Han­dling and per­for­mance

Amateur Photographer - - Testbench Lighting Test -

larger and heav­ier than a stan­dard stu­dio flash. Light mod­i­fiers are also avail­able, in­clud­ing barn doors, which I used, and a soft­box to fur­ther soften the light. A bat­tery pack is avail­able for lo­ca­tion work where no power sup­ply is avail­able or to re­duce the num­ber of ca­bles run­ning across the floor. Set­ting up the Anova PRO 2 Bi- Colour Stan­dard 50° is very easy. It has a sturdy frame around the main body for at­tach­ing the light to a reg­u­lar light­ing stand, that al­lows you to an­gle the light up or down. A sep­a­rate power pack at­taches to the light, which then con­nects to a stan­dard mains socket.

Once plugged in and switched on, the main con­trols are ac­cessed through a pair of di­als on the back which ro­tate through the var­i­ous modes. The di­als also have push-but­ton func­tions to set the se­lected mode. This process is where you would need to re­fer to the man­ual – the sheer ar­ray of op­tions goes far be­yond those for a tra­di­tional strobe.

The trans­mit­ter at­taches to the cam­era’s hot­shoe and again, you will need to closely fol­low the in­struc­tions. This isn’t as in­tu­itive as the stan­dard Elinchrom trans­mit­ter, with far more op­tions, in­clud­ing the abil­ity to ad­just the PRO 2 di­rectly from the HSS unit. I rarely had is­sues with the con­trols of the trans­mit­ter but I did lose com­mu­ni­ca­tion a cou­ple of times and lost syn­chro­ni­sa­tion. Luck­ily my mod­els no­ticed this as I was shoot­ing, as spot­ting when a flash fails is less ob­vi­ous than us­ing a stan­dard strobe, es­pe­cially with no re­cy­cling time. In con­tin­u­ous mode, the light worked well, though I would still pre­fer more out­put if I wanted to use smaller aper­tures, so more lights will be needed if I ever de­cide to in­vest in the sys­tem.

In both con­tin­u­ous and flash modes I never ex­pe­ri­enced any is­sues bal­anc­ing the light out­put with the am­bi­ent light us­ing a com­bi­na­tion of shut­ter speed and Anova out­put set­tings. Any­one with light­ing ex­pe­ri­ence should be able to bal­ance the light­ing quickly, whether us­ing the light as a main or a fill light. Un­for­tu­nately I was un­able to try the same out­doors as rain stopped play dur­ing my lim­ited time with the lights.

With the light to the left and slightly higher than the sub­ject we see a good level of skin tone and shadow, and a bal­ance of soft­ness and con­trast

The light bal­ances well with am­bi­ent light al­low­ing us to main­tain bright highlights and deep shad­ows

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