I will admit that I was also intentionally trying to avoid the entire discussion over "hard" and "soft" light, since I am clearly in the minority of vocal participants on this forum with regard to use of these terms.
Sometimes it's better to simply understand the effects than to get hung up on terminology or semantics.
Ciao.
I know exactly where you are coming from. These a very subjective terms that are widely misunderstood. People tend to want instant gratification and simplified names. I wrote a simple booklet "Lighting for Still Photography" back in 1982. It's available free from our customer service and explains many of these things in understandable terms. It's "non partisan" so should not be objected to by anyone.
amplexis wrote:
another question for Paul, is it ok to run a zeus 2500 pak and 1 or 2 ab 1600s off one vagabond II?
sorry for crosspost
Yes. The Zeus will slow the recycle rate. You'll probably be around 13-15 seconds with Zeus 2500 and two AB1600s all at full power.
Post-processing includes standard Lightroom conversion of 5D Mark II image, plus strong contrast tone curve adjustment, +10 Clarity, +10 Vibrance, a very slight amount of selective sharpening of Max's eyes, and a vignette.
It's probably not a good representation of how this new modifier will shine, as it was the only light in the image. I look forward to having more time with this new modifier, as well as Paul's new beauty dish, once my basement dries out. I'm in Georgia and tomorrow local schools will have been closed for two days due to the torrential rain we're receiving.
I just bought an 86" silver PLM...can't wait to try it out. I picked up a white diffuser as well, so I'll probably be posting some shots showing the different light possibilities if I get around to it.
Black Front Spill-Kill Fabric: Produces a 180° Japanese Lantern light source (non-directional shoot-through umbrella with back spill control) when used with the white umbrella. Available in 86”, 64”, and 42” sizes. - Anybody used that configuration yet
Actually I havn't seen any test shots from the white one except spencer's self portrait. I'm curious as to the difference of the softness, range and output.
NotoriousPTG wrote:
Black Front Spill-Kill Fabric: Produces a 180° Japanese Lantern light source (non-directional shoot-through umbrella with back spill control) when used with the white umbrella. Available in 86”, 64”, and 42” sizes. - Anybody used that configuration yet
Actually I havn't seen any test shots from the white one except spencer's self portrait. I'm curious as to the difference of the softness, range and output.
Dear Notorious
I've posted an example with the 64" white PLM without any additional fabrics. Five of the last six images I've posted on my Web site were lit with this modifier and an X1600. (The first one was lit by the 580EX in near darkness.) Paul's staff sent me a black spill kill fabric for an 86" umbrella by mistake. I had ordered the black outer cover. They told me just to keep the 86" black spill kill fabric, so I went ahead and ordered the 86" white PLM that it fits. I'll have some examples by early next week.
I thought I had the new high-output beauty dish on order, but I don't. I'll see if my wife will let me have one of those when Paul gets his next shipment.
Thanks for sharing. Probably the most succinct, practical, comprehensive and accurate review of this product that I have read so far.
I'm also guessing, the most representative for the vast majority of users of this product as well.
Good luck.
You bet...hope it's helpful to someone. My wedding season is probably over for the year, but hopefully I'll have more portrait work this fall. I'll try and post some more examples when I have some...
It will work, but not optimally because the ABR built in reflector is 80. You should get the full efficiency of the PLM but the light will be effectively smaller. I'l try to do some test shots with ABR soon but I have so much on my plate We have heard some good results from a couple of customers.
Paul Buff wrote:
It will work, but not optimally because the ABR built in reflector is 80. You should get the full efficiency of the PLM but the light will be effectively smaller. I'l try to do some test shots with ABR soon but I have so much on my plate We have heard some good results from a couple of customers.
"The key to good management is delegation of responsibilities."
You need to find a local photographer, who is also a customer, and give or loan him some modifiers in trade for sample photos. Get some real life pics in use. I'm sure plenty would jump on it, I know i would.
it was so big.