Why spend money on Profoto vs Alien Bees?

I assisted for a number of years before becoming a full time photographer. Not once did I work with a Pro that used AB's. They used Profoto, Dynalite and Broncolor mainly because they were reliable, well constructed and consistent with exposure and color balance. When you're billing a couple thousand dollars for the day, you don't want to be using inferior tools that may break down in the middle of the project. For those that disagree, I would suggest renting one of those kits for a day and you will understand.

Someone had a great signature tag line on POTN - something like

Friends Don't Let Friends buy Alien Bees


I remember seeing a website from a former worker bee that was full of surprises...

A few differences that make for instance Bron and ProFoto different from cheaper strobes:

• Little variation in color temperature across the power range*
  
• Flash Duration is short* (extremely short on some ProPhotos)
  
• Consistent power output
  
• Output of modeling light consistent with flash power set (WYSIWYG)
  
• Lots and lots of (exotic) light modifiers (Para and giant umbrella for example)
  
• Durable, foolproof UI
  
• Some models have quite a few user setable options (timer, sequence, multiple flash)
  
• Raw power. Bron has (had?) packs that go up to 6400Ws... (Pulso 8 )
  

Have I fired a round in this flame war yet?

I just received the May issue of Professional Photographer magazine.

The cover photo was taken with
a Canon EOS-1D Mark II N
EF 24-70 f/2.8L
Manfrotto 3011 tripod w/ ball head

... and an Alienbees B1600 w/ Paul C. Buff Octabox, powered by a Vagabond 150.

Maybe the guy didn't want to take his precious Profotos to the beach and risk getting sand in them? I dunno. But apparently the cheap lights are good enough for some applications.

As for why people buy better ones, Rene' summed it up pretty well.

René Damkot wrote in post #5630910
A few differences that make for instance Bron and ProFoto different from cheaper strobes:

• Little variation in color temperature across the power range*
  
• Flash Duration is short* (extremely short on some ProPhotos)
  
• Consistent power output
  
• Output of modeling light consistent with flash power set (WYSIWYG)
  
• Lots and lots of (exotic) light modifiers (Para and giant umbrella for example)
  
• Durable, foolproof UI
  
• Some models have quite a few user setable options (timer, sequence, multiple flash)
  
• Raw power. Bron has (had?) packs that go up to 6400Ws... (Pulso 8 )

(*: Broncolor Grafit series allow the user to set it (within a certain range) IIRC.

Sounds like a good reason to spend 5-6k. Kinda reminds me of that quote from fast and the furious... "Stand alone fuel system, not a bad way to spend 10k"

Just looked at Profoto's stuff. Is 600ws the highest you can get without going to a pack/ head setup?

René Damkot wrote in post #5630910
A few differences that make for instance Bron and ProFoto different from cheaper strobes:

• Little variation in color temperature across the power range*
  
• Flash Duration is short* (extremely short on some ProPhotos)
  
• Consistent power output
  
• Output of modeling light consistent with flash power set (WYSIWYG)
  
• Lots and lots of (exotic) light modifiers (Para and giant umbrella for example)
  
• Durable, foolproof UI
  
• Some models have quite a few user setable options (timer, sequence, multiple flash)
  
• Raw power. Bron has (had?) packs that go up to 6400Ws... (Pulso 8 )

(*: Broncolor Grafit series allow the user to set it (within a certain range) IIRC.

That's all so true Rene, but does Bron come in decorator colors?

M Powered wrote in post #5631095
Just looked at Profoto's stuff. Is 600ws the highest you can get without going to a pack/ head setup?

Profoto Acute Series
600ws for the battery powered pack
2400ws for ac pack
1200ws for Compact

The Pro7 Series
1200ws battery pack
2400ws ac pack

M Powered wrote in post #5631095
Just looked at Profoto's stuff. Is 600ws the highest you can get without going to a pack/ head setup?

1200ws is, but if you're looking for compacts, the digital display, better control, brighter modelling light and 6-stop range you get from the Elinchrom RX series makes them a much better option IMO.

M Powered wrote in post #5631095
Just looked at Profoto's stuff. Is 600ws the highest you can get without going to a pack/ head setup?

Powerpacks are the reason to go profoto... their monolights have issues and chromes are better, generally.

And there is a profoto 1200 ws monolight

Curtis N wrote in post #5631031
Have I fired a round in this flame war yet?

I just received the May issue of Professional Photographer magazine.

The cover photo was taken with
a Canon EOS-1D Mark II N
EF 24-70 f/2.8L
Manfrotto 3011 tripod w/ ball head

... and an Alienbees B1600 w/ Paul C. Buff Octabox, powered by a Vagabond 150.

Maybe the guy didn't want to take his precious Profotos to the beach and risk getting sand in them? I dunno. But apparently the cheap lights are good enough for some applications.

As for why people buy better ones, Rene' summed it up pretty well.

I just did a search and found a Professional Photographer Magazine. It's geared towards photographers that shoot senior pictures? I thought that we were referring to more of the Photo District News and American Photographer set.

tcphoto1 wrote in post #5631266
I just did a search and found a Professional Photographer Magazine. It's geared towards photographers that shoot senior pictures?

That's just the focus of this particular issue.

FWIW, there are ads in it for Alienbees, Profoto and everything in between.

DocFrankenstein wrote in post #5631230
Powerpacks are the reason to go profoto... their monolights have issues and chromes are better, generally.

And there is a profoto 1200 ws monolight

For my use, I do 90% on location shoots which is why monolights serve me better. I can't be weighted down by cables attaching to a pack. Each light configuration right now act independently. Each has their own Vegabond and PW.

Quick Curtis - get your protective fire suit on! LOL

I recently watched a DVD by a magazine photographer (Jason Cole in Australia) using Broncolor setups and was sure impressed with what I saw from his lighting equipment. And he had Boncolor's snap-on power pack that allowed him to take his same gear outdoors on location. I like the concept of monolights, but when I outgrow the entry-level lights I have it's going to be a tougher choice for all the reasons some of you have pointed out above.

- Jason Stoll

M Powered wrote in post #5631387
For my use, I do 90% on location shoots which is why monolights serve me better. I can't be weighted down by cables attaching to a pack. Each light configuration right now act independently. Each has their own Vegabond and PW.

How do you handle power level changes when your monolight is 10 feet up in the air and positioned. I'm looking for good alternatives that give me power as well as remote capability.

I've owned AB strobes and have had first hand experience with the LG-4X. Honestly, it's a piece of garbage and the throw of the slider is only about 2/3 that of an actual Bee, so the power control is about as coarse as you can get. If you're using it below 1/4 power it may as well be an on/off switch.

I know that Elinchrom Skyport transmitter will talk to Style RX strobes as well as an IR remote for power control and I know Hensel has a wireless remote. Other than going pack and head what are the alternatives for remote (or at least ground level) control?

I'm seriously considering Dyna-Lite monolights because of the quality, build and analog circuitry to really maximize power from the V2, but I don't see a remote capability.