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Profoto D1 Thoughts

fotografz

Well-known member
Any more experience with these that you all would like to share?

I'm thinking of picking up one or two monos in a few weeks and am struggling between the elinchrom and D1 units. I like the D1 better, but still am on the fence. I think the 500's would be sufficient for me, but the 1000s would be really nice.

Do the D1 monos accept any other manufacturer's modifiers?

I know nothing about profoto, but I'm about to sell off my remaining 35mm stuff (I think) to finance an RZ and some monos... I want good lights this time.
Hi Shelby,

I just advised a fellow in Texas on lighting and we carefully determined what lights to get based on his specific applications ... with an eye to more versatile use later as he grows to better understand lighting (which I am teaching him).

At first, I thought he would be okay with Elinchrom ... Quadra battery units and monos, and we also looked at Hensel ... but we ended up selecting Profoto for him: 2 Acute B600 AIRs and a D1 1000 kit. I also recommended he get the D1 domes mentioned above including the -600K version.

What is interesting about the difference between the D1/500s and the 1,000s is that they are the same size ... the 1,000s are about 1lb heavier. In past that was not true with the Profoto Compact Monos. IMO, if you can swing it, get the 1,000 kit you'd be amazed how quickly you can run out of light with certain applications and certain light modifiers.

I vastly prefer Profoto over Elinchrom (which were my first serious lights). For one thing, the mount is much more secure compared to Elinchrom. IMO, this is also true with Hensel lighting, the mounts are much more secure.

FYI, the D1 monos take Elinchrom light modifiers by using an adapter offer by Profoto. I use an Elinchrom 7' Octabox and Gobo box with my Profoto lights.

All other 3rd party light modifer makers offer mounts for Profoto (or any other major lights). One of my favorite softbox makers is Plume ... I have 2 giant Plume Wafer softboxes in my studio. I use them with my Profoto lights.

-Marc
 
S

Shelby Lewis

Guest
Thanks Marc... I was afraid you'd say that. :D

The 1000's have caught my eye, but I might have to start with a single light if I go that route (due to cost). Most of what I have planned for this year would work just fine with 1 light and a slew of reflectors, so that's no prob... or if I shoot in bright daylight, I'd just use the sun as my 2nd light, reflectors for fill.

The whole mount issue was one I've seen people complain about with elinchrom, and TBH, is one that's bothered me. I've also seen folks say that the light out of the Profotos is somehow nicer as well. I don't have the experience with them to substantiate this, but it seems to be a common consensus.

I actually like the idea of a slightly heavier mono as I like to put heavier modifiers on from time to time... the quadras we're always out of the equation for me due to the overall lightness of the kit. Sounds crazy, I know...

Thanks!

Hi Shelby,

I just advised a fellow in Texas on lighting and we carefully determined what lights to get based on his specific applications ... with an eye to more versatile use later as he grows to better understand lighting (which I am teaching him).

At first, I thought he would be okay with Elinchrom ... Quadra battery units and monos, and we also looked at Hensel ... but we ended up selecting Profoto for him: 2 Acute B600 AIRs and a D1 1000 kit. I also recommended he get the D1 domes mentioned above including the -600K version.

What is interesting about the difference between the D1/500s and the 1,000s is that they are the same size ... the 1,000s are about 1lb heavier. In past that was not true with the Profoto Compact Monos. IMO, if you can swing it, get the 1,000 kit you'd be amazed how quickly you can run out of light with certain applications and certain light modifiers.

I vastly prefer Profoto over Elinchrom (which were my first serious lights). For one thing, the mount is much more secure compared to Elinchrom. IMO, this is also true with Hensel lighting, the mounts are much more secure.

FYI, the D1 monos take Elinchrom light modifiers by using an adapter offer by Profoto. I use an Elinchrom 7' Octabox and Gobo box with my Profoto lights.

All other 3rd party light modifer makers offer mounts for Profoto (or any other major lights). One of my favorite softbox makers is Plume ... I have 2 giant Plume Wafer softboxes in my studio. I use them with my Profoto lights.

-Marc
 

Dustbak

Member
Pffff...

This is something people might want to take into consideration. I recently had my D4R upgraded towards the Air system (D4Air). I did so after the promise I would have the advantage of the full Air system.

Boy this is turning out the be a disaster. I used to only use Profoto Studio Air software. I tried the 'new Profoto Studio 3' software but I found it to be total crap. I could control my entire D4 with the Studio Air software via an USB cable. After the upgrade the Studio Air software does not work anymore with the D4. I can only use Studio 3. The downside of this is that Studio 3 (though it is newer) can only turn the generator on or off and it can adjust all the lights at once (no more control per light). It is also impossible to do things like sequences or delays, you now have to do that manually on the generator!!

The AirUSB module is very expensive, the least one might expect is added functionality. It works great with D1's when using Profoto Studio Air.

I certainly hope the software is still a work in progress and will be improved with added functionality especially for something like the D4 which is used mostly by people in studios that would benefit from software control.

Edit: I found the way how to control the lights separately however everything else is not possible in Studio 3.

All in all, this is not at the level one expects, it certainly is at a professional price level. Hopefully the functionality will follow soon together with a less crippled and dated GUI!
 
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"Lots of things I like about them really fast sync speeds with my DF body at full power I can go up to 1/1200 of a second without any light loss using the air remote which also is very nice and has lots of control with them ."

Guy, from the spec of Profoto Air Remote Transceiver for the Pro 8a Air Power Pack, I see the following spec:

Maximum Flash Synchronization Speed

1/250 s (focal plane)
1/500 s (leaf shutter)
1/1000 s in fast mode (depending on camera)

Do you mind to explain how you achieve 1/1200 of a second?

Thanks,

Subrata
 

aztwang

Member
I would assume he accomplished that fast sync speed by using a Schneider leaf style lens which gets you there.
 

Guy Mancuso

Administrator, Instructor
Exactly the 110mm you just got will with the DF sync all the way to 1/1600 of a second it is more a timing issue that Phase has been able to do and I really don't know the technical ins and outs on it but it does work. But the actually speed you can achieve will depend largely on flash duration. You need extremely short duration speeds to do it. The D1 Have very short duration times but this will also depend on output power and may have to dial down slightly to get theses very fast duration times. But yes you also need the air wireless system as well since I think still at this time it's the only transmitter that fast to be able to do it. The V grip as well.
 

Kirk Candlish

New member
I just re-read this thread because I finally picked up a pair of domes for my D1 500 AIRs.

I just did some comparisons in the studio using my Mola Demi, Euro and Manti. There is no difference, at least by Minolta 5 flash meter, using the flat disc instead of the dome on the meter, between the standard D1 glass disc and the dome. I loose 1/3 stop overall but the fall off from center to edge is EXACTLY the same with the dome.

The Molas I have all use the glass diffuser. They didn't make that other silly perforated thing when I bought mine 20 years ago. :rolleyes:

I'm going to do more comparisons with the original PF compacts, an Acute head, an Acute Twin head and a Pro 7 head. They all have the glass dome but they differ in the length of the dome due to the type of flash tube.

I'll could also check the Magnum, narrow beam reflector, Octabank, large Chimeras, Balcar 60' zebra umbrellas and...

After 30+ years shooting I still love exploring lights. New 5DIII, meh, it's not really about lots of pixels, it about how you light them, IMHO.
 

fotografz

Well-known member
I just re-read this thread because I finally picked up a pair of domes for my D1 500 AIRs.

I just did some comparisons in the studio using my Mola Demi, Euro and Manti. There is no difference, at least by Minolta 5 flash meter, using the flat disc instead of the dome on the meter, between the standard D1 glass disc and the dome. I loose 1/3 stop overall but the fall off from center to edge is EXACTLY the same with the dome.

The Molas I have all use the glass diffuser. They didn't make that other silly perforated thing when I bought mine 20 years ago. :rolleyes:

I'm going to do more comparisons with the original PF compacts, an Acute head, an Acute Twin head and a Pro 7 head. They all have the glass dome but they differ in the length of the dome due to the type of flash tube.

I'll could also check the Magnum, narrow beam reflector, Octabank, large Chimeras, Balcar 60' zebra umbrellas and...

After 30+ years shooting I still love exploring lights. New 5DIII, meh, it's not really about lots of pixels, it about how you light them, IMHO.
Be interesting to see if there is any difference in a large soft box.

Marc
 

Dustbak

Member
There is definitely a difference when I use it with my Giants. I would also be interested in what you find when comparing the D1 to an Acute or ProHead.

My perception is that the Acute/Proheads are nicer in my Giant than the D1.

Totally agree on the camera part. A new model doesn't really warm me up anymore, lights and modifiers still do.
 

fotografz

Well-known member
There is definitely a difference when I use it with my Giants. I would also be interested in what you find when comparing the D1 to an Acute or ProHead.

My perception is that the Acute/Proheads are nicer in my Giant than the D1.

Totally agree on the camera part. A new model doesn't really warm me up anymore, lights and modifiers still do.
Boy, ain't that the truth ... I stopped with all the new this camera, new that lens, sold a pile of marginal or expensive exotic stuff and put all the cash back into lighting gear ... which gets the adrenaline pumping again with all the possibilities it opens up.

Lighting makes more difference than 10 or 20 more megs and some semi cool toy function.

IMO of course ... :)

-Marc
 

Kirk Candlish

New member
After a little more testing I've found the dome does help with softboxes and large umbrellas.

With the Chimera Octaplus 3, using the center and front diffusers, the D1 using the standard glass disc had 1.5 stops of fall off from the center to the edge when measured just an inch off the front diffuser. With the dome on the D1 there was 1 stop of fall off. A Profoto compact 300 measured the same 1 stop fall off. At 8' feet from the Octaplus there was .2 stops of fall off measured 3' from center.

As I went up in size with other umbrellas and softboxes the D1 with the dome was consistently the same as using the other PF style heads.

So I guess it pays to do a little testing and find out what modifiers need the dome if you're not going to leave it on all the time.
 

Kirk Candlish

New member
My perception is that the Acute/Proheads are nicer in my Giant than the D1.
I don't own anything larger than the 84" Octabank and the D1 using the dome measured the same as the compact, Acute and Pro 7 heads with it. In reality I'm not very likely to use the D1 with any modifiers that size so it's kind of a moot point to me.
 

fotografz

Well-known member
Thanks Kirk. Your testing puts to bed any rumors that the D1 with dome is inferior to the D4/Pro heads and Compacts with glass covers.

It's pretty easy to swap back and forth ... and I do like the little slip on 5º, 10º and 20º grids for the D1's/flat glass for spot illumination on product work.

-Marc
 

Kirk Candlish

New member
and I do like the little slip on 5º, 10º and 20º grids for the D1's/flat glass for spot illumination on product work.
I haven't seen those and I don't find them on the Profoto site. Where did you find them ?

I just bought a couple of the new Zoom reflectors that will hold a grid. I have several sets of Balcar 7" grids that fit them and cost 1/3 of the PF grids.
 

fotografz

Well-known member
I haven't seen those and I don't find them on the Profoto site. Where did you find them ?

I just bought a couple of the new Zoom reflectors that will hold a grid. I have several sets of Balcar 7" grids that fit them and cost 1/3 of the PF grids.
The D1 grids are listed on the B&H site ... I have the 10º one and am ordering the 5º ... Profoto 5° D1 Honeycomb Grid 100795 B&H Photo Video

Regarding 7" grids ... yep, waste of money buying the Profoto versions ...

I also have the Profoto Magnum reflectors, beauty dish and Acute ring-light ... and Honey Grids makes grids for each ... interestingly, they make white and black grids and demo the difference ... plus they offer Mola grids ... and they'll make custom ones to your specs HoneyGrids

God I love lighting stuff ... it's a bigger black hole that camera gear ever was ...:ROTFL:

-Marc
 

Kirk Candlish

New member
Thanks Marc I had just found the small grids as you were posting.

I just bought a white grid for a couple of the Molas from HoneyGrids. Haven't had a chance to shoot with them yet. Should be interesting.

Yeah the lighting gear is the most fun. I also just bought a 10" Desisti fresnel converted with a 4800WS flash tube by Flashclinic.

It never ends and that's fine with me.
 

Ben Rubinstein

Active member
Thought I'd add a thought to the D1 thread. Is it just me who thinks that the flash tube arrangement where you twist a wire round a metal post is moronic in the extreme? Basically you travel with the light, the wire gets moved out of place and isn't fully touching the post, you get one shot out of 3 or 5 not firing and no idea why. My dealer tells me it's a known problem with the D1. Not hugely well thought out...
 

Kirk Candlish

New member
Huh ?

I think maybe you need to pack your D1s better when you're traveling. I've been shooting with mine for a couple of years and have never had this problem. Until your post I've never heard of this before. If it was a consistent problem it would be all over the forums.
 

Kirk Candlish

New member
I heard it from my dealer, not making it up. Travelling with the D1 in the box it came in loads of padding.
So one guy tells you it's so and you're convinced.

I can offer you a great deal on some land in Florida. It's a little damp part of the year but it's got a great view when it's not under water.

And yes, PF packs their equipment well for shipping. As do most manufacturers shipping expensive things all over the world.
 
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