My upcoming Elinchrom purchase - help?

Gentleman Villain wrote in post #6138399
I'm trying to help the OP and was wondering if he's new to power packs. IS that ok with you?

sorry, was not meant accusatory. I was just wondering what the next question or useful information might be. Should have called it a leading question.

DocFrankenstein wrote in post #6138361
You can never have enough power, really. Even 4800 ws might not be enough once you diffuse it and move a bit away from the subject.

diffraction

DocFrankenstein wrote in post #6138332
I've shot with a powerpack and the cables are no fun.

Also, AFAIK the lights on booms usually require minimal power - 2400 ws is just never needed there - I'd put 300 ws at most and adjust it as needed.

Every commercial studio I've been in has the most powerful pack hooked up to the light that's on the boom. Maybe it's different in a rinky dink portrait studio where the only reason to use a boom is to add a hairlight....in that case....yeah it would be best to have lower power

hawk911 wrote in post #6138404
sorry, was not meant accusatory. I was just wondering what the next question or useful information might be. Should have called it a leading question.

OK - I should have just answered his question but I was afraid he would think I was being condescending if he already knew about power packs.

If a pack is stopped down to it's lowest setting while using one attached head, then adding a second head to the same pack will split the power in half.

So if a single head is attached to the pack and it measures F8 at the lowest power setting, then adding a second head will drop the measure down to 5.6 without changing any power settings on the pack.

Gentleman Villain wrote in post #6138408
Every commercial studio I've been in has the most powerful pack hooked up to the light that's on the boom. Maybe it's different in a rinky dink portrait studio where the only reason to use a boom is to add a hairlight....in that case....yeah it would be best to have lower power

I'm sorry, I didn't realize he was starting a commercial studio without knowing what kind of lights to get.

And usually, in non commercial studios the key goes on a stand and only the hairlight goes on the boom to remove the stand from the background. Somehow I don't think the OP is going to have a 5kws powerpack with an 8 foot octadome on a boom as the key light, like in most commercial studios.

DocFrankenstein wrote in post #6138484
I'm sorry, I didn't realize he was starting a commercial studio without knowing what kind of lights to get.

And usually, in non commercial studios the key goes on a stand and only the hairlight goes on the boom to remove the stand from the background. Somehow I don't think the OP is going to have a 5kws powerpack with an 8 foot octadome on a boom as the key light, like in most commercial studios.

That's kind of like saying...If the OP is gonna be a hack then he should follow your advice LOL

Hey Doc

No harm no foul dude...I'm just having some fun. We all like photography there's no reason for us not to get along. Forums are funny place cuz it's so easy to misinterpret each other.

Gentleman Villain wrote in post #6138468
OK - I should have just answered his question but I was afraid he would think I was being condescending if he already knew about power packs.

If a pack is stopped down to it's lowest setting while using one attached head, then adding a second head to the same pack will split the power in half.

So if a single head is attached to the pack and it measures F8 at the lowest power setting, then adding a second head will drop the measure down to 5.6 without changing any power settings on the pack.

Forgive me if I am wrong, I've only had a chance to use the symmetrical pack. but the AS speed pack allows you to split the ratio down to 1:3 if you want right? Also mixing the A and the S heads you could also get a bit more flexibility.

This is the reason I've been collection elinchrom nicknacks, so I hope I am not wrong :$

my studio has run on various Elinchrom systems for years. i currently prefer the Ranger.
having 1100ws of power any where any time is a good feeling. especially when doing wedding formals in a strong backlite scene.

Gentleman Villain wrote in post #6138574
That's kind of like saying...If the OP is gonna be a hack then he should follow your advice LOL

LOL

If he has 20 foot ceilings and a extra 5 grand...

divinemethod wrote in post #6138612
Forgive me if I am wrong, I've only had a chance to use the symmetrical pack. but the AS speed pack allows you to split the ratio down to 1:3 if you want right? Also mixing the A and the S heads you could also get a bit more flexibility.

This is the reason I've been collection elinchrom nicknacks, so I hope I am not wrong :$

Yes, that's totally true

The concept of splitting power is exactly the same with the AS because the two A heads are still sharing the same 1100 ws power pack.

DocFrankenstein wrote in post #6138661
LOL

If he has 20 foot ceilings and a extra 5 grand...

Throw in a 50mp hasselblad and you've got a deal

Hi Gentleman Villain,

My studio is small and as much as I love the idea of pack and head I'm getting the feeling that with limited space, the way the power is distributed and lack or powerful modeling lights, it doesn't seem like a great choice for my studio.

On the other hand, based on my experience with the PCB Vagabond II and information provided about the Tronix Explorer and Explorer XT, there doesn't seem to a powerful and reliable portable battery. From the info and Elinchrom users such as Frank Doorhof it seems like powering a 2 light BX or RX setup on location would require an Explorer dedicated to each light.

The upside to the RX's are the powerful modeling lights and individual control over each light with 1/10 stop accuracy. There are no issues with power distribution and you can just grab a strobe and run, making it a bit more portable and flexible in that sense.

I can see why people with the cash and clientele to justify it would have a set of RX's and a Ranger for location work.

Do you agree that for a small studio it makes more sense to have RX's over the Ranger?

Any ideas or input on this? If you had to pick one system would you choose the Ranger or RX's and 2 Explorer's?

What Robert said!

I'm coming to the conclusion that I will have to end up with both monoblocs for my studio, and a Ranger system with one (possibly two) heads for outdoors work. But... if I could only have one, which one? (Because I *will* only have one for some time, before I can buy the other as well). I was told that unless I shoot at least 70% on-location, monoblocs are the better choice, and to get a pack and head system once I exceed that ratio. From everything I've read here, it sounds like good advice.

TMR Design wrote in post #6140339
I can see why people with the cash and clientele to justify it would have a set of RX's and a Ranger for location work.

Remember the old cliche about how the "shoes make the man"

Photography is exactly the same way. If a photographer starts his business and plans his gear with the idea in mind that he will get top clients in his market, then he will get the top clients in his market.

TMR Design wrote in post #6140339
Do you agree that for a small studio it makes more sense to have RX's over the Ranger?

99% of the time I bet that is the best route...definitely

TMR Design wrote in post #6140339
Any ideas or input on this? If you had to pick one system would you choose the Ranger or RX's and 2 Explorer's?

I just really think the Ranger is a sweet "outdoor" location rig. It's the best! It's a great single or dual light source on location but is a little frustrating as a dedicated studio system. And for indoor location shooting with access to power I'd usually prefer to use regular RX units. NOt always, but usually.

If I were shooting majority studio with access to power then I'd definitely get the regular RX monoblocks or packs.

Definitely get the RX's (or BX's). The Ranger is no substitute in the studio for a real pack or monolights.