Having been a Profoto user for most of my career, I have experienced pretty much everything they have to offer. I have bought a substantial amount of Profoto equipment myself and use it as my daily driver. Being a huge investment, I wondered if it was worth it. Well, here are my results.
How It Started
The journey started with purchasing a used umbrella shallow white M. I bought the modifier before buying the light. This was a small investment of some $40, and once it arrived, I simply compared it to my slightly cheaper Amazon counterpart. At the time of comparison, the latter was already falling apart, so you can only guess which umbrella I used from then on. It was made of much thicker material, and the whole umbrella just felt like it was built to last, unlike the cheaper counterpart which, bought new, survived only a few months. Perhaps this is where the hate for umbrellas comes from. I assure you, try a proper umbrella from Profoto and your opinion will change. As far as umbrellas went, I knew that Profoto was worth it.
My first Profoto light was the notoriously good B2 250 Air TTL, parts of which I use today. The light came with two heads and was comparable in power to my Yongnuo 200 flash. The difference was, however, in the performance and reliability. I could use the B2 all day every day, while the Yongnuo overheated and was difficult to navigate. Yep, that’s another big point to make. The ease of use is something that I saw and appreciated out of the box. The Profoto unit simply turned on, and I already knew what to do with it. The menu was made with accessibility in mind. It took me a few hours to figure out how to sync the Yongnuo optically, while Profoto was simply a few buttons away.
At the time, I also had the Godox V1 flash, which I bought new. While the flash itself was easy and fun to use, I couldn’t figure out some of the menus and functionalities of it. To this day, I am sad to say that I didn’t make use of it as much as I could have had it been easier to use. There are far too many switches and controls which seem unnecessary. Having bought an A1, it was once again fully clear on how to use it and how to set it up. The flash still works perfectly, many shoots and a hot shoe repair behind it. While I never owned a Godox remote, I also experienced it. Simply setting it up to work with the flash was a task I could not accomplish, despite my love for engineering and flash. The Profoto remote was as easy as turning it on and setting the channel.
How Is It Going?
It’s going quite bad for many lighting brands, but swimmingly well for Profoto. When it comes to lights, I have a B1X, B2, A1, A2, and a C1 Plus. Let's go one by one. The B1X was bought as a replacement for an aging B1 that I bought off a rental house that had it since 2013. Unfortunately for me, a couple of million pops meant that the capacitors were near their end. Having sent it in for repair, I realized that I could buy a used B1X for a little more (EUR 900). It was a bargain, so I bought the B1X, which I have used extensively on nearly every shoot. This light has been a solid performer, and besides the inability to plug it into the wall, I have few negative things to say. Currently, I am swapping the flash tube on it, as the old one broke after dropping the light. As for the B2, the story is more convoluted. I bought mine off a commercial photographer who used it heavily. Having used it for around three years, it had at least half a million pops on it, which exhausted the lifespan of the flash tubes inside the heads, and they started to fire inconsistently. Around that time, I managed to find a great B2 kit for sale, which shipped with two heads. I used that to replace my broken heads, as well as add another B2 generator to my kit.
As for the modifiers side, I own quite a range of various tools. For the C1, A1, and A2, I own a variety of click gels, grids, and a dome, as well as a click softbox. Out of this setup, the most used one is the A2 with grids and the click softbox. It is the usual kit that I bring out when I can’t take anything more than a camera and a light. This is the perfect kit to bring out on location. Then, we go into the OCF modifiers. I don’t have that many of those, as I value the flexibility and reliability of the RFi over the lightweight OCF modifiers. Nonetheless, I have an OCF Magnum, and an OCF beauty dish. I tend to bring the beauty dish with me more than the Magnum. Overall, the modifier I can complain the most about is the OCF Magnum, as it’s very thin and gets damaged quite easily. Then again, the size and power boost of the Magnum are hard to match by any other modifier, so this is a modifier I would use on location. As for the dish, I use it quite a lot in the studio with the diffuser on as a portrait light source and an extra light to bring out detail. It is rare that I use the dish as a beauty light, as the look is far too overused in my opinion, and the soft light reflector gives off a much better light than the OCF dish.
Going into the bigger modifiers, these are the ones I love the most. As such, my most used one is probably the 3’ Octa with a grid. I bring this modifier to any job I have as it is brilliant for giving a crisp yet soft light. The softbox has held up incredibly well and is as good as new. Continuing on to the soft light modifiers, I own a pair of umbrellas with a 1.5-stop diffuser: an XL deep white and an M white. The M white is a fantastic portrait and background light. If I need to make a super-white background, I use the white M to do it. As for the Deep White XL, it rarely comes out, only as a fill light in large studios. Although now, I have it permanently set up for e-commerce work, so it finally has a use.
The more specialist Profoto modifiers include a Narrowbeam reflector with barn doors, which is a brilliant background light as well as a location light, as the narrow beam throws light over massive distance, but not as powerful as the ProFresnel though. The magnum opus of my lighting kit is the ProFresnel Spot with barn doors. It took me a long time to find this one on the used market. This is a very special light, it can take my B2 flash and make it at least four times more powerful. The glass Fresnel lens makes the light very even in the highlights and incredibly deep in the shadows. It is also great for creating sunlight. It’s impossible to recreate the Fresnel look with anything else. Of course, being such a huge light, it is a problem to use on location. Nonetheless, it has survived a number of different adventures, and I have even used it as an apple box. It can hold a weight of up to 70 kilos, as I’ve tested personally.
Where Will It Go Next?
The overall evaluation I have for the Profoto system is overwhelmingly positive. The reliability, ease of use, and availability of these lights are hard to match. Although every light that I own, except for the C1 Plus, has been in for repairs for one reason or another, they work very well otherwise. Repair is something hard to avoid unless it’s a C stand, which takes a true idiot to break. Given my overwhelmingly positive experience with Profoto, I have made the decision to stick with this system. In the coming year, I will be expanding quite significantly, which will inevitably mean getting some new kit. Currently on the radar is a switch to the ProHead system with the Pro-7a, Pro-8a, or a D4. As far as my expectations for lighting go, these are incredibly good performers, even if they are already nearly 30 years old. Additionally, I will be looking into purchasing more modifiers. Currently on my list are: Zoom Reflector + Grid Kit, RFi 1x6 Softbox+grid, RFi 3x4 Softbox, RFi 4x6 Softbox, Grid for Narrowbeam Reflector, WideZoom Reflector, TeleZoom Reflector, Magnum Reflector, Softlight reflector.
Over to you, what is your experience with your lighting brand? We would love to know in the comments below!
Large strobe packs with only three outlets and some not symmetrical if you are using full power misleading at best. Small slow updates to remote control mostly not backwards compatible.
Many photographers going to constant light advantages seem to out weight some shooting solutions vs strobe. Cheap packs gained huge market share although they also have some major drawbacks, and reliability issues.
In general finding ways to utilize cheaper solutions is a must given the newest high end packs from Broncolor and Profoto reaching outrageous pricing and offering very small advances in technology. And the older equipment still functions fine.
I shoot mostly Broncolor in studio and outdoors I've never been disappointed with the products, I also shoot some Godox for remote shoots it is OK! not many issues. I am now leaning towards acquiring more constant light solutions the only issue is some models can't stand posing with the constant bright light sources.
The more important decision is how would you trade out 100k worth of older lighting that you know how to work seamlessly with for latest lighting equipment and make some financial sense with your decision being worth the time of learning curve and if a different manufacturer also having to trade out modifiers or convert all the attachments ?
Profoto and Broncolor studi packs have had totally independent control over each head for years now.
Without reading the article I will guess no, as you often post about how great your Profoto gear is..
I'm perfectly happy with my Profoto gear and will not change unless mine dies and cannot be saved. I've loved my 7b, Acute2 1200 and Compact 300 unit and they've served me well.
I largely agree with OP. 15 years in the game, I've got alot of Profoto, and have alot of their specialty modifers. I bought it all used except the B10's (ordered the day they were announced). I've got about 11 heads spanned between Acute packs, D1's, B1's, B10's, B2 (250's), and an A1.
The simplicity, rental accessibility, and general reliability is why anyone shoots Profoto. The quality of the light is nothing special, and they're not particularly fast in flash duration, but they're idiot proof for green asst's, and no matter what metro you're in, you can rent more to supplement what you've got. Live in Cincinatti and have a shoot in Austin? Just rent it down there and bring your weird unrentable modifiers. If you shoot Godox, you gotta fly down with all of it.
One thing that I routinely run into is the color consistency between min/max power and between heads is very real. My B10's and other heads are visibly different from Green to Magenta, I usually have to put a 1/8th green on a B10 if they're mixed with my other lights. My D1's shift about 300K between min and max output.
NEW, Profoto's are a poor use of capital unless you're adj gross is less than $100k.
USED, Profoto is a great value, especially for Acute2 1200's, B2 250's, older B1's.
If my studio burned down, and I had to replace everything with the insurance money, I'd first look into the used market for Profoto, and cross shop it with Paul C Buff.
As much as I love my D1's, Einsteins (although not built as well) are a better light, they're like a 600ws Scoro pack.
Profoto just works, it works well, it works always, and it will keep working.
For those that want cheap, go get it. You will save lots, over and over again 😂
Great article Illay.
I still use my Acute 2 1200 and 2400 packs. But a flashtube replacement would cost more than a battery powered Godox.
I could never get into the new Profoto monolights. The built in reflector just does not fill a 28" Mola or 7' umbrella the same way.
Oddly, the much cheaper Godox AD600/Pro lights do have protruding flash tubes, they fill a 1x6 strip box way better than Profoto's recent lights.
Is this a Profoto Sponsered post??? Maybe not.
I know many pros love Profoto and with good reason. While there are cheaper options like Godox, it is clear that Godox does not want to be the cheap option.
I foresee that LED is the future. As continuous lighting continues to get cheaper and better, a Chinese Brand will produce and own the future. I know there will not be many Professionals willing to buy the high-priced lighting solutions for still images when clients drive creative towards motion. Not to mention that you don't need strobes to render images from AI.
Let's see where it will lead.
For shooting things and not people, LED are the way to go unless you need to stop action.
Even with todays cameras constant lighting with portraits, lifestyle, fashion etc can be annoying to the subject, swap places with them and look back at the camera...ouch.
I sometimes use LEDs to mimic practicals for a backlight edge or glow when shooting flambient situations.
Tools...Snap-on or Harbor Freight? We're talking about the "Mercedes" class of lights, and by all reports, they work great. Designed in Sweden, and produced by cheap labor in China, where the designs are promptly knocked off, in form and function...but durability, not so much. Godox works great, for a while but start to break within a couple of years of being packed and unpacked. There's interesting, inexpensive gadgets with Godox, but the build hasn't impressed me as long-lasting. But alas, I can get a cheap replacement when it stops flashing. Illya, keep writing, please.
I realy love my Elinchroms and the local support of Servix.be in Belgium. Working manly with dogs and horses on location, I really abuse my gear (both the Elinchroms and the Nikons) so thankful that they never let me down.
I guess ill be the one to say it, since no one else has. Their customer service sucks. I had just spent money buying into the system. Figuring. My thoughts were, 'let me try out a "PRO" system for once.' So I spent $5600 dollars like a dummy. I got the B10 X PLUS KIT and their expensive yet cheaply made Air Remote. I saw very little difference in quality of light switching from Goddox to this.
Where my gripe begins, is when I started everything up and turns on my remote and quickly found out the stupid thing does NOT show you the current power setting your strobe is on! You have to already know what the pwr is then increase or decrease it by the stops you want. But its all a guessing game unless you look at your strobe first! Im like wtf is this?! I just spent 400 bucks on a remote that wont tell me my pwr settings?! So i call support. They tell me, "Sir dont worry. We have an update coming that will allow you to see your settings.", "In fact its coming out in 2 weeks!"
So I waited the two weeks. I went to do a firmware update. Same crap. I call back. They say, "Ohhh no sir. We didn't mean a firmware update but that we have a new remote thats out now that you can get." 😡 Talk about pissed! I tried to see if the store would let me return the remote and of course they wouldnt. And Pro Photo didn't offer me a trade or a discount. So I'm good on them. Over priced for everything they make. Oh btw...I droped my remote maybe a month later and the entire thing fell apart! Never again. Don't buy.
Profoto is the best . Their modifiers are versatile and specialized . Their build quality is excellent. And if you get familiar to some specific tools with them , any major city in the world will have rental houses that offer Profoto too so you are covered with your familiar tools all over the world . Fuck these knockoff Chinese shit
I own two studio packs with three heads, and three b600s with four heads.
My first incursion was back in the late eighties, I bought a used 3a with 3 heads. Used it up until a few years ago. It worked without fail for all that time. I only had one small repair that cost less than a few hundred (and was mainly due to my stupidity).
I was really pleased with my kit and slowly began to realize how inexpensive it really was . . . because it was (and the ones I still have) are consistent, all day long, everyday.
I own and use a few Godox pieces, and they are okay, but they are really amateur toys . . . they just do not hold up with extended hard use. They overheat (which is eventually going to destroy them) and they go off colour and power as they get warmer. Yes, you can "fix it in post" . . . the sign of a rank amateur . . . why make extra work which costs time and money, when you don't have to?
The one issue with Profoto, andf it's equal in the field, Broncolor (which I have used extensively) is of course the price . . . and not just for the basics. All the fiddly add-ons add up very quickly (splitter cables, extenstion cables, etc). But, you are buying once . . . and for a very, very long time.
I managed, as have many, to save a small fortune by buying used. With the b600, the minute they announced it was being discontinued, it dropped to a reasonable price, so I bought one kit, then kept on the lookout for good used ones.
One source often for good used gear, is, unfortuntely for them, the neophyte who is a gearhead but not a business person . . . and who end up often letting go their pride and joy for a song. I bought my second and third b600, with heads, in nearly new condition from some who were not ready to be a "pro" (being a pro is a business, not a stupid badge and an expensive camera) . . . both times I picked those kits up for between 600 and 700 dollars . . . a bargain.
There is honestly, no reason not to spend the extra for Profoto (or Broncolor), especially if you are serious about what yopu are doing and if you intend to make a business out of it.
I don't know why I clicked on this article. I went over to BH just to see what the profoto gear costs. $479 for a beauty dish. Still have no idea why anyone would buy into this system.
Well if the Profoto beauty dish is an actual beauty dish and not just a big reflector it may be worth it.
I have been using Profoto for 25 years now (weird to say I've been doing anything for 25 years). My experience with my gear (7a, 8a, 7b2) is that they are workhorses. In 15 years I have not had to service any of my 4 8a packs at all. I had 2 7a packs serviced for repair by Profoto in 24 years. Even my old B1 battery packs given to my assistant still work after 20 years. Reliability on set is paramount to me. I do fully understand the prices are outrageous. As long as my gear keeps firing I'll be with Profoto. If needing a replacement I'd probably look to buy used.
I too think the prices are outrageous, but at the same time not.
It is hard to do a real comparison because in the market for full-on studio systems, there are only a few marques left.
But even at lower level gear, while a basic Profoto kit might cost $5000-6000, as opposed to a similar capability Godox or other, the fact remains that over, say a ten year period, the Profoto is not likely to hiccup even once . . . but the other makes will become inconsistent (which costs time and money), which makes you inconsistent, which makes you as a "working professional" . . . a liability, they will fail, which means taking time out to fix the inevitable mess when the unit does fail (time and money), search for a new unit that will function within your system (time and money), then purchase and wait for it (time and money), then probably have to learn a "new improved" interface (with more flashing lights and bells and whistles of course), more time and money.
It would be hard to do a thoroughly in depth anaylsis of costs over that period, but I would be willing to bet that at the end, with all the failures of xyz system, they ended up costing not far from what a Profoto system would have cost at the beginning . . . the only plus being of course, that xyz system comes with . . . a lot of headaches and heartaches.
Do you have stats that XYZ system will have all sorts of failures and Profoto will have none?
I started out in Detroit and it was either Norman or Speedotron, only a couple studios, the higher end car studios had Profoto at the time.
Most strobe equipment is pretty solid or repairable
I still have a few Norman P2000 packs that still work that I bought in the 80s and a friend has Speedotron Brownlines that he bought used in the 80s...
Amateur photograher here. I have the Speedotron 400W Brownlines that I bought used , back in the 1980s and it still works.