{"id":52948,"date":"2018-10-12T09:00:56","date_gmt":"2018-10-12T13:00:56","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=52948"},"modified":"2019-01-09T13:47:10","modified_gmt":"2019-01-09T18:47:10","slug":"flashpoint-xplor-600pro-ttl-review-part-2-a-fast-affordable-outstanding-addition","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/flashpoint-xplor-600pro-ttl-review-part-2-a-fast-affordable-outstanding-addition\/","title":{"rendered":"Flashpoint XPLOR 600PRO TTL Review: Part 2, a Fast, Affordable, Outstanding Addition"},"content":{"rendered":"

The Flashpoint XPLOR 600PRO TTL<\/a> transcends the old adage, “fast, inexpensive and good \u2014 you can pick just two.” With super fast recycle times, and clean, color stable output, the Pro presents a tremendous value, standing shoulder to shoulder \u2014 and often pulling away from \u2014 more expensive alternatives.<\/p>\n

Coverage, distance, and tempo: <\/h3>\n

An inescapable truth of strobe lighting: as the maximum output power of the light increases \u2014 measured in watt seconds \u2014 so do your creative opportunities. It is certainly possible to create great work with relatively low output lighting, but a strobe with greater watt-seconds can relieve the process of friction and expand creative potential.<\/p>\n

For this reason I will often think of my lights using a rigorous baseline, and it goes like this: at what point in this light\u2019s power settings can I arrive at a sweet spot between output and recycle time? Both factors strain a strobe\u2019s capacity, pulling it in opposite directions. Too little output power and I won\u2019t be able to get sufficient critical front-to-back depth of focus, or work at sufficiently clean ISO; but as I raise power, slower recycle times might trip up the otherwise natural cadence of a shoot, undermining the rapport I work to build with my subject. The goal for me is subject driven style and tempo, and my gear has to keep up.<\/p>\n

Looking closer at each:<\/h4>\n
    \n
  • Output:<\/strong> For me output is measured by placing the light at a distance from my subject that allows for the coverage I need (portrait to full length); my aperture set wide or narrow, subject and style depending, but maxing out before diffraction – usually this has me working between f\/5 and f\/11; and, given the performance of many contemporary 35mm sensors, I generally try to work with an ISO at or below 800.<\/li>\n<\/ul>\n
    \"Jim
    The table above gives a sense of the Xplor\u2019s output in various modifiers as no two modifiers behave the same, and at times contradict assumptions. A mere “watt-second” rating on a strobe is nearly meaningless without context, which is why I like to get a sense of a strobe\u2019s power in a modifier, at a respectable distance. The column highlighted in yellow offers a baseline for the Xplor\u2019s performance which is where recycle times are \u2014 for most uses \u2014 instant, yet exposure remains fairly powerful. (Image by Jim Lafferty)<\/figcaption><\/figure>\n

    Recycle time – ideally instant, as in 1\/5th a second or faster, though I find the \u00bd second recycle time of the XplorPro at half power sufficient in most scenarios. This isn\u2019t about a \u201cspray-n-pray\u201d machine gunning, but about having a strobe ready to fire off a burst in succession, and catch the transition of expression, or subtle physical gesture of the subject. It\u2019s often in these spontaneous moments that we catch something unguarded and natural.<\/p>\n

    \"Jim
    (Photo by Jim Lafferty)<\/figcaption><\/figure>\n
    \"Jim
    Two instances that typify what I seek in my work \u2014 freezing a momentary transition, highlighting physical tension; the emergence of and transition of a natural expression, several of the frames capable, in isolation, of telling a different story. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    Historically \u2014 in the case of the Streaklight, the XplorClassic, and the eVOLV \u2014 the sweet spot has been around \u00bc-3 power. With the XplorPro, it’s comfortably \u00bc +3 power, a gain of 2\/3rds a stop of intensity, while sustaining the same tempo. Your process and needs may vary from shoot to shoot, and you\u2019ll adjust accordingly, but the XplorPro\u2019s “baseline” is really forgiving. So forgiving in fact, that at 1\/16th power and below, recycle times are fast enough to make animated GIFs from the images\u2026<\/p>\n

    I was recently commissioned for a commercial job, a classic and widely beloved sneaker company, with an emphasis on youthful energy and candid, unguarded moments. The creative brief included the desire to capture a handful of GIFs and, shooting at 1\/16th and 1\/32nd power, using the standard 5″ reflector, we consistently clogged the camera\u2019s buffer with raw files while the lights didn\u2019t miss a beat. Many of the animations consist of about 24 frames fired off in rapid succession, with no shift in exposure, and we were able to capture the images at a clean ISO160, f\/8, 1\/200 sec.<\/p>\n

    At 1\/32nd power, the XplorPro\u2019s flash duration is so fast, tiny details like ends of hair, shoelaces and wardrobe edges are tack sharp:<\/p>\n

    \"Jim
    The detail stopping power of the XplorPro at powers below 1\/16th, where flash duration is so brief it freezes details like the movement of fabric, fringes of clothing, ends of hair. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    From here you can play with the modifier used for your key light to move the workflow in a direction you like \u2014 you can, for instance, bring in a specular, punchy modifier like the excellent Glow Magnum, replacing the reflective\/diffused umbrella \u2014 and pick up 2 and 1\/3rd stops of exposure latitude. It\u2019s here that your skills in navigating your client\u2019s needs and style with the optimal light modifier will become crucial.<\/p>\n

    Now you can decide to either keep the same pace, but lower your ISO for cleaner output; or keep the ISO fixed but pick up the pace. Your client\u2019s needs should guide these decisions, and the gear chosen is secondary, and serves the desired outcome. That said, I\u2019ve found it helpful to get to a place where I\u2019m happy with the work and then share a preview with the client \u2014 good photos can be a very compelling advocate for your direction.<\/p>\n

    \"Jim
    Differences displayed in the output quality from the Magnum, left, versus a small Glow EZ Lock softbox, right. The efficiency of the Magnum allowed a distance of about 17 feet from the model, lighting both her and the wall at a similar exposure; where the softbox, placed close, was feathered and allowed the same wall to fall to grey. Same space, different modifiers, achieving strikingly different styles. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    The XPLOR Pro does still life:<\/h3>\n

    Having seen how the Pro handles a more demanding studio scenario \u2014 full length, rapid movement \u2014 now we can see how it handles still life, where recycle time is (usually) less of an issue. Instead of an emphasis on sustained tempo, still life demands the cleanest output \u2014 using the lowest ISO and greatest dynamic range .<\/p>\n

    This is incidentally where you might choose to invoke Color mode \u2014 COLOR ON in the C.fn menu \u2014 to ensure color works within a tight orbit of 5600K at every power setting.<\/p>\n

    \"Jim
    With HSS, the Xplor offers some fun opportunities to experiment filling hard daylight with strobe. Here, I\u2019ve been playing at a home studio, working with the Glow EZ Lock Softbox (frame 1), filling natural light with a bounced XplorPro (frames 2 and 4); and using the standard 5\u201d reflector of the Xplor to get hard, daylight like shadows (frame 3). (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    Given the more relaxed pacing of still life, the condensed distance between light and subject, the Pro delivers an impressive ISO 64, f\/13, 1\/160th, at full power, even with use of the extension head, which reduces output by 1\/3rd stop. These figures are derived with Xplor Pro about five feet from the subject, shooting through diffusion (either a hanging sheet of frosted acrylic, or the double diffusion of a small Glow EZ Lock softbox).<\/p>\n

    \"Jim
    Recent commissioned work for Chipotle, where I used a pair of Xplors. Generally speaking, I used an XplorPro in the Glow EZ Lock Softbox as my key, and a second XplorPro, with the reflector attached, firing into a white ceiling for fill. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    With still life jobs, I highly suggest you consider using the Pro in conjunction with the AC adapter and, now available, the extension head for this sort of thing. The extension head allows you to more easily boom the light or lower it to meet the table surface; and the AC adapter puts your mind at ease, allowing for things like minute, refined styling to happen on a natural timeline, so that you don\u2019t need to carry a spare battery.<\/p>\n

    About that new extension head:<\/h3>\n
    \"Jim
    The new XplorPro extension head, at right showing how it is shipped and how I pack it for gigs, with the cable coiled around the head. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    At the core of why I feel the Flashpoint system presents the greatest value are their innovations like the extension head. With it, you can covert a battery driven monolight to a pack and head like setup. Doing so puts the bulk of the light\u2019s weight low, and the bulb & head become comparatively very light and easy to boom. Even on a compact stand like the Manfrotto Nano, as shown below, the pack\/battery offsets the weight of the head enough that the stand becomes very stable. If, as I often do, you pack a hybrid kit stand and c-stand arm and knuckle to work on location, this setup is key to putting your mind at ease when booming the XplorPro:<\/p>\n

    \"Jim
    My preferred setup for the extension head on the go \u2014 a Superclamp and a 3 or 4\u201d stud, and a small stand like the Manfrotto Nano. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n
    \"Jim
    The same mounting system deployed in a studio setting, using Matthews Low Boy rollers with, at times, a C-stand arm. This is a classic combination I like to work with, the smaller Photek Softlighter as my key light, the Glow 72\u201d umbrella and diffusion sock used for fill. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    One unfortunate caveat of the new extension head \u2014 it both does not ship with a bag, and the bag which shipped with the XplorClassic\u2019s extension head doesn\u2019t totally work with it. In a pinch, the old bag is workable, but certainly not ideal.<\/p>\n

    XPLOR Pro, packed to go:<\/h3>\n

    At the center of my location gear strategy is the hope that I can carry lighting and my main camera body in a single roller case as often as possible. The XplorPro’s new streamlined design, with a reflector that fits flush with the body, makes putting two into a roller case a no brainer \u2014 and leaves room enough for additional gear!<\/p>\n

    Here’s the breakdown of what I use on assignments big and small:<\/h4>\n
    \"Jim
    Above is the ThinkTank Airport that is the backbone of my assignments, including: 1) my main camera body. My backup camera body and lenses are in a backpack; the extension head, eVOLV bulbs and accessories go in the small over-the-shoulder bag; 2) a small bag housing the R2Pro trigger (for Nikon), and two Xplor batteries, a single spare charged and ready for whichever light is being used at a greater output – I rotate it, charging the spent battery while shooting; 3) two XplorPro bodies, one with the battery attached; 4) a great little LED, the Aperture Amaran AL-H198 Daylight – I often pack two – they\u2019re great as a focus assist or to fill ambient as they match the XplorPro\u2019s color temp near perfectly; 5) two eVOLV bodies and their batteries (only one shown here), with spare batteries nested below the Xplors. The eVOLV functions as either a third light source, or a backup of my key or fill light in the event I need it. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n
    \"Jim
    Typical assignments that make use of two or more lights – full length fashion for e-commerce, portraiture, and dance editorial. (Photo by Jim Lafferty)<\/figcaption><\/figure>\n

    The XplorPro\u2019s slim design allows me to leverage an unprecedented 1600ws across 4 sources in a single rollercase \u2014 two 600ws Xplors leave enough room for a pair of 200ws eVOLVs, the extension head for the pro and twin bracket for the eVOLVs fitting in a small over-the-shoulder bag.<\/p>\n

    Toward the future: <\/h3>\n

    The Flashpoint family of lights started well and continues to mature, on a pretty aggressive upward path of refinement and innovation. In just the past few months, we\u2019ve seen released the XplorPro\u2019s smaller companion, the Xplor400 Pro, as well as extension heads for both the eVOLV and XplorPro. As of this writing, a firmware update adds the option to select .1 stop adjustments to the R2Pro and XplorPro.<\/p>\n

    With improved recycle times, better color stability, and a refined tube, it is clear that the Xplor design team are looking to occupy a space long assumed as the domain of premium brands. They are listening to feedback and hustling to close performance gaps.<\/p>\n

    I’d love to see some additional upgrades in the future, as well. Namely, a better umbrella mount, a 1200ws bitube option, a shoulder bag for the extension head, a shorter flash duration at higher output, an “action” mode, daylight balanced LED modeling light. <\/p>\n

    Overall, the XplorPro is a superbly competent tool, and to my mind, ushers in a new standard for what a battery driven monolight can be.<\/p>\n

    Feature photo by Jim Lafferty<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

    The Flashpoint XPLOR 600PRO TTL transcends the old adage, “fast, inexpensive and good \u2014 you can pick just two.” With super fast recycle times, and clean, color stable output, the Pro presents a tremendous value, standing shoulder to shoulder \u2014 and often pulling away from \u2014 more expensive alternatives. Coverage, distance, and tempo:  An inescapable […]<\/p>\n","protected":false},"author":11111143,"featured_media":52956,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8718,17798,21,642,17803],"tags":[316,10668],"class_list":["post-52948","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-accessories","category-electronics","category-gear","category-photography-642","category-wearables","tag-flashpoint-316","tag-monolight"],"acf":[],"yoast_head":"\nFlashpoint XPLOR 600PRO TTL Review: Part 2, a Fast, Affordable, Outstanding Addition<\/title>\n<meta name=\"description\" content=\"With super fast recycle times, and clean, color stable output, the Pro presents a tremendous value, even compared to more expensive alternatives.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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