I followed this advice from Karl 5 years ago and i swear i never regretted that choice !!! This parabolic is just extraordinary ... not given, but as Karl explained, it’s a REAL PARABOLA not a pale copy, so it’s worth its price (of course if you really need it ! )
Hi Karl, here is my explanation of “what makes a parabolic light shaper so unique” from an physics / engineers point of view - this is just another approach of explaining the same circumstances but maybe it helps others to better understand what this is all about: The short form: A parabolic modifier moves the imaginary origin of light far behind this modifier. And the long version: We all know the inverse square law - light emits from a point source in shape of a sphere(or part of it) and therefore it’s intensity is reduced proportional to 1/(distance^2). The important part is to know the origin of the light. It’s easy when we think of a bare bulb flash. When we look at a softbox, we guess the outermost diffusion fabric as it’s origin… But now think about a laser beam of a (good) laser pointer: where is its (mathematical) origin so we can use the inverse square law? Is it at the emitting diode inside the laser pointer? In this case, the intensity of the light in 20” distance should be only ¼ of the intensity at 10”. We all know, that this is not the case - it’s intensity is nearly the same. So does the laser pointer break the inverse square law? Of cause not! The mathematical origin of this light is just far behind the laser pointer. And if it’s a really good one (e.g. a gas laser, not a semiconductor one), the light emits almost parallel and the origin is at infinity behind the laser pointer… (in technical terms: the light is not focused but collimated). What does all this mean to our parabolic modifier? By pulling the rod / light in and out we can move the imaginary/mathematical origin of our light more or less far behind the modifier. So we can control the falloff across the subject we photograph without (or better: almost without) changing the size of the light. Although this is a very theoretical point of view and assumes an ideal point source and true parabolic shape with 100% reflection, it should show the idea behind this kind of modifiers. Cheers, Holger
Ah, I noticed that you are speaking a little more slowly, in a much more explanatory way! Wow, I really appreciate it. English is not my native language, but speaking very slowly so now I can understand everything. Thank you again!
At 3:02 you answer the one question I would have: Can a Speedlite (one or more than one) work with this type of umbrella? I guess there is no way around getting a strobe that sends light in all directions here. Or correct me if I can be corrected. Thanks for all your straight-to-the-point educational videos!
Hi thank you for your commnets, yes if you can find a dome diffuser attachment for a speedlite then they can still be used effectively in Parabolic reflectors.
It doesn't need to cost 5 grand does it!? Interesting choice of shirt and watch don't you think? :) the narrative neither of which I have swollowed! I wonder which lab hes gonna choose based upon the other naritive we are currently being force fed on a G20 wide basis?? Astra Zeneca? Or Galxo Smith kline? Choose your poison wisely?
Karl, I'm a full time cinematographer, who is "getting back to my roots" in still photography. I tend to shoot commercials and television shows more than anything else. In my full time 'still' days (30 years ago), I mainly shot sports and concerts. I've always wanted to shoot with flash photography, but was always "scared" of it. I've purchased some 'budget' lights, as I own about 40 different soft boxes for film/video. I've been using those in my experimentation. After seeing this video... it hit me "hey, I own a 7 foot and a 4.5 foot parabolic dish for HMI (daylight) cinema lights! I wonder if I could make those work with strobes?" Well, I checked it out... and indeed I can! My particular products are made by K5600. They're called the "Kurve." They're made in several sizes. They are DESIGNED to be used with the K5600 1600watt HMI lights. However, they come with a second center pole that has a 5/8" spigot on the top (regular light stand). This allows a user to use 'any' light they wish! I can't wait to break them out and use them with my strobes! I own three different front screens in varying diffusion depths and I also own grids for mine. I am hoping I can achieve results similar to what you've shown. Time will tell! Thanks for the inspiration! You make wonderful and insightful videos. I appreciate your efforts!
Thanks Curt, and yes those sound like they will be ideal. Based on what you are saying though and your level experience I'm going to blatantly point you in the direction of our platform at Karl Taylor Education as that's where the real stuff is and where I think you will benefit the most! :)
Cost is not the only downside of the para. The size and weight also make it quite unwieldy when using it out in the field so it makes it imperative that you bring more equipment to mount and stabilize it, ideally with assistants manning the setup.
Hi, the size and weight of the Para 88 has never really been a problem and I regularly use them on location. Wind is always a problem but that would equally be a problem with a softbox or umbrella, still requiring an assistant to hold them or sandbag them.
Not at all. Parabolic SOFTBOX is the sham. When we diffuse light through a diffuser panel, it, well, diffuses the light just like a diffuser panel/cover on any box (though the edge shapes can be different). Using a focusing rod on a para without a diffuser is the bees knees! Put a diffuser panel over it and then it just becomes a basic softbox. Take the panel off but don't have a focusing rod? Super limited because it's not adjustable so it's just a big fat thing that's not best for much of anything in comparison.
And this is were you a(nd your channel) distinguish yourself from the rest. Very well explained, great samples and drawing, you're a true tutor Little remark about the speedlights not suited for a parabolic "umbrella" , which is totally correct, however therefor most of them are equipped with a kinda fresnel removable plastic screen emulating een sort of parabolic light (but that's a real poor mans option compared to your parabolic modifier hehehe) Thanks for sharing and be safe !!
What about the Glow EZ Lock Parabolics? I have the 20" and the 28" for my photography. They are more affordable than the Broncolor and easier to setup. They do have a reflective dish and two diffusers for light control. I am using Bowens Mount Soft Boxes for my setup. Glow makes good products because the nylon fabrics are well made and they may last a long time.
Hi there, how are you doing? I have a question: You said that in order to use a parabolic modifier your light need to come from multiple sides (like the one you showed in 3:08), and there´s one video of yours that you talk about the myth of parabolic softboxes. I usually see people using "parabolic softboxes" with flat fronted leds like the Aputure 120D or the Godox SL60W (and usually for video, since this is my line of work). So my question is: is it possible that a "parabolic softbox" does make some difference when using these kind of lights? Because I imagine that with a narrow softbox the light coming from the - let´s say - Godox SL60W wouldn´t be rightly distributed throughout the modifier. Does it make any sense?
Hi Freddy, thank for your comments and I like it that you are trying to think this through but no unfortunately a flat fronted light wouldn't help in a deep softbox any more than a protruding lamp, in fact what you're looking for in a softbox is an even distribution of the light so the more it bounces around the inside as it passes through the two layers of diffusion then the more homogenous it will be when it exits the front layer of diffusion. Diffusion does exactly what the word means and that is to diffuse to spread things out and space them apart. Diffusion means that any benefit from reflective angles to direct light is lost because of the diffusion which is why in the other video you mention I go to great lengths to point this out. I pinned a comment at the top of the other video that explains further and gives some other examples.
@Karl Taylor - An idea; let me know if you tried this. If you want to use it with reflective stuff, an (expensive?) idea would be to buy some polarizing gel and use a CPL filter to cut out the reflections. Cover the source of light in polarizing gel, close enough to the source to be efficient but far enough to avoid burning the gel (I suppose a cone could work to wrap the light). Of course you're losing stops galore and would need a powerful mono.
That's a bit of a broad question an independent drama feature could cover thousands of different topics and moods. But if I could only choose one modifier it would be a Para 133.
it would be great to see a comparison between a true parabolic with those "parabolic softboxes" (obvioulsy without the diffusers and with the extendable arm). Broncolor is extremely expensive, even more if you live in a country where the currency is devalued against the dollar... thank you for your great videos, they are amazing
I would love that to happen, as you heard me say in another comparison video I welcome any of the brands to send me their equipment for comparison testing. I will always provide the results as they are which I've done recently with products from other brands against my own equipment and in more forthcoming videos. If comparisons of particular things is what people like then I'd love to do more of them but I can't purchase the other brands equipment just for these videos.
The contradiction beetween the size of the light and the hardness is only aparent and come from an usual missunderstandign of the real reasons of the hardness of the light. All we say we have to compare the size of the mouth of the fixture with the distance, but what really determine the hardness is the way the ray lights form the beam of light. And there are four ways to do it: rays can diverge from the focus, be paralel beetween theirself, cross theirself or converge.
The Para 133 can be used for portraits in its soft position plus it can double as a softbox by using the external diffuser. However their best purpose is more for models/fashion/actors or people who can carry it off. They are a very sculpting and flattering light on the right people though.
I have a question. I noticed they make grids for these paras. do you think they are useful. I never seen anyone mention them. i was wondering if they effect the light quality in anyway because of how unique a para is.
I don't use them. They will reduce light spill but Para's are pretty good at directing the light forwards (collimated) anyway as that's what they are meant to do. A grid on any light will make it slightly harder in contrast, they have more use on softboxes than Paras in my opinion.
Thank you for the clarity of the speech. Is the Broncolor focus 110 similar to Profoto deep silver M ? I notice a difference in the shape, I have the feeling that the Broncolor is more directional.
@@VisualEducationStudio Thank you very much. If you had to choose between the two, which one would you choose? In any case, thank you for the quality of your videos.
How much strobe power do you need for these huge umbrellas? 500w/s? 600? 1200? Assuming using like Karl does- behind him and a little elevated. Say 4-5 meters.
I'm usually running about 800J in the big 222 Para when I've got it behind me and the model 3/4 length body shot. That's at 100iso so obviously if I took it up to 200iso which is no problem for most cameras today then I could be running it at 400J and that's shooting at around f11.
Hi Thomas, there is a big difference between a 'Parabolic Reflector' which is what this video is about and a 'Parabolic Softbox' which are a waste of time. Please watch both videos and you'll understand what I'm talking about.
@@VisualEducationStudio parabolic Light? I guess I never heard of such a thing. Ok ill re-watch. Thank u kindly for responding. Already purchased a photixx 120. Love the results
As a follower of you for a long time, learning now I have some question:- 1st. Question How to adjust sony a7r3 image size to 72ppi instead of 300 default Since I Can't find anything in menu 2nd. Question Does whatsup affect the sony images when sending it to the degree that gives pixelling in it but not to that same degree of artifacts like pictures of Canon 1dx m3 Third question When I open the Same Jpeg file it is in 3 different looks in photoshop , ACDSee ultimate , windows 10 photo program Is it color science or calibration or what between those 3 programs? 4th. question I didn't have to change any color profile in photoshop with canon camera before But Now with sony images, I have to make it AdobeRGB in both camera, photoshop or color shift happens!! Last question!! Did it happen with you to notice photoshop 2021 differs from photoshop 2019 in color calibration Since I have the same image with 2 looks in them? Thanks in advance
Hi thank you but unfortunately that question has nothing to do with this video I'm afraid. We only offer that level of support to our customers on our website, if you're a member please ask your question there, thank you.
@@VisualEducationStudio the focusing tube. i noticed the older para 220 has a weird tube made for ring flashes but the para 222 has a better suited tube made for strobes so the light is centered more. I was wondering if someone could remove the 220's tube and if a 222 tube can fit the para 220 instead.
Ah I see I'm not sure on that I'm afraid as broncolor redesigned the whole mechanism for the 222. This would be something you'd have to check with bron.
A question: If you place more than one light source in a parabolic reflector-in order to gain more power-does it cause multiple shadows? Or does it have other unpleasant, noticeable consequences? Maybe, a subject to make a tutorial (?). I remember that I saw, for instance, even two umbrellas next to each other for more power.
If you can afford 3 of those paras, I suppose that Rolex isn't a big deal. Alas, I will have to go for a more affordable version, but thanks for the great info, it helped a lot.
Dang broncollor is one expencive piece of kit. Think i have to start cheaper as im building up from scratch. Would the profoto deep umbrellas be viable options then?
Profoto isn't any less in price that Broncolor, in fact it's often more expensive. Bron do a good deep umbrella called a focus 110, I'm not that familiar with the Profoto ones.
@@VisualEducationStudio aye thank you, i found that one now that i knew what to look for👍 and in norway, about same price for a profoto 105cm silver. Would you then say a bron 110 would be a better purchase or is a bigger like profoto 165cm a better starting point as unger bigger area affect. Now i know nothing will compare to the bron para 88 say of the umbrellas. But for some reason in my mind i got the idea that bigger is better 😅
Maybe you should hire a cheap para and do a comparison. Godox vs Broncolor. Seeing the different would better than a diagram saying it doesn't support the science.
I can't afford to hire a broncolor and karl does a better job explaining to a larger audience. So the poorest of photographers don't have to invest in something that doesn't work the way it should.
Hi, the other video was about something called 'parabolic softboxes' which are a complete nonsense because any parabolic benefit of collimating the light is lost via the inner and external diffusion material.
How are the profoto ones. I always hear about the broncolor but barely anything from profoto version. I only notice you and another photographer use this modifer often.
Thanks for the videos/ However, "We can have a hard light effect combined with the softness dictated by the larger size", isn't it self-contradictory? I didn't get it!
It is a little difficult to understand but essentially you retain the 3 dimensionality of harder lighting but the appearance still maintains a softness (on the big 222 para) because it is so big, but even though it is a big light it is not working anything like a big softbox instead it is working like 24 individual small lights sources, all of equal power, in a giant circle aimed at the model. This gives it a very unique effect.
@@VisualEducationStudio Thanks for the reply. In other words, I think that we could also say that by taking the para a bit back, we achieve the 'specularity' due to the smaller size of each of the 24 light sources, however, because of the giant circle made by the 24 sources, we achieve a wraparound effect that minimizes the hard shadows (one of the parameters of soft light). So we can say that we get the advantage of a small light source (specularity) + the advantage of a big light source (no hard shadows or a better shadow gradation) from the para by moving it a bit back.
@@VisualEducationStudio thanks. Did you have any problems with color shift or too contrasty images,when exporting final image from photoshop? Even when converting to srgb and embed the profile to images?
Hi John, no because I always do my work with a second screen plugged into my macbook (Eizo or other calibrated monitor) and then what I'm seeing is as it should be.
I believe that a parabola only has one focus point, so if you move the light source in and out then it seems to me that the modifier is no longer functioning as a parabola. Am I missing something?
Hi John, yes from a physics point of view where all things being perfect such as the inside of the paraobola being fully perfectly mirrored and the light source being an actual point light source but an orb with enough intensity then yes that would be correct. In reality that same point remains but due to the size/shape of bulb/internal parabola surface properties etc there are variables in how the light 'ejects'. Also due to the properties of hard and soft light based on the size of the light source manufacturers often choose more mirror like surfaces for the biggest paras. When the light moves away from the focus point interesting things still happen which can allow the internal surface to be illuminated in a different area, usually the peripheral ring where the light is no longer collimated but the qualities are still unique as 80% of the interior of the parabola no longer has an illuminated surface and the angle of incidence to the subject quite sculpting. As the light is moved to reflect more from the centre by sliding the light source in but not as far as the focus point (and due to the surface material) it is possible to have some collimation from the center of the reflect but also have the periphery maintain illumination. This results in unusual qualities of light not easily achievable by other modifiers. This video I made shows some great comparisons on various size paras and many other modifiers - ruclips.net/video/V1YY1Qdf2eg/видео.html
@@VisualEducationStudio Thank you. I love the technical aspect of your testing and your sharing your experience. As you point out the basic concept of a parabola is that if the light is at the focus point then all the reflected light is parallel to the axis of the parabola. As you more off of the focus point then I think it no longer functions as a parabola and more like a bounce umbrella. So I have a hard time justifying the cost of the modifier you demo. While I love high end equipment, I like that the equipment sort of justify the expense. Thanks for your response. I love your channel, keep up the great work.
Hi Karl - thank you very much for the video - very helpful. Given we're you're invoking physics - the video implies that there is only one "correct" parabolic shape and therfore one correct parabolic reflector shape. This is not accurate. Parabolas have many shapes; imagine throwing a ball on a "flat" trajectory close to the ground, or throwing the same ball higher into the sky. Both travel in a parabolic arc - but of different shapes. Both follow the equations described. The key point for photography is where the focus of the parabola is for a given arc shape and how much control that gives you of light. Your 'deeper' paprabolic shape will collimate the light over a wider focus range than a very shallow parabilic shape where light spill will be harder to control..
Hi Gareth, yes you are absolutely right - I have in fact also created my own 'parabolic' reflectors from different devices that are of a different curvature and to produce a different 'beam' of light but when it comes to the most effective parabolic reflectors that will represent the collimated light of a fresnel lens then the shape I was referring to has been the most effective.
I'm actually not at all convinced that fresnel panels would be expensive. I also could imagine it to be translucid plastic material, cast into a mold - as glas probably. Perhaps glas is simply "too heavy" to be "practical". But then "again"; we could also imagine to cast parabolic to create non-colapsable (fiber)plastic domes, or petals of them (3D printers) to screw together at their seams.
The Broncolor para´s are unique with their 24 rods/sections (Profoto has the same, but its probably only their brand on that products), but there are alternatives for the "poor" photographers, like the 18 rods/sections Deep Reflective Softboxes from Jinbei (90cm/120cm/140cm/180cm), which also can use a Zoom Focus System, or the 16 rods/sections Deep Parabolic Softboxes like the Elinchrom Litemotiv/Westcott Zeppelin/Hensel Grand/Aurora Tera-D Deep Parabolic Softboxes (90cm/120cm/150cm/190cm), where a Zoom Focus System is also available (from Aurora Lite Bank) . They might not be that beautiful like the Broncolor para`s, but you will be able to get very similar results.
You saw a video about 'Parabolic Softboxes' which are an absurdity from a lighting physics point of view, especially when compared to an ordinary Softbox. This video is about 'Parabolic Reflectors' which are one of the most impressive lighting modifiers available.
The diagram at 3:33 is incorrect. The Parabolix modifiers are truly parabolic. The focus position and depth of a parabolic curve will change the parabolic curvature, and therefore assuming the exact same curvature as the Broncolor is incorrect, even though the same parabolic physics still apply. You should change this video. Also, the bit about Fresnel lenses and lighthouses sounds like you copied that directly from the Parabolix website....
Hi, thank you for the info and there are variations on parabolic shape but my understanding is that the reflection point distance from the focus point has to be the same as the distance from the reflectance point to the directrix. I've never seen the info on the Parabolix website until now and I've been using fresnel modifiers for 30 years and well aware of fresnel lens designs I'm sure long before this company ever published their website and information.
I know you’re not really a gear comparison RUclipsr, but I’m so curious how other “parabolic” modifiers actually shape up compared to the Brons. You included a small diagram that showed the Parabolix and a Godox modifier both not quite having a true parabolic curve, but it would be interesting to see what the measurements would actually reveal about, say the Parabolix and the newer Profond line offered by Glow/Adorama. And then, even more interesting, would be to see how purportedly similar modifiers compared when shooting the same subjects. A lot of modifiers just end up being different shaped softboxes, but these are really interesting to me. Have you shot with any other brands products alleging to be a true parabolic (outside of “deep parabolic umbrellas”)?
Hi Vince, yes good points but as yet I've never used those brands to offer a fair opinion. There are of course many modifiers that can deliver a nice light and quality image but there are also durability issues that are always my concern as my gear (as you will see in this video) gets dragged about all over the place on location in rough conditions and really takes a battering.
Hi, in the other video I'm referring to 'Parabolic' softboxes, not Parabolic reflectors - Parabolic softboxes are a waste of time marketing gimmick because applying diffusion material in-front of a parabolic reflector eliminates all of the qualities that a parabolic reflector would have produced.
Although I appreciate your teaching and I’ve bought your academic courses (which are excellent btw), You should do less advertising to broncolor and use for your teaching more affordable lighting equipment like Joel Grimes does. Are you capable to get the same results with more accessible lighting equipment? Not everyone can afford £5k on a parabolic reflector and if you’re teaching to the masses your should use the same money language. That said all my respect master photographer
Noted but to be fair this video is teaching about the actual physics of parabolic modifiers and why and how they work so you can take that knowledge and apply it to any brand to make a purchasing decision. We have many tutorials on our education site that cover with basic lighting, one light, two lights, speed lights etc etc.
Karl Taylor thanks for your reply. i don’t argue the quality and variety of your teaching which is astonishing. For many people (me included) your and your style are a reference point. Although anyone can reach a good level with any equipment, unconsciously someone might think that to get closed to the quality of your work, beside not being Karl obviously, you need expensive gear, which I agree to some extent. As analogy to with in F1 you indeed need a n.1 pilot by also a very expensive car. The think is that we are unable to compete in F1 we are more rally drivers and you are a F1 pilot talking about F1 cars. You should be more a F1 pilot teaching to be the best rally pilot before being promoted into F1. My point is only about that. You still are my reference regardless any broncolor stuff 🙂
Yes that one is about 'Parabolic Softboxes' which are mostly useless and completely different to 'Parabolic Reflectors' which are amazing and the topic of this video. In this video you will learn the physics of why 'Parabolic Reflectors' works and in the other video you will learn why the physics of 'Parabolic Softboxes' doesn't work.
so you did this and then did a video in Nov 2020 and complaining about the Myth of them. I dont get it. This is not helpful at all when Im trying to get a softbox and get into flash photo for headshots
Hi Jennifer, you are getting confused. This video is about Parabolic Reflectors which are excellent light modifiers. The other video you are referring to was about the nonsense of something called a Parabolic Softbox because the properties of diffusion on the surface and interior negate all aspects of what the parabolic part was for. Please watch both videos.
„Praw fizyki pan nie zmienisz i nie bądź pan głąb!” (You can’t cheat the physics rules and don’t be a dumb) Parabolic mean parabolic. As parallel as it can be. So there’s no substitution to a distant sun. Just imitations.
Maciej Tomkiewicz at the end of the day engineering is the art of seeking the best approximation possible and/or acceptable, isn’t it? When it comes to parabolic you’re spot on , almost parallel, however when it comes to reflected light from the node it’s actually parallel, except for manufacturing tolerances.
@Maciej: You can put the blame on Euclid, but then you cannot cheat his laws... Given the general equation of a conical parabola y = ax² + bx + c, we can consider the simple form y² = 4ax representing a sideways parabola with the vertex at (0,0) and focus at (a,0). Placing a light source at (a,0) all light rays reflected by the parabola will come out perfectly parallel, since the distance from any point on the parabola to the focus is the same as from the directrix. The sun is an almost perfect point source of light (you would have to place it to infinity, then wait an infinite amount of time for the light to reach your subject, without considering the effect of distance on the intensity of the light reaching your subject...), while a parabolic reflector is not supposed to create a point source of light (spot). @Karl: Nice, as usual. Thanks.
It seems you're the clown Michael as you haven't watched the videos or read the titles. This video is a about Parabolic REFLECTORS which are amazing and I use them all the time. The OTHER video is about Parabolic SOFTBOXES which are a complete waste of time and marketing nonsense. Please try and keep up or at least pay attention before you start your name calling.
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I followed this advice from Karl 5 years ago and i swear i never regretted that choice !!! This parabolic is just extraordinary ... not given, but as Karl explained, it’s a REAL PARABOLA not a pale copy, so it’s worth its price (of course if you really need it ! )
Hi Karl,
here is my explanation of “what makes a parabolic light shaper so unique” from an physics / engineers point of view - this is just another approach of explaining the same circumstances but maybe it helps others to better understand what this is all about:
The short form: A parabolic modifier moves the imaginary origin of light far behind this modifier.
And the long version: We all know the inverse square law - light emits from a point source in shape of a sphere(or part of it) and therefore it’s intensity is reduced proportional to 1/(distance^2). The important part is to know the origin of the light. It’s easy when we think of a bare bulb flash. When we look at a softbox, we guess the outermost diffusion fabric as it’s origin… But now think about a laser beam of a (good) laser pointer: where is its (mathematical) origin so we can use the inverse square law? Is it at the emitting diode inside the laser pointer? In this case, the intensity of the light in 20” distance should be only ¼ of the intensity at 10”. We all know, that this is not the case - it’s intensity is nearly the same. So does the laser pointer break the inverse square law? Of cause not! The mathematical origin of this light is just far behind the laser pointer. And if it’s a really good one (e.g. a gas laser, not a semiconductor one), the light emits almost parallel and the origin is at infinity behind the laser pointer… (in technical terms: the light is not focused but collimated).
What does all this mean to our parabolic modifier? By pulling the rod / light in and out we can move the imaginary/mathematical origin of our light more or less far behind the modifier. So we can control the falloff across the subject we photograph without (or better: almost without) changing the size of the light.
Although this is a very theoretical point of view and assumes an ideal point source and true parabolic shape with 100% reflection, it should show the idea behind this kind of modifiers.
Cheers,
Holger
so well explained, thank you
Karl speaks so well, one of the reasons I turn to him for knowledge.
Ah, I noticed that you are speaking a little more slowly, in a much more explanatory way! Wow, I really appreciate it. English is not my native language, but speaking very slowly so now I can understand everything.
Thank you again!
Happy to hear that
This great to rent at a studio and good idea to use mannequin for some demo or sell clothing if starting off. Thanks for some ideas at a future date.
At 3:02 you answer the one question I would have: Can a Speedlite (one or more than one) work with this type of umbrella? I guess there is no way around getting a strobe that sends light in all directions here. Or correct me if I can be corrected. Thanks for all your straight-to-the-point educational videos!
Hi thank you for your commnets, yes if you can find a dome diffuser attachment for a speedlite then they can still be used effectively in Parabolic reflectors.
@@VisualEducationStudio Thanks Karl!
i like your voice and accent. it helps me concentrate
I think you should have mentioned the wescott parabolic 7 foot umbrellas, I have used the silver one with excellent results
It doesn't need to cost 5 grand does it!? Interesting choice of shirt and watch don't you think? :) the narrative neither of which I have swollowed! I wonder which lab hes gonna choose based upon the other naritive we are currently being force fed on a G20 wide basis??
Astra Zeneca? Or Galxo Smith kline? Choose your poison wisely?
It's not a parabola. I own it. It's great as far an an umbrella, but you are not getting true parabolic results with it.
Karl, I'm a full time cinematographer, who is "getting back to my roots" in still photography. I tend to shoot commercials and television shows more than anything else. In my full time 'still' days (30 years ago), I mainly shot sports and concerts. I've always wanted to shoot with flash photography, but was always "scared" of it. I've purchased some 'budget' lights, as I own about 40 different soft boxes for film/video. I've been using those in my experimentation. After seeing this video... it hit me "hey, I own a 7 foot and a 4.5 foot parabolic dish for HMI (daylight) cinema lights! I wonder if I could make those work with strobes?" Well, I checked it out... and indeed I can! My particular products are made by K5600. They're called the "Kurve." They're made in several sizes. They are DESIGNED to be used with the K5600 1600watt HMI lights. However, they come with a second center pole that has a 5/8" spigot on the top (regular light stand). This allows a user to use 'any' light they wish! I can't wait to break them out and use them with my strobes! I own three different front screens in varying diffusion depths and I also own grids for mine. I am hoping I can achieve results similar to what you've shown. Time will tell! Thanks for the inspiration! You make wonderful and insightful videos. I appreciate your efforts!
Thanks Curt, and yes those sound like they will be ideal. Based on what you are saying though and your level experience I'm going to blatantly point you in the direction of our platform at Karl Taylor Education as that's where the real stuff is and where I think you will benefit the most! :)
Cost is not the only downside of the para. The size and weight also make it quite unwieldy when using it out in the field so it makes it imperative that you bring more equipment to mount and stabilize it, ideally with assistants manning the setup.
Hi, the size and weight of the Para 88 has never really been a problem and I regularly use them on location. Wind is always a problem but that would equally be a problem with a softbox or umbrella, still requiring an assistant to hold them or sandbag them.
This person is and amazing source of information.
Didn’t I just saw a video of you saying that parabolic modifiers are a lie and bring no difference than a dish?
Not at all. Parabolic SOFTBOX is the sham. When we diffuse light through a diffuser panel, it, well, diffuses the light just like a diffuser panel/cover on any box (though the edge shapes can be different). Using a focusing rod on a para without a diffuser is the bees knees! Put a diffuser panel over it and then it just becomes a basic softbox. Take the panel off but don't have a focusing rod? Super limited because it's not adjustable so it's just a big fat thing that's not best for much of anything in comparison.
The video you recently watched was a review of parabolic softboxes, this video is about parabolic reflectors.
That was just parabolic softboxes.... not open fronted parabolic lights with reversed light sources.
And this is were you a(nd your channel) distinguish yourself from the rest.
Very well explained, great samples and drawing, you're a true tutor
Little remark about the speedlights not suited for a parabolic "umbrella" , which is totally correct, however therefor most of them are equipped with a kinda fresnel removable plastic screen emulating een sort of parabolic light (but that's a real poor mans option compared to your parabolic modifier hehehe)
Thanks for sharing and be safe !!
Thank you.
you said, you used para 133 or 222, but 177 is not good ? for witch photos you used 177 para ? thinks for your answers
Why was the secound modifier blanked out at 3:35 sec?
What about the Glow EZ Lock Parabolics? I have the 20" and the 28" for my photography. They are more affordable than the Broncolor and easier to setup. They do have a reflective dish and two diffusers for light control. I am using Bowens Mount Soft Boxes for my setup. Glow makes good products because the nylon fabrics are well made and they may last a long time.
Hi there, how are you doing? I have a question:
You said that in order to use a parabolic modifier your light need to come from multiple sides (like the one you showed in 3:08), and there´s one video of yours that you talk about the myth of parabolic softboxes. I usually see people using "parabolic softboxes" with flat fronted leds like the Aputure 120D or the Godox SL60W (and usually for video, since this is my line of work). So my question is: is it possible that a "parabolic softbox" does make some difference when using these kind of lights? Because I imagine that with a narrow softbox the light coming from the - let´s say - Godox SL60W wouldn´t be rightly distributed throughout the modifier. Does it make any sense?
Hi Freddy, thank for your comments and I like it that you are trying to think this through but no unfortunately a flat fronted light wouldn't help in a deep softbox any more than a protruding lamp, in fact what you're looking for in a softbox is an even distribution of the light so the more it bounces around the inside as it passes through the two layers of diffusion then the more homogenous it will be when it exits the front layer of diffusion. Diffusion does exactly what the word means and that is to diffuse to spread things out and space them apart. Diffusion means that any benefit from reflective angles to direct light is lost because of the diffusion which is why in the other video you mention I go to great lengths to point this out. I pinned a comment at the top of the other video that explains further and gives some other examples.
@@VisualEducationStudio got it. Thank you for answering.
Thank you for this very helpful Video, Karl!
Sir ! As always thank you 🙏🏻 🌸🥂
@Karl Taylor - An idea; let me know if you tried this. If you want to use it with reflective stuff, an (expensive?) idea would be to buy some polarizing gel and use a CPL filter to cut out the reflections. Cover the source of light in polarizing gel, close enough to the source to be efficient but far enough to avoid burning the gel (I suppose a cone could work to wrap the light). Of course you're losing stops galore and would need a powerful mono.
Hi Andrei, you need to watch this - karltayloreducation.com/class/live-workshop-polarising-studio-light-and-why/
I love your videos! One question because I could not find anything anywhere about. What's the difference between deep and parabolic umbrella.
Physics.
This is the best class I had about parabolics
Cheers.
What would you choose if could only choose 1 modifier for independent drama feature? Regular softbox with grid?
That's a bit of a broad question an independent drama feature could cover thousands of different topics and moods. But if I could only choose one modifier it would be a Para 133.
Fantastic lecture than you 💚
Glad you think so!
it would be great to see a comparison between a true parabolic with those "parabolic softboxes" (obvioulsy without the diffusers and with the extendable arm). Broncolor is extremely expensive, even more if you live in a country where
the currency is devalued against the dollar... thank you for your great videos, they are amazing
I would love that to happen, as you heard me say in another comparison video I welcome any of the brands to send me their equipment for comparison testing. I will always provide the results as they are which I've done recently with products from other brands against my own equipment and in more forthcoming videos. If comparisons of particular things is what people like then I'd love to do more of them but I can't purchase the other brands equipment just for these videos.
Super details and very interesting 👌🏻Thank you very much!
Our pleasure!
The contradiction beetween the size of the light and the hardness is only aparent and come from an usual missunderstandign of the real reasons of the hardness of the light. All we say we have to compare the size of the mouth of the fixture with the distance, but what really determine the hardness is the way the ray lights form the beam of light. And there are four ways to do it: rays can diverge from the focus, be paralel beetween theirself, cross theirself or converge.
Many thanks Karl, insightful as always
My pleasure!
would be nice a comparison with the new parabolic godox P158 to the broncolor ones
Can you recommend some lighting equipment for beginner photographer's which are both pocket friendly and have good CRI.
Just about any flash with a xenon tube is going to have good CRI.
Exactly get the cheapest manual flash on Amazon and learn to use it!
I'm sure Karl can, and it would be good. But I don't think the people at Broncolor or Hasselblad would be very happy about it! Just my 2 cents! : )
Should I use these for portraits of regular people (not models) or is too specular to be flattering?
The Para 133 can be used for portraits in its soft position plus it can double as a softbox by using the external diffuser. However their best purpose is more for models/fashion/actors or people who can carry it off. They are a very sculpting and flattering light on the right people though.
@@VisualEducationStudio Thank you for answering this for me! Love your work.
I have a question. I noticed they make grids for these paras. do you think they are useful. I never seen anyone mention them. i was wondering if they effect the light quality in anyway because of how unique a para is.
I don't use them. They will reduce light spill but Para's are pretty good at directing the light forwards (collimated) anyway as that's what they are meant to do. A grid on any light will make it slightly harder in contrast, they have more use on softboxes than Paras in my opinion.
Thanks Karl! Very interesting and informative. 🙂
Glad you liked it
That’s was very helpful,, thanks for sharing
Thank you for the clarity of the speech.
Is the Broncolor focus 110 similar to Profoto deep silver M ? I notice a difference in the shape, I have the feeling that the Broncolor is more directional.
Hi I think they are both very similar. Neither are quite the same as Para 133 though.
@@VisualEducationStudio Thank you very much. If you had to choose between the two, which one would you choose? In any case, thank you for the quality of your videos.
How much strobe power do you need for these huge umbrellas? 500w/s? 600? 1200? Assuming using like Karl does- behind him and a little elevated. Say 4-5 meters.
I'm usually running about 800J in the big 222 Para when I've got it behind me and the model 3/4 length body shot. That's at 100iso so obviously if I took it up to 200iso which is no problem for most cameras today then I could be running it at 400J and that's shooting at around f11.
Can your product be delivered to Denmark?
This video didn’t help me to choose a softbox for videography. Any help?
Thank you Karl for all.
My pleasure!
Thank for this Video and the explanation of the parabolic reflector. Which other true parabolic reflectors beside broncolors are on the Market?
Glad it was helpful. There is one other brand called briese light that I'm aware of.
Glow makes a line of paras called "Profond".
@@VisualEducationStudio AFAIK Briese is the original inventor, Bron licensed his work
There are many others that are quality and much more affordable, just search. New website called Google is useful for that sort of thing.
Click box zoom. but its not perfect.
Karl and Lindsay Adler are my top 2 of all times .. all times
Thanks and yes Lindsay turns out some great work.
I just watched a video you made saying the softbox was basically the same?! Lol. I'm lost now.
Hi Thomas, there is a big difference between a 'Parabolic Reflector' which is what this video is about and a 'Parabolic Softbox' which are a waste of time. Please watch both videos and you'll understand what I'm talking about.
@@VisualEducationStudio parabolic Light? I guess I never heard of such a thing. Ok ill re-watch. Thank u kindly for responding. Already purchased a photixx 120. Love the results
As a follower of you for a long time, learning now I have some question:-
1st. Question
How to adjust sony a7r3 image size to 72ppi instead of 300 default
Since I Can't find anything in menu
2nd. Question
Does whatsup affect the sony images when sending it to the degree that gives pixelling in it but not to that same degree of artifacts like pictures of Canon 1dx m3
Third question
When I open the Same Jpeg file it is in 3 different looks in photoshop , ACDSee ultimate , windows 10 photo program
Is it color science or calibration or what between those 3 programs?
4th. question
I didn't have to change any color profile in photoshop with canon camera before
But Now with sony images, I have to make it AdobeRGB in both camera, photoshop or color shift happens!!
Last question!!
Did it happen with you to notice photoshop 2021 differs from photoshop 2019 in color calibration
Since I have the same image with 2 looks in them?
Thanks in advance
Hi thank you but unfortunately that question has nothing to do with this video I'm afraid. We only offer that level of support to our customers on our website, if you're a member please ask your question there, thank you.
can a para 222 tube be used in a para 220? I am thinking of getting one used if it works.
Hi Ray, what do you mean a Para 222 tube in a 220??
@@VisualEducationStudio the focusing tube. i noticed the older para 220 has a weird tube made for ring flashes but the para 222 has a better suited tube made for strobes so the light is centered more. I was wondering if someone could remove the 220's tube and if a 222 tube can fit the para 220 instead.
Ah I see I'm not sure on that I'm afraid as broncolor redesigned the whole mechanism for the 222. This would be something you'd have to check with bron.
Thank You!
A question: If you place more than one light source in a parabolic reflector-in order to gain more power-does it cause multiple shadows? Or does it have other unpleasant, noticeable consequences? Maybe, a subject to make a tutorial (?). I remember that I saw, for instance, even two umbrellas next to each other for more power.
no, it doesnt cause multiple shadows since they are coming from the same light source (the softbox)
I wish you can do a comparison between Broncolor para88 and Godox para88, I'm curious that there are any differents in terms of result.
是一样的一样的是
Super useful! Thanks for all this information.
My pleasure
What lights can one use for the paras then
Any studio light that has a protruding lamp head
If you can afford 3 of those paras, I suppose that Rolex isn't a big deal. Alas, I will have to go for a more affordable version, but thanks for the great info, it helped a lot.
You're welcome, thanks.
Dang broncollor is one expencive piece of kit. Think i have to start cheaper as im building up from scratch. Would the profoto deep umbrellas be viable options then?
Profoto isn't any less in price that Broncolor, in fact it's often more expensive. Bron do a good deep umbrella called a focus 110, I'm not that familiar with the Profoto ones.
@@VisualEducationStudio aye thank you, i found that one now that i knew what to look for👍 and in norway, about same price for a profoto 105cm silver. Would you then say a bron 110 would be a better purchase or is a bigger like profoto 165cm a better starting point as unger bigger area affect. Now i know nothing will compare to the bron para 88 say of the umbrellas. But for some reason in my mind i got the idea that bigger is better 😅
As I said I'm not familiar with the Profoto range. All I can tell you is that bigger can give you a softer option look.
@@VisualEducationStudio thank you so much for your replies. Stay safe and have a nice day
Maybe you should hire a cheap para and do a comparison. Godox vs Broncolor. Seeing the different would better than a diagram saying it doesn't support the science.
Not trying to be funny, but why couldn’t you do the test yourself?
I can't afford to hire a broncolor and karl does a better job explaining to a larger audience. So the poorest of photographers don't have to invest in something that doesn't work the way it should.
I’m so confused 😢 i just watched a video from you last night discounting the effectiveness of the parabolic modifiers 😦
Hi, the other video was about something called 'parabolic softboxes' which are a complete nonsense because any parabolic benefit of collimating the light is lost via the inner and external diffusion material.
How are the profoto ones. I always hear about the broncolor but barely anything from profoto version. I only notice you and another photographer use this modifer often.
Profoto doesn't have these type of modifiers as far as I know.
@@jasonbodden8816 they do. I did some digging on google. Basically I read that they arent as useful as the broncolor, they are also more expensive.
@@RayValdezPhotography which one?
Thanks for the videos/ However, "We can have a hard light effect combined with the softness dictated by the larger size", isn't it self-contradictory? I didn't get it!
It is a little difficult to understand but essentially you retain the 3 dimensionality of harder lighting but the appearance still maintains a softness (on the big 222 para) because it is so big, but even though it is a big light it is not working anything like a big softbox instead it is working like 24 individual small lights sources, all of equal power, in a giant circle aimed at the model. This gives it a very unique effect.
@@VisualEducationStudio Thanks for the reply. In other words, I think that we could also say that by taking the para a bit back, we achieve the 'specularity' due to the smaller size of each of the 24 light sources, however, because of the giant circle made by the 24 sources, we achieve a wraparound effect that minimizes the hard shadows (one of the parameters of soft light). So we can say that we get the advantage of a small light source (specularity) + the advantage of a big light source (no hard shadows or a better shadow gradation) from the para by moving it a bit back.
Why the blurring at 3:35?
BTW Karl, I for one really appreciate how you take the time to personally respond to so many questions and comments. 👍
Brands get upset if you show their brand name or product without their consent in such a video.
Suberbly explained
Karl ,i hope its ok to ask,do you work on a mac or a pc?:)
Macbook
@@VisualEducationStudio thanks. Did you have any problems with color shift or too contrasty images,when exporting final image from photoshop? Even when converting to srgb and embed the profile to images?
Hi John, no because I always do my work with a second screen plugged into my macbook (Eizo or other calibrated monitor) and then what I'm seeing is as it should be.
Very much appreciated!
Cool video
Great now there's something else I need to buy
I believe that a parabola only has one focus point, so if you move the light source in and out then it seems to me that the modifier is no longer functioning as a parabola. Am I missing something?
Hi John, yes from a physics point of view where all things being perfect such as the inside of the paraobola being fully perfectly mirrored and the light source being an actual point light source but an orb with enough intensity then yes that would be correct. In reality that same point remains but due to the size/shape of bulb/internal parabola surface properties etc there are variables in how the light 'ejects'. Also due to the properties of hard and soft light based on the size of the light source manufacturers often choose more mirror like surfaces for the biggest paras. When the light moves away from the focus point interesting things still happen which can allow the internal surface to be illuminated in a different area, usually the peripheral ring where the light is no longer collimated but the qualities are still unique as 80% of the interior of the parabola no longer has an illuminated surface and the angle of incidence to the subject quite sculpting. As the light is moved to reflect more from the centre by sliding the light source in but not as far as the focus point (and due to the surface material) it is possible to have some collimation from the center of the reflect but also have the periphery maintain illumination. This results in unusual qualities of light not easily achievable by other modifiers. This video I made shows some great comparisons on various size paras and many other modifiers - ruclips.net/video/V1YY1Qdf2eg/видео.html
@@VisualEducationStudio Thank you. I love the technical aspect of your testing and your sharing your experience. As you point out the basic concept of a parabola is that if the light is at the focus point then all the reflected light is parallel to the axis of the parabola. As you more off of the focus point then I think it no longer functions as a parabola and more like a bounce umbrella. So I have a hard time justifying the cost of the modifier you demo. While I love high end equipment, I like that the equipment sort of justify the expense. Thanks for your response. I love your channel, keep up the great work.
Do they put out any heat that can become uncomfortable for the model?
No not when using studio flash.
a-maz-ing!
I relish these "fire side chats," thanks CT.
Thanks Rick but just to confirm it's KT :)
logical and educated photographer, in all manners...
Cheers
Hi Karl - thank you very much for the video - very helpful. Given we're you're invoking physics - the video implies that there is only one "correct" parabolic shape and therfore one correct parabolic reflector shape. This is not accurate. Parabolas have many shapes; imagine throwing a ball on a "flat" trajectory close to the ground, or throwing the same ball higher into the sky. Both travel in a parabolic arc - but of different shapes. Both follow the equations described. The key point for photography is where the focus of the parabola is for a given arc shape and how much control that gives you of light. Your 'deeper' paprabolic shape will collimate the light over a wider focus range than a very shallow parabilic shape where light spill will be harder to control..
Hi Gareth, yes you are absolutely right - I have in fact also created my own 'parabolic' reflectors from different devices that are of a different curvature and to produce a different 'beam' of light but when it comes to the most effective parabolic reflectors that will represent the collimated light of a fresnel lens then the shape I was referring to has been the most effective.
3:31 Glad I go to see this video before the censoring. Very informative regardless!
It was censored? I wonder why...
This is amazing!
I'm actually not at all convinced that fresnel panels would be expensive.
I also could imagine it to be translucid plastic material, cast into a mold - as glas probably.
Perhaps glas is simply "too heavy" to be "practical".
But then "again"; we could also imagine to cast parabolic to create non-colapsable (fiber)plastic domes, or petals of them (3D printers) to screw together at their seams.
Great content as always.
Much appreciated!
Parabolas can be more flat or more acute but still be a parabola .Like the inclinate trowing of a stone
"It is symmetrical across the line of symmetry"
That's like saying "It levitated in the air" lol
Thank you
You're welcome
my professor...thanks again.
You are very welcome
"But be carefull, i rent a 222 ... and then i decided to buy one"... exactly what i did !!! Precisely a para 133...
The Broncolor para´s are unique with their 24 rods/sections (Profoto has the same, but its probably only their brand on that products), but there are alternatives for the "poor" photographers, like the 18 rods/sections Deep Reflective Softboxes from Jinbei (90cm/120cm/140cm/180cm), which also can use a Zoom Focus System, or the 16 rods/sections Deep Parabolic Softboxes like the Elinchrom Litemotiv/Westcott Zeppelin/Hensel Grand/Aurora Tera-D Deep Parabolic Softboxes (90cm/120cm/150cm/190cm), where a Zoom Focus System is also available (from Aurora Lite Bank) .
They might not be that beautiful like the Broncolor para`s, but you will be able to get very similar results.
Hi, it's definitely our own unique product ;-)
Wait! Didn’t I just see a video on this channel where parabolic light was ditched major? 🧐🤔
You saw a video about 'Parabolic Softboxes' which are an absurdity from a lighting physics point of view, especially when compared to an ordinary Softbox. This video is about 'Parabolic Reflectors' which are one of the most impressive lighting modifiers available.
Very informative, thanks. (One nitpicky thing, sorry: the word is parAbola, not parObola)
My bad
If you were to choose one modifier what that would be? Me: Para 222. Why? I would sell it and by 20 softboxes.
The diagram at 3:33 is incorrect. The Parabolix modifiers are truly parabolic. The focus position and depth of a parabolic curve will change the parabolic curvature, and therefore assuming the exact same curvature as the Broncolor is incorrect, even though the same parabolic physics still apply. You should change this video. Also, the bit about Fresnel lenses and lighthouses sounds like you copied that directly from the Parabolix website....
Hi, thank you for the info and there are variations on parabolic shape but my understanding is that the reflection point distance from the focus point has to be the same as the distance from the reflectance point to the directrix. I've never seen the info on the Parabolix website until now and I've been using fresnel modifiers for 30 years and well aware of fresnel lens designs I'm sure long before this company ever published their website and information.
Bron is so good, they even got sued by Briese for copying thier design.
Do you think anyone will sue Godox?
I know you’re not really a gear comparison RUclipsr, but I’m so curious how other “parabolic” modifiers actually shape up compared to the Brons. You included a small diagram that showed the Parabolix and a Godox modifier both not quite having a true parabolic curve, but it would be interesting to see what the measurements would actually reveal about, say the Parabolix and the newer Profond line offered by Glow/Adorama. And then, even more interesting, would be to see how purportedly similar modifiers compared when shooting the same subjects. A lot of modifiers just end up being different shaped softboxes, but these are really interesting to me. Have you shot with any other brands products alleging to be a true parabolic (outside of “deep parabolic umbrellas”)?
Hi Vince, yes good points but as yet I've never used those brands to offer a fair opinion. There are of course many modifiers that can deliver a nice light and quality image but there are also durability issues that are always my concern as my gear (as you will see in this video) gets dragged about all over the place on location in rough conditions and really takes a battering.
confused I am.....watching the previous video you bashed the parabolic modifiers and in this one you praise it.....
Hi, in the other video I'm referring to 'Parabolic' softboxes, not Parabolic reflectors - Parabolic softboxes are a waste of time marketing gimmick because applying diffusion material in-front of a parabolic reflector eliminates all of the qualities that a parabolic reflector would have produced.
I just watched a video of you saying that “parabolic modifiers are bullshit” hahahaha
No that was a video about 'Parabolic Softboxes' with are pointless.
👍👌
6:26 is somewhat contradictory to 3:00
I can't see how it is contradictory at all? Would you mind clarifying what you mean please?
Although I appreciate your teaching and I’ve bought your academic courses (which are excellent btw), You should do less advertising to broncolor and use for your teaching more affordable lighting equipment like Joel Grimes does. Are you capable to get the same results with more accessible lighting equipment? Not everyone can afford £5k on a parabolic reflector and if you’re teaching to the masses your should use the same money language. That said all my respect master photographer
Noted but to be fair this video is teaching about the actual physics of parabolic modifiers and why and how they work so you can take that knowledge and apply it to any brand to make a purchasing decision. We have many tutorials on our education site that cover with basic lighting, one light, two lights, speed lights etc etc.
Karl Taylor thanks for your reply. i don’t argue the quality and variety of your teaching which is astonishing. For many people (me included) your and your style are a reference point. Although anyone can reach a good level with any equipment, unconsciously someone might think that to get closed to the quality of your work, beside not being Karl obviously, you need expensive gear, which I agree to some extent. As analogy to with in F1 you indeed need a n.1 pilot by also a very expensive car. The think is that we are unable to compete in F1 we are more rally drivers and you are a F1 pilot talking about F1 cars. You should be more a F1 pilot teaching to be the best rally pilot before being promoted into F1. My point is only about that. You still are my reference regardless any broncolor stuff 🙂
Thank you. You'll be pleased to hear that I'm going to be showing some F1 winning results with an old Ford Cortina soon.
Karl Taylor can’t wait then. Nice old car btw
You've watched this video now watch this one, also by Karl Taylor. ruclips.net/video/lM5ME4o79bE/видео.html
Yes that one is about 'Parabolic Softboxes' which are mostly useless and completely different to 'Parabolic Reflectors' which are amazing and the topic of this video. In this video you will learn the physics of why 'Parabolic Reflectors' works and in the other video you will learn why the physics of 'Parabolic Softboxes' doesn't work.
so you did this and then did a video in Nov 2020 and complaining about the Myth of them. I dont get it. This is not helpful at all when Im trying to get a softbox and get into flash photo for headshots
Hi Jennifer, you are getting confused. This video is about Parabolic Reflectors which are excellent light modifiers. The other video you are referring to was about the nonsense of something called a Parabolic Softbox because the properties of diffusion on the surface and interior negate all aspects of what the parabolic part was for. Please watch both videos.
„Praw fizyki pan nie zmienisz i nie bądź pan głąb!” (You can’t cheat the physics rules and don’t be a dumb) Parabolic mean parabolic. As parallel as it can be. So there’s no substitution to a distant sun. Just imitations.
Maciej Tomkiewicz at the end of the day engineering is the art of seeking the best approximation possible and/or acceptable, isn’t it?
When it comes to parabolic you’re spot on , almost parallel, however when it comes to reflected light from the node it’s actually parallel, except for manufacturing tolerances.
@Maciej: You can put the blame on Euclid, but then you cannot cheat his laws...
Given the general equation of a conical parabola y = ax² + bx + c, we can consider the simple form y² = 4ax representing a sideways parabola with the vertex at (0,0) and focus at (a,0).
Placing a light source at (a,0) all light rays reflected by the parabola will come out perfectly parallel, since the distance from any point on the parabola to the focus is the same as from the directrix.
The sun is an almost perfect point source of light (you would have to place it to infinity, then wait an infinite amount of time for the light to reach your subject, without considering the effect of distance on the intensity of the light reaching your subject...), while a parabolic reflector is not supposed to create a point source of light (spot).
@Karl: Nice, as usual. Thanks.
In short, most people cannot afford them. Thanks and discontinue watching.
What a clown! in another video he explains why a parabolic is only a commercial item and has NO advantages!
It seems you're the clown Michael as you haven't watched the videos or read the titles. This video is a about Parabolic REFLECTORS which are amazing and I use them all the time. The OTHER video is about Parabolic SOFTBOXES which are a complete waste of time and marketing nonsense. Please try and keep up or at least pay attention before you start your name calling.
Perv alert 6:34 - all good otherwise