Thanks for this video, Ab. You're right about the utility, portability, and cost-effectiveness of large umbrellas. Right now I'm using the large, deep, white umbrella more in my work than the silver but your point about the versatility of light quality available by focusing the silver is a really good one (and at a fraction of the cost of a parabolic reflector).
Absolutley James. I am really fond of the white as well. The light out of a true parabolic definitely hits differently but a simple silver umbrella is still so versatile. It all really comes down to a matter of tast. Thank you so much for watching.
This is excellent!!!!!!! Want much more on any topic as your presenting style is through the roof. Love more on lighting, umbrellas, and more. Loved your video on stands!!!!!!
Wow! Your images are excellent selling points. I literally just ordered two 51" silver deep (Glow, not Godox) with diffusion socks. Can't wait to incorporate these versatile beasts!!
Love it, I love that you've added the glass globe to your monolights. My favorite is the Elinchrom 150cm Indirect Octabank used with or without the diffusion cover, it gives a great range of light.
I quit shooting one and a half years ago after 10 years of model shooting but this video makes me go to my storage and get my gear out and start shooting again. Thanks man. 😊
Fantastic Mr. Ab Sesay, its videos like these that broadens ones view of what can be accomplished! Sure, there are specifics Light Modifiers that are perfect for certain situations but as you kept saying throughout the video "there are levels to this". Thank you Sir for all the great content you share with us all!
Thank you again for this other video. To answer your question, yes I would like to see more videos with umbrellas. Shoot thru of different sizes, from medium to large, maybe mixed with one of those that you used in this one here. That would certainly add a few more levels to that!
Great as always- and great to see so many options from the lowly/simple umbrella... Over the years I have found that a few umbrellas and diffusion can basically do as much as hundreds of dollars worth of cumbersome/heavy octas/paras etc- they are now my go-to light shapers!
I am currently considering whether a 51-inch or 65-inch umbrella would be more suitable for my 12x24 studio with a 9ft ceiling. I have come across numerous individuals advocating for the 65-inch option, but your video has prompted me to contemplate the merits of the 51-inch alternative. I would greatly appreciate your recommendation in this matter?
great to see as I use umbrellas all the time for my portrait shoots - I noticed a nice looking powered fan are you able let us know the model and brand as I have been looking for a compact strong umbrella that is less than $200 to suit the space and budget
@@AbSesayPhoto appreciate the feedback! ive been using low power fans and simple boards to move air - not great but for now Im not able to justify big spend on a decent powerful small fan
For even more possibilities, experiment with using it while collapsed to varying degrees. Just stick a clamp on the shaft to keep the hub at the position you want it.
I also love umbrellas. Cheap and versatile. Out of interest, is there much difference in terms of quality of light from deep Godox silver umbrellas and deep Profoto. The Profoto look more glossy in the product images
I have personally found them to be similar from memory but have not compared them side by side. When I do true testing I do often find there are things I do not anticipate, but in regards to Profoto and Godox I have not tested them.
I have a strong interest in umbrellas. So, I really appreciate these videos from Adorama, where this is the topic. One question, Mr. Sesay. Will this umbrella work with a speedlight? It is what I have now. Thank you, and Adorama, for creating and sharing these useful and instructive videos.
@@AbSesayPhoto Do you have any recommendations on. a 3 light set up to go it with the 51" ? (budget friendly) I've done so much research on different lights that I am even more confused lol
Thank you ...I love not thinking in numbers and ratios...and if I had to do the zone system it wouldnt work for me... it dont mean a thing if it aint got that swing...I use umbrellas most of the time and love edge lights...
Thanks, that was helpful. But I feel like you didn't quite clarify clearly enough whether there are levels to this or not. Are there levels to this? If so, please let us know. And how many? Beginners like me might get into photography, thinking this is just a one level type of situation. But it seems like there are multiple levels to this.
Great question. They are very similar, so I never felt the need to compare. There are probably some slight differences in the silver, but I predicted the white umbrellas would be exactly the same for the most part. I use them interchangeably
@@AbSesayPhoto think the same - they are also built quite the same… just got the 65“ godox for 45€ thats a great deal for such a large and well built umbrella 👍🏻
great video! -the question is... why are the ultra huge para's soooo expensive. there's no reason that a briese 330 or other 10 foot deep reflector should be 10k. All of these should be cheap. its only fabric and fiberglass... China...are you listening???
Godox has a version as well as Parabolix, Gettng the precise shape is a bit more expensive and the mechanims on some of these are really well made. My guess is limited demand. But I agree all feel over priced.
Let's go to the theory first. The parabola as mathematical form has a focus point from which all lines into it, bounce off as parallel to the center symmetry line. When we consider light as "rays" then all rays are parallel. For that to work, 1st, we need a perfect parabola and in the case of a light modifier, it needs to have a perfect shape, no matter what orientation you place it in. 2nd We need a light source that acts like (an approximation) of a point source. 3rd, you need to shoot into the parabola to avoid non-focused light. 4th, The "quality" of the light, being diffused or being "organised", then will depend on the reflective surface in the parabola. A matte surface will undo the parabola effect and makes you waste your money. 5th, When you shoot into the parabola from its rear central point, most of the effect is gone. 6th, When you shoot out of the parabola's focus point, you also loose the "organised" quality of light. 7th, When you place diffusion in or over the parabola, then it becomes a vulgar softbox. There is no "business case" or "creative photographic justification" for a deep parabolic reflector with a diffuser on it. We see some fluencers use these but the only thing they do is waste studio floor space. In the US, square feet of business floor space can be bought or rented relatively cheaply but in the old world, square meters will be expensive. A smaller-than-US studio may be the norm. Along these theoretical lines, we can rephrase your question into, "why would you need one?" or, "what light (effect) are you looking for?" Because if it is not the crisp yet large diameter focused parabolic light from the parabola's focus point that you are after, then you don't ever need a parabola. Your earliest-in-your-life experiences with a parabolic reflector are from the torch/flashlight with focusing ability. Focused, it gives very crisp light and there is very little light loss. It would be hard light because of the small size of the reflector, but if you scale this up, then you still have hard light. Depending on the reflective layer in the parabola. Years ago, British photographer Karl Taylor (with Hasselblad and Bron/broncolor affiliation) went to Iceland for a portfolio high-fashion shoot that he BTS-ed as YT advertisement for his paid on-line photography training business. In one of the takes we see the "set" in the wild doomsday Icelandic (because volcanic) landscape from above and can clearly see the output from the giant broncolor parabola used in focused output. These large size parabolas have extremely sturdy frames, baleens, fabric, and heavy focusing mechanisms. They are not "3.3 meter - 11 feet - diameter umbrellas". Altogether, they are so heavy that you also need a dedicated tripod for them. Your normal studio "spigot" mount size is called "baby" and you may need "junior"or "senior" to carry the weight. I have my "small" 90cm - 3 ft - parabola on a parallellogram adjustment boom arm with counter weight and needed to buy a heavy junior tripod on wheels for it to be held properly. The parallellogram boom arm does not need locking once balanced, just up and down, touch and go. If you have time to spare, have space and never need to collapse/fold a parabola, you could make one DIY. Make a perfect 3D parabola from spray foam on a wooden frame and once the precise parabola form has been accomplished, stick alumin(i)um foil to the inside with the shiniest side up (or the matted?). That'll keep you busy in your free time for a week or so, I guess. Then build a focusing rail into that ... Really, forget about setting the light source on a stand into the parabola - that's a mess to work with. I paid time/material to my handyman to build me a focusing rail with speedring-like mounting points for the parabola, and a tilt-head lightstand mount. I arrived at about 50% the price of broncolor (with the parabola included) and it's not elegant, but it works well. I don't have to earn money with it, though (and cannot deduce the expense from income as tax reduction).
Awesome, cheap, simple and light weight. Umbrellas are so underrated. Another awesome Video!
Thank you so much Tim.
Great video... love your calm speaking tone... I have a small studio space and this gives lots of ideas... THANKS!
Thank you for the feedback Dave, very much appreciated.
Thanks for this video, Ab. You're right about the utility, portability, and cost-effectiveness of large umbrellas. Right now I'm using the large, deep, white umbrella more in my work than the silver but your point about the versatility of light quality available by focusing the silver is a really good one (and at a fraction of the cost of a parabolic reflector).
Absolutley James. I am really fond of the white as well. The light out of a true parabolic definitely hits differently but a simple silver umbrella is still so versatile. It all really comes down to a matter of tast. Thank you so much for watching.
Thank you for this. I would definitely like to see more lighting setups using umbrellas.
Thank you Tanya. I will make sure to start using more umbrellas for sure.
Really love the umbrella focusing technique. Really changes the light falloff dramatically. Excellent as always Ab 👍
Thank you very much, it really is the one of the reasons I really love deep silver umbrellas.
Ab, everytime I think I got this you knock me back to reality. Great video!
It warms my heat to know these videos are beneficial. Thank you Ron.
This is excellent!!!!!!! Want much more on any topic as your presenting style is through the roof. Love more on lighting, umbrellas, and more. Loved your video on stands!!!!!!
Thank you So Much!
Wow! Your images are excellent selling points. I literally just ordered two 51" silver deep (Glow, not Godox) with diffusion socks. Can't wait to incorporate these versatile beasts!!
It's a great umbrella.
Love it, I love that you've added the glass globe to your monolights. My favorite is the Elinchrom 150cm Indirect Octabank used with or without the diffusion cover, it gives a great range of light.
NICE! Yea the Elinchrom 150cm is a great light shaper.
Fantastic Ab. Great breakdown and examples. I love your attention to detail with lights. It's superb.
Thank you Brad. Great to here from you brother.
I quit shooting one and a half years ago after 10 years of model shooting but this video makes me go to my storage and get my gear out and start shooting again. Thanks man. 😊
This is amazing to here. Photography is a hell of a Job.
Thanks Ab. Another great video!! Cheers!
THank you. Appreciate the feedback.
Fantastic Mr. Ab Sesay, its videos like these that broadens ones view of what can be accomplished! Sure, there are specifics Light Modifiers that are perfect for certain situations but as you kept saying throughout the video "there are levels to this". Thank you Sir for all the great content you share with us all!
Absolutely Thank you for the feedback Alex.
tumbs up another great containt from adorama ( Ab Sesay)
Thank you so much, very much appreciated.
Another great video Ab! Super helpful advice.
Thank you Keith.
Thank you again for this other video. To answer your question, yes I would like to see more videos with umbrellas. Shoot thru of different sizes, from medium to large, maybe mixed with one of those that you used in this one here. That would certainly add a few more levels to that!
Love the feedback. Ill have to definitely see what I can do.
Great video, Ab. Yes, show us more options! There's lots to learn here... 👍
Thank you. Im excited to share more.
Yes, please more on umbrellas as they are my favourite modifier too as they are so portable
Great to here. Thank you for the input.
Awesome!! Great tips. Love umbrellas.
Thank Joseph. Really appreciate all your feedback.
Thank you so much for the helpful and informative video! Learnt a lot!
Thank you for the feedback Bella.
Great as always- and great to see so many options from the lowly/simple umbrella... Over the years I have found that a few umbrellas and diffusion can basically do as much as hundreds of dollars worth of cumbersome/heavy octas/paras etc- they are now my go-to light shapers!
Umbrellas should definitely be in everyones kit.
I am currently considering whether a 51-inch or 65-inch umbrella would be more suitable for my 12x24 studio with a 9ft ceiling. I have come across numerous individuals advocating for the 65-inch option, but your video has prompted me to contemplate the merits of the 51-inch alternative. I would greatly appreciate your recommendation in this matter?
I just did a video on Adorama events UA-cam channel using the 65" I'd just get both. I'm using a Glow version here wich is relatively inexpensive.
Wow! Great photos
Thank you.
I just got mine last week, amd I'm so ready to use it. I might get another one or the 65"
Nice, Its a great umbrella.
I like how you think! Would like to see more
Thats a huge compliment. Thank you Rob.
Thanks for this video!!
I am learning a lot of strobe lighting from your video.😄😄
Im Glad I can help. Thank you so much for the comment.
Thank you! I'm on sub level one. Your info was absolutely valuable.
Thank you.
I see a convex glass that is used on the D2. Where can I buy this glass?
I cannot post links here but if you look up the D2 or related accessoreis "Profoto Frosted Glass Dome for D1 and B1" youll find it.
Fab explanation! 🙏🏻❤️
Thank you Bianca
More levels to this, please!
Absolutely. More coming.
Nice outcome.
Thank you.
Ab,
I bought an 8-foot silver umbrella, well ... because I could, but now I wondering if I'll be able to use it for portraits.
Larry from Texas
Hi Larry, You can absolutely use it for for portraits. Try placing it directly behind you and shoot standing in front of it.
Super dope!
Thank you.
great to see as I use umbrellas all the time for my portrait shoots - I noticed a nice looking powered fan are you able let us know the model and brand as I have been looking for a compact strong umbrella that is less than $200 to suit the space and budget
The fan is a sample I got from Kupo not available in the US. But its comprable to the Reel EFX Fan 2 Turbo Wind Machine
@@AbSesayPhoto appreciate the feedback! ive been using low power fans and simple boards to move air - not great but for now Im not able to justify big spend on a decent powerful small fan
This was great...I'm gonna save this.
Great to here. Thank for the feedback.
Really clear concepts, thanks
Thank you for the input. Really appreciate it.
Incredible guide thank you!
Thank you for the feedback.
For even more possibilities, experiment with using it while collapsed to varying degrees. Just stick a clamp on the shaft to keep the hub at the position you want it.
I;ve done that as well in a pinch. Thank you for the great suggestion.
Beautiful work.
Thank You!
I also love umbrellas. Cheap and versatile. Out of interest, is there much difference in terms of quality of light from deep Godox silver umbrellas and deep Profoto. The Profoto look more glossy in the product images
I have personally found them to be similar from memory but have not compared them side by side. When I do true testing I do often find there are things I do not anticipate, but in regards to Profoto and Godox I have not tested them.
Where did u get that backdrop from at the 2m54s mark? And whats it called? Nice work doc. But man i love that background.
Its from Gravity Backdrops
Its a limited edition Beige but its kinda one of a kind, but Im sure they have some similr.
I would like to see another umbrella class. Thanks.
Awesome! Ill see if I can put another one on the books.
I have a strong interest in umbrellas. So, I really appreciate these videos from Adorama, where this is the topic. One question, Mr. Sesay. Will this umbrella work with a speedlight? It is what I have now. Thank you, and Adorama, for creating and sharing these useful and instructive videos.
Yes it will work great with a speedlight, You may even have more options since you can zoom the speed light in and out based on your umbrella.
Perhaps the best instructor en YT. I will sugest you show lighting diagrams.
Thank you Cesar. Great idea for sure. Really appreciate the feedback.
Thanks, very informative video!
You are very welcome thank you for watching.
So so good 😎👍
Thank you.
Nice work!!!
Thank you.
Would this pair well with an ad200?
This would pair extremly well with ad200 and bare bulb attachment.
@@AbSesayPhoto Do you have any recommendations on. a 3 light set up to go it with the 51" ? (budget friendly) I've done so much research on different lights that I am even more confused lol
@@AbSesayPhoto thank you for responding!
Thank you ...I love not thinking in numbers and ratios...and if I had to do the zone system it wouldnt work for me... it dont mean a thing if it aint got that swing...I use umbrellas most of the time and love edge lights...
Great to here. I love this Comment buy the way.... "it ain't got that thing"
Thanks!
You welcome!
What fan and roller floor stand is that?
It's From kupo, not available in the US. The stand is a fold up runway base.
More Umbrellas🤗
I here you. Let me see what I can cook up.
Great presenter!
Thank you Ruiz.
Umbrellas are a great light modifier for indoor shoots, but not so great for shooting outdoors if you do not have an assistant.
You are correct. Totally depends on the wind.
I would like to see more levels on umbrellas
Thank you. I will thing of more umbrella tips and tricks to show.
He's the best black photographer i've ever seen!❤
love his knowledge
Great video
Thank you.
Love from Bangladesh Sir ❤️
Excellent Ab Sir❤️
Take ❤️
Love right back at you from NY. Thank you so much.
great, thanks !
Your welcome and thank you for the feedback.
Have you been off the Twitch channel lately Ab? Missing those Tuesday evening talks.
I have, but Im thinking about starting a live on my UA-cam.
Thanks, that was helpful. But I feel like you didn't quite clarify clearly enough whether there are levels to this or not. Are there levels to this? If so, please let us know. And how many? Beginners like me might get into photography, thinking this is just a one level type of situation. But it seems like there are multiple levels to this.
Thank you. There are definitely levels to this.
Thanks
Your Welcome
Any chance to compar godox umbrella vs. profoto deep ? Price is 5 times more for profoto… thanks
Great question. They are very similar, so I never felt the need to compare. There are probably some slight differences in the silver, but I predicted the white umbrellas would be exactly the same for the most part. I use them interchangeably
@@AbSesayPhoto think the same - they are also built quite the same… just got the 65“ godox for 45€ thats a great deal for such a large and well built umbrella 👍🏻
Love this! What canvas did you use?
The canvas is a Gravity Backdrop Limted Edition backdrop. Its a 1 of 1.
I didn't truly understand that there were levels to this until the third time that he said it.
There are Levels to this for sure. I just enjoy saying so much.
❤
Love the heart Paul. Right back at ya.
great video! -the question is... why are the ultra huge para's soooo expensive. there's no reason that a briese 330 or other 10 foot deep reflector should be 10k. All of these should be cheap. its only fabric and fiberglass... China...are you listening???
Godox has a version as well as Parabolix, Gettng the precise shape is a bit more expensive and the mechanims on some of these are really well made. My guess is limited demand. But I agree all feel over priced.
Let's go to the theory first. The parabola as mathematical form has a focus point from which all lines into it, bounce off as parallel to the center symmetry line. When we consider light as "rays" then all rays are parallel. For that to work, 1st, we need a perfect parabola and in the case of a light modifier, it needs to have a perfect shape, no matter what orientation you place it in. 2nd We need a light source that acts like (an approximation) of a point source. 3rd, you need to shoot into the parabola to avoid non-focused light.
4th, The "quality" of the light, being diffused or being "organised", then will depend on the reflective surface in the parabola. A matte surface will undo the parabola effect and makes you waste your money.
5th, When you shoot into the parabola from its rear central point, most of the effect is gone.
6th, When you shoot out of the parabola's focus point, you also loose the "organised" quality of light.
7th, When you place diffusion in or over the parabola, then it becomes a vulgar softbox. There is no "business case" or "creative photographic justification" for a deep parabolic reflector with a diffuser on it. We see some fluencers use these but the only thing they do is waste studio floor space. In the US, square feet of business floor space can be bought or rented relatively cheaply but in the old world, square meters will be expensive. A smaller-than-US studio may be the norm.
Along these theoretical lines, we can rephrase your question into, "why would you need one?" or, "what light (effect) are you looking for?" Because if it is not the crisp yet large diameter focused parabolic light from the parabola's focus point that you are after, then you don't ever need a parabola.
Your earliest-in-your-life experiences with a parabolic reflector are from the torch/flashlight with focusing ability. Focused, it gives very crisp light and there is very little light loss. It would be hard light because of the small size of the reflector, but if you scale this up, then you still have hard light. Depending on the reflective layer in the parabola.
Years ago, British photographer Karl Taylor (with Hasselblad and Bron/broncolor affiliation) went to Iceland for a portfolio high-fashion shoot that he BTS-ed as YT advertisement for his paid on-line photography training business. In one of the takes we see the "set" in the wild doomsday Icelandic (because volcanic) landscape from above and can clearly see the output from the giant broncolor parabola used in focused output.
These large size parabolas have extremely sturdy frames, baleens, fabric, and heavy focusing mechanisms. They are not "3.3 meter - 11 feet - diameter umbrellas". Altogether, they are so heavy that you also need a dedicated tripod for them. Your normal studio "spigot" mount size is called "baby" and you may need "junior"or "senior" to carry the weight. I have my "small" 90cm - 3 ft - parabola on a parallellogram adjustment boom arm with counter weight and needed to buy a heavy junior tripod on wheels for it to be held properly. The parallellogram boom arm does not need locking once balanced, just up and down, touch and go.
If you have time to spare, have space and never need to collapse/fold a parabola, you could make one DIY. Make a perfect 3D parabola from spray foam on a wooden frame and once the precise parabola form has been accomplished, stick alumin(i)um foil to the inside with the shiniest side up (or the matted?). That'll keep you busy in your free time for a week or so, I guess. Then build a focusing rail into that ... Really, forget about setting the light source on a stand into the parabola - that's a mess to work with.
I paid time/material to my handyman to build me a focusing rail with speedring-like mounting points for the parabola, and a tilt-head lightstand mount. I arrived at about 50% the price of broncolor (with the parabola included) and it's not elegant, but it works well. I don't have to earn money with it, though (and cannot deduce the expense from income as tax reduction).
Great tutorial...his tagline fades out at the end of whatever he's saying....there's levels to.............this?
Thank you.
But are there levels to this?
There always are.
"levels.."
Absolutely.
The music killing me
Horrible tips for tight spaces with WHITE WALLS. 😅
What would you recommend?
Thank you for great videos. what are the settings for these photos?
Thank you. Im at pretty much at f8.0 1/125 iso 200 for all the images. Iso 200 to get a little more punch when Im bouncing into the V-Flat