Update May 7 2020
For my work I have found the optimum strobe for my Parabolix 35D. The XPLOR (or Godox) 300 Pro.
UPDATE December 9 2019
The Parabolix 35D’s quality of light combined with its focusing ability is just superb. I use the optional grid system when I want to control the light spread when using another gobo instrument.
For the shot of the three actresses the Parabolix was the key light.
The talent waiting for me to get ready.
Five light shot with the Parabolix as the key light camera left. Mid focused.
Parabolix fully focused with grid in place.
Haze to create atmosphere, back lit, Parabolix fully focused with grid camera right.
L to R: Saberstrip, Aputure Spotlight (gobo) Parabolix 35D, Glow curved ARC softbox.UPDATE September 20 2019
I recently utilized this very capable modifier during a dance session along with an impromptu portrait. As I’ve mentioned before the modifier is well built and most important produces excellent quality of light. I tend to not use it as much as before simply because I have fabricated my own focusing rod that accepts any Bowens modifier. And btw for those who wish to spend time arguing about whether this or that modifier is ‘truly a parabola’ be my guest. My test of light is how it performs for me in actual shoots, not in theory.
But like all of my tools, when the Parabolix is the right tool for the right job I never hesitate to utilize it.
Parabolix as the key light, camera right. Two Saberstrip v2.0s were used as an overhead and rim light
Parabolix as the key light, camera right. Two Saberstrip v2.0s were used as an overhead and rim light
My converted Leko stage follow spot is the key light here. The Parabolix is my fill light camera right.UPDATE January 10 2018
I recently used the 35D during a publicity shoot for a symphony. The amount of control focusing rod modifiers offer is incredible. Not to mention the goddess light it produces.
35D as the key light fully flooded. Cheetahstand Ricebowl 90 with inner diffusion panel only and grid as rim light.
Side view fully flooded. xPLOR600 with remote head is the strobe.
Image of the harpist.UPDATE December 24 2017
How one of my clients used a publicity image created while using a Parabolix 35D.
UPDATE September 10 2017
I recently posted an article on my use of all Godox units in one session. The article includes the use of this product. You can view that post here.
UPDATED September 8 2017
My client, the 5th Avenue Theatre in Seattle, WA released the images created using the Parabolix 35D six weeks early. You can see some of these and other shots from this day in Broadway World. I used four lights using the Parabolix as key for most of the images below:
Shot against 140″ Savage White Seamless. In this BTS shot I didn’t have the Cheetahstand Lantern set up yet. The 86″ soft silver PCB umbrella was stacked behind the Parabolix. I used the 35D in mid focused position to bring out the faces of the talent. The Phottix folding white BD was used as fill when needed.Please note that for all of the images below I have NOT done any post processing other than bringing the files into Lightroom to adjust color balance, lens correction. If you look closely you can see the gaff tape marks on the seamless which have not yet been removed for final press images.
All of the images were shot with a Pentax 645Z/Cactus v6II, xPLOR 600s using HSS 1/400th to control any ambient bleeding from the overhead lights which I could not turn off.
In this image you can see the Cheetahstand 26″ Quick Lantern which I control with an old PCB umbrella I cut to make it a drape. I use wooden clothespins to roll the curtain up when I want to direct the light to certain areas. I find this a much better method of overhead lighting than my former methods.The following images were shot with three lights. The client wanted an old school “Hollywood Glamour” look for these shots in BW. High contrast was achieved by using the 35D in its fully focused mode. The drapes were lit using eVOLV 200s using a Fresnel head.
UPDATED September 3 2017
You can view my recent dance session where I used the 35D for many of the shots to produce dramatic shadows and light.
UPDATED August 20 2017
Yesterday I conducted a test of the Parabolix 35D with focusing arm. I asked Cheyenne to be the talent since she’s so darn lovely to work with! Now if you are looking for a ‘side by side’ comparison with other modifiers using split screens, etc. quit reading and save yourself some time. I am NOT a review site. I don’t value pseudo scientific or theoretical physics. Photography is not an exact science it’s all subjective. Those who never post any actual images or a body of work have zero credibility to me. And if they do have a body of work I get to judge for myself if the quality of that work is high. If so then their opinion is of value to me. So for you photography trolls who never post shit other than H8R comments, save yourself the having to be right mentality and bail now.
I seldom if EVER use one single light. So I didn’t test the Parabolix 35D that way. Sure it may produce the thing you want to see, but again since I’m NOT a review site, but a working shooter I needed to see how it performs in my situations. In the tests I ran yesterday I want to see how the 35D compares to my CononMark 120, and my Westcott Zeppelin 59 which I use as inverted octas and have for the past year. Yep they’re all different sizes, the 35D is, well 35″, the CononMark 120 is 47″ and the Zep is 59″. I didn’t want to purchase an equivalent size to what I already have. (Yet I do have a Zep 47″….!)
I used my 59″ Zep with the inner diffusion panel only with an xPLOR600 powering their handheld remote head. As you can see in the image above I had it on a boom pointing straight down over Cheyenne. Keep in mind that the BTS shot of my BTS shoot was not necessarily where she was actually standing for the shots below. I took the shot above JUST TO GIVE YOU an idea of my configuration.
All images were shot with my Pentax 645Z. And if you look closely you will see the old USB receivers plugged into the xPLOR600s. Why? Because I just discovered how to achieve HSS with my Pentax whose native sync speed is only 1/125th of a second. Using a Cactus v6II trigger combined with the old FT-16 transmitter did the trick. If interested, I’ve written how to do it here. Most of the shots were at a shutter speed of either 1/200th or 1/250th.
Below each photograph I’ve said whether I used the Parabolix is its ‘flooded’ or ‘focused’ position. If you don’t know, flooded means the strobe head is pushed all the way out toward the front of the modifier. Focused means it’s pulled all the way into the modifier. Flooded gives you a much softer look, focused is way more contrasty. You should also know that no matter what modifier you use be it a Zeppelin, CononMark, Parabolix or other brand, you must adjust your power settings when you flood or focus the light.
The other aspect of the photos below is they have NOT been retouched, edited to final, blah blah blah. Why? Well for two reasons. Cheyenne is confident enough to allow images of her unretouched and second it is my preference to illustrate light tests. When I see ‘final test shots’ that have gone through loads of post processing I cannot actually tell how the light performs for my taste. I don’t want to see plastic skin, dodged and burnt images. I want to see how the shot came out of cam. So these were brought into Lightroom, adjusted for color and that’s it. No blemishes were removed (like she has any anyway!), no skin smoothing. None of that shit for my tests.
Fully focused.
2/3 flooded.
Half flooded, meaning the strobe head is about halfway into the modifier. On the Parabolix scale on the focusing rod that is at level 5 of 10.
Fully flooded.
Fully flooded
Fully flooded.So my final impression of the Parabolix 35D? I like it. Do I plan to replace all of my other modifiers with them? Uh no, here’s why…
I love the construction of the unit, it’s high quality. The fabrics are spot on and the focusing rod is just as nice as the Bron Para I rented last year. Is it 2.6 times better than my CononMark 120? Not sure really. Will I keep it? Yes as I don’t have a 35″ inverse, but WILL test it against my favorite Elinchrom Rotalux Deep Octa later this month. Prior to using xPLOR/Godox strobes I was a very loyal user of Paul’s Einsteins. For me they presented the best value/performance of any brand of light. But I ended up switching ALL of my strobes over to the xPLOR/Godox brand. The amount of innovation and features they present sadly eclipsed Paul’s units after his passing. It’s no secret that I’ve always felt he was a genius and I sorely miss his innovation in lighting along with his quirky nature as a person.
But unlike my move from exclusively Einstein’s to exclusively xPLORs, I will most likely NOT make the move from CononMark/Zeppelins/Elinchroms to exclusively Parabolix. I know there are those who may feel/’prove’/argue/compare that the Parabolix is THAT MUCH BETTER and good for them. Time will tell me how much I like the modifier. I may change my mind after a year or so. Every person is different in what they look for. I tend to eat at hole in the wall places owned by families whose food is out of this world. But then again that’s just my opinion and taste. I will occasionally venture into a Michael Mina restaurant recommended by those who love the name and rave about the food. But that’s just not my thing. As long as my clients and I are thrilled with my work, that’s really all that matters to me. I’m certainly NOT dissing the Parabolix at all. It’s a fine modifier. It’s up to each person to decide for themselves. What I would recommend is to wait until a rental house has some to rent. Rent one, try it out and then decide if it’s right for yours/your client’s taste and budget.
Original Post
Today I received my Parabolix 35D ‘kit’ which means I purchased their package which includes their focusing arm and strobe cage. I will be testing the light this Saturday with a model to ascertain if I plan to add this to my toolbox of modifiers. I will initially say that the construction of the unit is excellent. The 16 rods are much like those in the CononMark and Elinchrom Rotalux Deep Octa that I own. The rods are captured in the speed ring and pivot and held in place with sprung collars.
The fabric of the exterior is similar to very heavy canvas, the type I was accustomed to handling while sailing. Heavy and well made. The interior texture is much like my Elinchrom which is a pebbled texture. Once I am able to actually use this modifier I will update this post.
The shape is very similar to the Broncolor Para 88 I rented last year to test.
Like the Cononmark the Parabolix has sixteen rods. The interior fabric is pebbled and if it performs like the Elinchrom Rotalux Oct it’s a winner. You can see the slight slit at the 6:00 position in the modifier. This is for the cord from the light to the exterior. It’s hook and loop fastener.
The two large handles ratchet and are smooth. The knob to the right is where you adjust the focusing of the light. It has a numeric scale from 1 to 10 on the rod itself, but I forgot to take a photo. I think that may be of value in replicating flooding or focusing light. We’ll see. I have it in the fully flooded position here.
The modifier mounts to its focusing arm with a Profoto like clamp. I will say that even though this is a well made unit, the Bron Para 88’s four folding arms makes assembly and disassembly much easier. Is it worth an extra $3K? That’s up to each shooter. My main focus Saturday is to see the quality of light.One of the things I noticed right away is the light pattern of the modifier when the modeling light is on. Unlike my other modifiers which include Zeppelins, Elinchroms, CononMarks and Glowpops the Parabolix fills more evenly than the others. Now the real test of the light will happen this Saturday when in actual use, but this is interesting.
Fully focused light pattern.
Fully flooded light pattern. So even!
Focusing rod numeric gauge. I think this will prove valuable. The other thing is its smooth operation is wonderful.
The optional grid is 2×2 and nylon.
One of the small details I appreciate is the grid attaches via Velcro which is nothing new. BUT the width of the rim is twice the size of the Velcro thereby allowing an edge about 1″ wide to protrude beyond the modifier to ensure that light spill is reduced even more. So good! Little details make a difference.The bag that is supplied with the modifier is made of the same sturdy fabric as the modifier itself. It seems very abrasion resistant which is something I appreciate given how much I transport gear on airlines. I was worried that I would not be able to fit the modifier, focusing rod and strobe cage into the bag, but they all fit. I can even fit the grid I received with the modifier into the bag as well. The bag includes an attached adjustable shoulder strap.
Hi Mark, I love how useful your reviews are!! Thank you on behalf on all other photographers!
I’m ooking forward to see your full review.
I’m curious to know whether for someone who doesn’t have any deep umbrella yet, what would be your recommendation for a 35 and 50-60?
i.e. would you recommend Parabolix 35 deep & 55 (albeit not deep)
or a combination e.g. Parabolix 35 and Zeppelin 59 (with Westcott or Parabolix rod)
Thank you Mathieu. I have completed my review from last night’s experience. I’d suggest you read my review to assist you in deciding what modifier to purchase. Best of luck and thanks again.
Thank you Mark, I appreciate the time you put into your reviews and the reserve your taking as to not make a judgement of value on different brands. If you think the comment section is not the right place to discuss, feel free to email me.
To narrow it down, I use Elinchrom so the CononMK is not an option.
The 35″ Westcott kit is 400 + 200 + 150 (750) in comparison the Parabolix is $820
So I know you haven’t tested the 35″ Westcott, from a build quality standpoint, light quality (subjective I know), and overall personal impressions.
Would there be one you recommend over the other?
I don’t want to put words in your mouth, but from reading your review my takeaway would be that the Parabolix has a better rod design (albeit not as sturdy) and possibly has a more even light pattern.
I have to buy a 35 and a 50-60 soon, so unfortunately I won’t be able to follow your advice to rent before. Failing to have your precious advice I’ll probably end up with the same setup as you, a Parabolix 35 and a Westcott 47/55 🙂
Bonus question: Can one use an Elinchrom deep octa with the rod form either Parabolix or Westcott?
Many thanks once again
Mathieu,
I’m not familiar with the Westcott 35 kit, so I looked it up. I can see that it’s the same as both the 47 and 59 Zeppelins I own. I’m going to ‘assume‘ that the build quality is the same as the ones I own which has been very good. I’m not sure if you have to pack your gear more frequently than leaving it set up. One of the aspects of the Zeppelin line I do NOT appreciate is the weight of the speed ring/bracket combination. It is VERY heavy and very well made. But for me it’s a total pain to pack. I would consider the Cheetahstand Ricebowl option. I own and have used his 36″ model for a year and like it’s quality of light. I use his Chop Stick which is very well made and designed. The speed ring and mount is much lighter than the Westcott version, but you should know that the holes in his speedring are smaller in diameter than most other brands. I have done a review of his Chop Stick here. He has a very good return policy so I’d give his product a try to see if it meets your needs and specifications. I have not yet had enough time with the Parabolix to give you an enthusiastic thumbs up. Compared to the Bron Para 88 it’s a total bargain. In two days I’m taking it to a client shoot and will know more then. In order for me to turn my Elinchrom into an inverted modifier I will need to fabricate brackets to hold the speed ring onto a pivot bracket since Eli have their own unique speed ring configuration. When I do that I will use a Chop Stick over the Parabolix or Westcott focusing arm.
Hi Mark,
Curious do you find the Bowen’s mount to be reliable. I have heard its loose. Not tight fit etc etc.
thanks
The cage Parabolix offers with their modifiers is rock solid. I can only attest to the Bowens mount version coupled to xPLOR’s line of strobes.
How do you compared the light quality of parabolix material to the cononmk?
There’s a new one on the horizon, basically chinese broncolor para 88 / 133 knockoff. Same mechanism, if not a rather innovative indirect mount.
http://www.alibaba.com/product-detail/SK-240FS-Deep-Parabolic-Umbrella-Softbox_60636526081.html?spm=a2700.7724838.2017115.444.7a1922bfUVwM1i
Hi Paul, yes their mounting mechanism looks very similar to the Bron line. To answer your question the Parabolix and CononMark produce very similar light. The difference is in the subtleties of the light produced. Due to the material and shape of the Parabolix 35D it allows the light to be thrown further than the CononMark. They are different sizes since the CM is 120cm and the 35D is 89cm. The quality of light is a bit different too with the 35D producing more contrast in the same focused or flooded situation. I believe that MOST people would NOT notice the actual difference in light style. It all depends on how one uses their gear, way more than the theoretical bullshit I read on most forums about geometric lines on a TRUE parabola. I often equate those comments to people who love to look and brag about how ‘perfect’ their histograms are on their BORING photos. Hope this helps.
Nice, can you kindly measure the diameter of the insert on the Parabolix speedring?
Love your blog.
How do you feel/have you used your Parabolix 35D outdoors ?
Do you wish you went for the 40″ instead of the 35″ ?
Hi Mike and thanks. I have not yet used the 35D outside YET, but will do so if the job calls for it as the best tool for that task. The light quality would not be any different than when I use it in studio or on location indoors. The issue would be wind, how strong the wind is, etc. I don’t regret getting the 35D over the 40 for two reasons. First I have a personal rule of thumb that if a modifier, all other things being equal is 10% plus or minus in size than another modifier I don’t sweat the size difference. Second I have found that deeper modifiers produce a type of light I tend to prefer. Not in all cases, but in most. I do plan on purchasing another Parabolix modifier, the 55″ version. Hope this helps.
Mark I would like to know if you are familiar and what you think about these? Someone else posted, mentioned this but I don’t think you or anyone replied.
Thaddeus, my apologies if I have not been very prompt in responding. I’m not sure what you are referring to in terms of what has not been answered. As you may or may not know I am a working pro, not a review site and only do this when I have time to assist other shooters. Let me know what question you would like answered. If you are asking how I like the Parabolix line I find them to be an excellent alternative to the Bron Para line.