Profoto vs Godox for studio portraits

Thanks everyone for the replies!

Just to clarify, I am just asking away to see different point of views. I just like reading people's opinions about it. That's why I didn't explain much about what I do and what I need. I rather read what you do and why you find the need for either option.

I am not starting out in the business, I already have my own Godox lighting kit, been considering upgrading to Profoto just because brand reputation/status/managing how clients perceive me/etc. And I'm a sucker for branding lol. But also wondered if quality wise is it even worth it.

Some asked why I'm considered battery powered units and as already replied, I do shoot in my own studio but I often have to build my studio setup in other locations. Battery powered units would be helpful in those situations, and I rather have the option of using battery than not using. Reading that the Profoto won't let you shoot plugged in (I didn't know!) was all I needed for my decision really. But regardless it's really useful to read everyone's thoughts and experience! You can't never know too much right?

alexportrait said:

Thanks everyone for the replies!

Just to clarify, I am just asking away to see different point of views. I just like reading people's opinions about it. That's why I didn't explain much about what I do and what I need. I rather read what you do and why you find the need for either option.

I am not starting out in the business, I already have my own Godox lighting kit, been considering upgrading to Profoto just because brand reputation/status/managing how clients perceive me/etc. And I'm a sucker for branding lol. But also wondered if quality wise is it even worth it.

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unless you are working for Vogue or Similar publications it is unlikely a client will know or care what brand of lighting equipment you use especially if they like the look and quality of the photos you produce. I do work for Fortune 100 and 500 companies and their ad agencies and no one has ever said word one about my lights. Fujifilm USA once insisted I not use Kodak film on a job I was shooting for them in the mid 1990s) and that’s the only comment I have ever had from a client about the equipment or tools I use on a job.

alexportrait said:

Some asked why I'm considered battery powered units and as already replied, I do shoot in my own studio but I often have to build my studio setup in other locations. Battery powered units would be helpful in those situations, and I rather have the option of using battery than not using. Reading that the Profoto won't let you shoot plugged in (I didn't know!) was all I needed for my decision really. But regardless it's really useful to read everyone's thoughts and experience! You can't never know too much right?

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If I have to light a really big set I rent and then it is pack and head systems. Either Profoto Pro series or Broncolor.

Ellis Vener said:

unless you are working for Vogue or Similar publications it is unlikely a client will know or care what brand of lighting equipment you use especially if they like the look and quality of the photos you produce. I do work for Fortune 100 and 500 companies and their ad agencies and no one has ever said word one about my lights. Fujifilm USA once insisted I not use Kodak film on a job I was shooting for them in the mid 1990s) and that’s the only comment I have ever had from a client about the equipment or tools I use on a job.

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It's true. I've been noticing a shift of more people having an idea of brands/equipments though. I do work a lot with people in creative areas and influencers so I get why they would know. It's not like the final client will know all specs differences between a Godox and a Profoto. But at least where I'm from, I've been seeing a rise of "influencer photographers" on Instagram that are also brand ambassadors. In particular, Profoto has a good team of ambassadors here with big following and I've noticed clients at least knowing what a Profoto is and perceiving it as the "Apple of lighting". Once I've had a client commenting things like "oooh have you seen those profoto things that @username uses? Ever thought of using them"? Hahaha I was ready to reply "I have, but you'd have to pay 5x more than what you are paying now"

alexportrait said:

Thanks everyone for the replies!

Just to clarify, I am just asking away to see different point of views. I just like reading people's opinions about it. That's why I didn't explain much about what I do and what I need. I rather read what you do and why you find the need for either option.

I am not starting out in the business, I already have my own Godox lighting kit, been considering upgrading to Profoto just because brand reputation/status/managing how clients perceive me/etc. And I'm a sucker for branding lol. But also wondered if quality wise is it even worth it.

Some asked why I'm considered battery powered units and as already replied, I do shoot in my own studio but I often have to build my studio setup in other locations. Battery powered units would be helpful in those situations, and I rather have the option of using battery than not using. Reading that the Profoto won't let you shoot plugged in (I didn't know!) was all I needed for my decision really. But regardless it's really useful to read everyone's thoughts and experience! You can't never know too much right?

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Sorry I made an incorrect assumption.

Curious, how many lights are you considering switching over ? What kind of clients are you shooting ?

Ok, I bit...

I went for a Flashpoint kit from Adorama in NY. AD600 Explor TTL and Evolv 200 kit. I also got the remote head for the 600. It's still beefy. I got a couple of Nikon small triggers.

I am envisioning the 600 as key and a few 200s for fill, background , hair etc.

The sale prices seemed too good to pass up.

Lots to learn now.

vsk

Congrats! Sounds like a flexible and nice system. I at the moment only work with an AD 400 and an SB-700 speedlight. Trying to decide if another AD 400 or a the evolve would be the next best move for me.

Benjamin Kanarek shoots for Vogue and Elle - and FWIW he uses Godox

https://www.dpreview.com/forums/post/63070711

alexportrait said:

I've read multiple reviews and used the search tool. But I wanted to open up this thread to read your different points of views.

Why would you choose Profoto over Godox for studio portrait photography? Specifically B1X vs AD600pro.

Profoto looks like a luxury item. Just wondering if it's worth the hefty price tag. I am thinking of getting either the AD600 or AD400. Always wondered if I should save up more for the Profoto version. Is it that different?

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This might be slightly tangent.
But I just am making my first studio. I ordered 2 AD400 Pros & 1 AD600 Pro. To be honest, I couldn't be happier with the AD400 Pros -- and I don't think I needed an AD600 Pro at all. The AD600 Pro seems like a huge waste in the studio & the accessories DO NOT MATCH the AD400 Pro at all. So, basically, I would say -- save your money -- get 2 or 3 x AD400 Pros.

Or an AD400 Pro + 2 x AD200 Pros.

The irony is that 2 x AD200 Pros are probably all that you need & they are super portable for out-in-the-field, as well as not dangerous at all in the studio (in terms of falling over, they are super light). This means that your light stands (which should be extremely extremely heavy duty for an AD600 Pro), can be light weight too (such as cheap air cushioned vertical only stands, and a medium duty stand with an arm for the big modifiers).

I'm really struggling to figure out why I have an AD600 Pro, unless I wanted to light up the entire ceiling of dance floor and scatter light everywhere all at once, annoyingly.

I've gone through the whole learning process, watched about 100 videos of professionals using Godox systems, and I really think that an ideal setup for most small timers is 2 x AD200 Pros + 1 x AD400 Pro, which you could later expand by adding 2 x more AD400 Pros, if you needed more light or snappier flash times, or 2 x Round Head Godox V1's, if you just need easy-to-place creative lighting. They all work on the R2 remote system, which works with ANY of Godox's remotes (though I like the "Pro II" remote found at Adorama exclusively).
The only deficit I can see of the AD200 Pros is that they are significant slower to refresh at Full Power than the AD600 Pro, which is nearly instantaneous. Obviously the V1's are even slower and less power, but I think they can use external batteries to speed up (??). The AD400 Pro is close to the AD600 Pro. But the AD600 Pro is so heavy, you probably want to use an extension head so that the body is on the stand, and only the head is in the air, reducing weigh over-head, reducing danger of hitting your model if it falls over. And if you do that, it lowers your power by about a half or third stop (due to electrical distance).... so basically an AD400 Pro. So why not just get the AD400 Pro in the first place? And then use 2 x AD200 Pros as creative lights on the side?

So yeah, either 2 or 3 x AD400 Pro's. (Again, their specialized Godox accessories don't mix in a friendly way with the AD600 Pro's, but are nearly as powerful & useful, but significantly smaller).
Or an AD400 Pro + 2 x AD200 Pros. (AD200 Pro's are way better than speed-lights & you can combine 2 of them together with a special adapter that links them together to make a 400 Watt light, if you need more power).

Or 2 x AD200 Pros + 2 x Round Head Godox V1's. (Get the Round Head Accessories for the AD200s, and they can all share the same accessories as the V1's.)

I will have saved you at least $600 dollars, if you follow this.

I'm really really thinking of returning the AD600 Pro; is there any reason at all to keep it, if not lighting whole church ceilings, when the AD400 Pro is such an great piece of equipment?

--
Sincerely,
GlobalGuy

RealVSK said:

Ok, I bit...

I went for a Flashpoint kit from Adorama in NY. AD600 Explor TTL and Evolv 200 kit. I also got the remote head for the 600. It's still beefy. I got a couple of Nikon small triggers.

I am envisioning the 600 as key and a few 200s for fill, background , hair etc.

The sale prices seemed too good to pass up.

Lots to learn now.

vsk

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Oh, I see. That's a great combo too. By skipping the AD400s, you went with both Big & Small, which should cover you in all matters. Still, having tried the AD400 Pros, I would highly recommend them, if you eventually move away from the AD200 and the AD600.

In fact, if you think your AD600 is too much weight, too much power -- then you might consider sending it in for an AD400 Pro.

[For people who might not know -- the AD200 & AD200 Pro are nearly identical. There are a lot of useful features and hugely improved recycle times for the AD600 Pro and AD400 Pro, but both the AD600 and AD400 are EXTREMELY GOOD VALUES, DOLLAR FOR DOLLAR. The "Pro" versions are significantly more expensive. But the AD200 (non-pro) is an absolute steal & far better than a speedlight flash.]

GlobalGuyUSA said:

This might be slightly tangent.
But I just am making my first studio. I ordered 2 AD400 Pros & 1 AD600 Pro. To be honest, I couldn't be happier with the AD400 Pros -- and I don't think I needed an AD600 Pro at all. The AD600 Pro seems like a huge waste in the studio & the accessories DO NOT MATCH the AD400 Pro at all. So, basically, I would say -- save your money -- get 2 or 3 x AD400 Pros.

Or an AD400 Pro + 2 x AD200 Pros.

The irony is that 2 x AD200 Pros are probably all that you need & they are super portable for out-in-the-field, as well as not dangerous at all in the studio (in terms of falling over, they are super light). This means that your light stands (which should be extremely extremely heavy duty for an AD600 Pro), can be light weight too (such as cheap air cushioned vertical only stands, and a medium duty stand with an arm for the big modifiers).

Click to expand...

You need to be careful with AD200s falling over. if they land on their ends it's likely they will smash the screen. The AD200Pros have a bit more protection. I like to use then with the extension head so I can attach the AD200 bodies to the bottom of the stand out of harm's way. That's how I like to use AD600Pros too and when the new AD400Pro extension head becomes averrable that how I'll use them as well.

GlobalGuyUSA said:

I'm really struggling to figure out why I have an AD600 Pro, unless I wanted to light up the entire ceiling of dance floor and scatter light everywhere all at once, annoyingly.

I've gone through the whole learning process, watched about 100 videos of professionals using Godox systems, and I really think that an ideal setup for most small timers is 2 x AD200 Pros + 1 x AD400 Pro, which you could later expand by adding 2 x more AD400 Pros, if you needed more light or snappier flash times, or 2 x Round Head Godox V1's, if you just need easy-to-place creative lighting. They all work on the R2 remote system, which works with ANY of Godox's remotes (though I like the "Pro II" remote found at Adorama exclusively).
The only deficit I can see of the AD200 Pros is that they are significant slower to refresh at Full Power than the AD600 Pro, which is nearly instantaneous. Obviously the V1's are even slower and less power,

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The AD200 has the slowest full power recycle time. The AD200Pro is a little faster, The V1 is a little faster than that. The AA battery powered flashes can recycle faster than the V1 if you use a PB960. With the small flashes and the Ad200 you need to be aware that they have quite conservative over temperature prevention mechanisms. The AD400Pro and AD600Pro have fans so can sustain longer firing sequences.

I do agree that 1 AD400Pro and 2 AD200s (with round heads) is the sweet spot when wanting a relatively lightweight travel package. Taking the remote heads cuts down the weight and bulk of the light stands you need to carry too.

tugwilson said:

You need to be careful with AD200s falling over. if they land on their ends it's likely they will smash the screen. The AD200Pros have a bit more protection. I like to use then with the extension head so I can attach the AD200 bodies to the bottom of the stand out of harm's way. That's how I like to use AD600Pros too and when the new AD400Pro extension head becomes averrable that how I'll use them as well.

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My main point is that it isn't super dangerous to others. Also, its pretty easy to make a small chickenwire cage for it (DIY). That said, I strongly recommend the skins, which Adorama makes available for the AD200 Pro (which can be cut to fit the AD200; also they make them for the AD200s, I'm not sure if those are better or worse though -- the AD200 Pro newer versions look beefier).

https://www.adorama.com/fplfevpsk1bl.html

https://www.adorama.com/fplfevskino.html

tugwilson said:

The AD200 has the slowest full power recycle time. The AD200Pro is a little faster, The V1 is a little faster than that. The AA battery powered flashes can recycle faster than the V1 if you use a PB960.

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This is a very important point.

I didn't buy any V1's, so I am not top-of-mind with them, but any readers out there should really listen to this, as its really important for your workflow timing.

tugwilson said:

I do agree that 1 AD400Pro and 2 AD200s (with round heads) is the sweet spot when wanting a relatively lightweight travel package. Taking the remote heads cuts down the weight and bulk of the light stands you need to carry too.

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Good to hear the perspective.

Yeah, I haven't even opened the AD600 Pro & will probably just send it back for an AD400 Pro or some credit. Since I'm still exploring studio lighting, I thought I would have a reason to use an AD600 Pro -- but I really can't see the AD400 Pro not handling what I need.

My perspective comes from being an active working photographer since 1984 (1981 if you include assisting). See my portfolio link below.

Keep the AD600 Pro. It’s always good to have more energy available even if just 200 w-s more. Even given the low noise to signal characteristics of cameras being made since 2018 it is better to start with more available maximum energy than it is with less.

If you ever use a grid spot or a snoot, or double / triple diffusion, need to bounce light, or use deeply colored gels, that extra energy will allow for more options.

--
Ellis Vener
To see my work please visit http://www.ellisvener.com
Or on instagram @therealellisv

Put simply, you can always turn it down, but life isn't like Spinal Tap, you can't go up to volume 11.

I bought an AD600bm with extension head. It was less expensive than the AD400. For me, it was the better fit. More power, extension head put less weight on the top of the stand and cheaper.

Godox has many different options which is good and bad. Options to choose what fits you best, but also confusion on what to buy.

--
https://www.instagram.com/rchau.photo

I'm not sure of the latest numbers, but on the original AD600, you'd lose 1/3-2/3 of a stop by using the extension head. It's just physics, there's a small drop over distance.

I'm all AD600 all the time, I need the power to compete with the sun and for faster recycling indoors. The AD400 has my interest so that I can use my Profoto accessories easily. But I'll wait for a non-TTL version.

robertfel said:

I'm not sure of the latest numbers, but on the original AD600, you'd lose 1/3-2/3 of a stop by using the extension head. It's just physics, there's a small drop over distance.

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Yes, if you are using the light at full power it's an issue, but those of us not doing so don't have a problem.

robertfel said:

I'm not sure of the latest numbers, but on the original AD600, you'd lose 1/3-2/3 of a stop by using the extension head. It's just physics, there's a small drop over distance.

I'm all AD600 all the time, I need the power to compete with the sun and for faster recycling indoors. The AD400 has my interest so that I can use my Profoto accessories easily. But I'll wait for a non-TTL version.

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Yes, I recall a video saying a small drop with the extension head. Something like f11 9/10 vs f11 7/10. I am using it indoors, so have not gone anywhere near where that would matter.

The 600bm w/ ext head is my main light in the studio. I like to use a boom as I find it easier to position and angle lights. The ext head is ideal for this.

Adorama ran a recent sale. 600bm and ext head for $402. Even though I already had one, I could not pass up the deal.

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https://www.instagram.com/rchau.photo

That is a good deal.

I like how Flashpoint's extension head with 8' cable is 50% of the cost of Dynalite's 7' cable, just the cable.

The Godox/ Bowens mount is a limitation. The Profoto mount is universal.

I agree with RDKirk, I'd use Einsteins for portraits. With a Mola modifier https://www.mola-light.com/ A Mola Euro gives a beautiful portrait light.

Here's a real light boom https://www.cambo.com/en/studio-products/redwing-lightbooms/redwing-lightbooms/ Nothing else even comes close—the heaviest strobes with large modifiers are not a problem.

cdembrey said:

The Godox/ Bowens mount is a limitation. The Profoto mount is universal.

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How is a bowens mount a limitation ? There are so many modifiers out there with bowens mount and a bowens adapters are cheap.