Elinchrom Rotalux octas

10 posts
19 Oct 2014
magpie1
Photographer
magpie1
I've already got a 70cm deep octa, which I both use and like a lot. I'm considering getting another larger octa, either 135 or 175cm. My logic says 135 but the 175 is tempting! As well as other locations, I would be using it quite often in my home studio room 3.5x4M and 2.7m high.
Wondered if anyone has experience of either, or even better, both! Is the 175 a beast and need an extra sturdy light stand?
I'm not interested in non elinchrom products, such as Bessel etc.

Posted 19 Oct 2014
Edited by magpie1 19 Oct 2014
eosfan
Photographer
eosfan
I haven't got an Elinchrom octabox but I do have a Lastolite 1.8m megabrolly - it is big but would fit your home studio as long as you don't have too much other stuff at the shooting end. As regards stands, I just use my normal Bowens or Profoto lighting stands, as long as you get the balance right you don't need super heavy duty stands.

Posted 19 Oct 2014
RedChecker
Photographer
RedChecker
I've got a 5' Octa (not Elinchrom) but have also used large Elinchrom octas (their indirect lightbanks which are stupidly heavy) and they're arguably way too big for your studio room (I genuinely think you'd use the 135 more). You'd probably also need a Juinor or Senior stand for them as they are rediculously large and make the stands wobble quite a bit if you nudge them. Bear in mind they'll also act like sails if you're thinking of taking one outside so you'll need to tie the stand down somehow.

Also, unless you've got plenty of space to move it away from the subject (ie. manor house sized rooms or commercial studio), the light from a 5' octa in my experience is way too soft/flat as a key light in a room that small (although it'll be great for fill but even then it's doubtful you'd have the space to use it properly).
Posted 19 Oct 2014
Edited by RedChecker 20 Oct 2014
paulbatterbury
Photographer
paulbatterbury
I have the 135's, two of them, don't really understand why they are rotalux as it does not make much difference unless you have something like a rectangle soft box. There not that old, yet the sleeves where the wire rod fit into, to give the shape and depth of the Octa are now worn. I have use them on location, and had some nice results, but there is no weight in any off the Elincrom kit so if you don't want to see the flash head go Mary Poppins on you, be sure to weight it down.

I would suggest on saving your money Elinchrom is over priced, and made by another lighting brand (it just badged Elinchrom) find something cheaper that will do the job,

In retrospect I should have gone with Pro-Photo or Hensel from the start, on all flash lighting.



Posted 23 Oct 2014
RedChecker
Photographer
RedChecker
paulbatterbury

I should have gone with Pro-Photo or Hensel from the start, on all flash lighting.


LOL, as a Profoto (& Bowens) owner I'm wishing I'd have gone Elinchrom from the start (Elinchrom would have been a nice compromise between both in terms of price/performance)
Posted 23 Oct 2014
magpie1
Photographer
magpie1
Thanks for the feedback, my, 'head' consensus is the 135. I intend to stick with Elinchrom, the lack of weight is one of the attractions and the assembly/takedown of the Rotalux's is very good, and the colour consistency of the Rotalux products one to another is excellent. I have experienced significant shifts in colour quality when using studios with a 'mixed bag' of makes.

Posted 23 Oct 2014
RedChecker
Photographer
RedChecker
magpie1

I have experienced significant shifts in colour quality when using studios with a 'mixed bag' of makes.


I'd me more inclined to point the finger at the flash units themselves rather than the modifiers.  My Bowens are about +/- 300K between shots (noticeable) yet my Profoto is within 100K (not really noticeable) and Elinchrom are also pretty tight when it comes to tempertature variance between shots (from experience).

Also worth noting that even a single brand doesn't guarantee colour consistency between their own modifiers.  I've tested both my Bowens & Profoto ones, and have a friend who's tested his Elinchoms (he has almost everything they've done) and they all give a different colour temperatures (give or take a few hundred kelvin), hence the importance of recalibrating for each light setup if colour accuracy is paramount.
Posted 23 Oct 2014
magpie1
Photographer
magpie1
Thanks Red Checker, I understand what you're saying, but I was meaning the modifiers, it's probably due to different diffuser materials and treatments which could alter fluorescence. Most diffusers tend to warm, the light So if one uses a metallic reflector it helps if there is a little bit of warming gel on that light. And I do a custom white balance with a set up, and have noticed quite noticeable shifts, so for example background 'cooler' cast, tending to blue rather than neutral white.

Posted 23 Oct 2014
paulbatterbury
Photographer
paulbatterbury
RedChecker

LOL, as a Profoto (& Bowens) owner I'm wishing I'd have gone Elinchrom from the start (Elinchrom would have been a nice compromise between both in terms of price/performance)



Well I would be happy to swap my plastic crapy rx600 with you,

My comment stands about the octas, they are not designed with durability in mind , and that is form expirence on ownership on two of the same octas.
Posted 24 Oct 2014
HowardJ
Photographer
HowardJ
paulbatterbury
My comment stands about the octas, they are not designed with durability in mind , and that is form expirence on ownership on two of the same octas.
Agreed, however I've not had the white pockets for the rods go. I have had the foil separate from the black backing through the rods rubbing on it.
Posted 25 Oct 2014
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