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review: Profoto B2 Off-Camera Flash – photo shoot

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review: Profoto B2 Off-Camera Flash – photo shoot

Over the years I have used a variety of off-camera lights on location shoots and at weddings, and have worked my way up from Dynalite and Quantum flashes (and speedlights), to the Profoto B1. The Profoto B1 (affiliate) has made such a difference for me in the ease of use, the speed of setting up, and the sheer power of 500Ws of light. I love my B1 flash. For example, here is how I used the Profoto B1 flash at a wedding. Profoto has now released the Profoto B2 250Ws Air TTL Flash, and it comes as two options:

–  Profoto B2 Location Kit with two flash heads (affiliate)
–  Profoto B2 To-Go Kit  with a single head (affiliate)

Instead of just listing the specifications, I wanted to show how I would use this Profoto flash during a photo session. The BTS video clip expands on this review with some info on the Profoto B2 Flash (affiliate), and I also touch on camera settings and using the flash. As is usual, I want the material on Tangents to be of wider interest, even when it is a review of a specific product. There’s something in the video for everyone, regardless of your specific interest in Profoto.

As regular followers of the Tangents blog know already, Anelisa is my favorite model – she has a sparkling personality and we have a great rhythm, but more than that, she knows how to switch it on instantly for the camera. You pretty much can’t take a bad photograph of her. Now, as consummately professional as she is, she can’t see what I am getting in the viewfinder, so it is still up to me to direct her. That’s something to keep in mind if you work with models – talk to them, and guide them. It really becomes a collaborative effort then. This BTS video clip shows some of that.

For the entire photo shoot with Anelisa in various spots in Manhattan, I wanted to shoot at f/1.4 to give a very specific look. It helps isolate your subject from the background. The wide aperture meant a high shutter speed … which meant that I used the Profoto B2 in high-speed flash sync (HSS), to get this look.

Thank you to Erik for shooting and editing the clip; Anna Russell for patiently assisting; and Anelisa for fueling the creative spark, and for braving the cold.

 

 

The Profoto B2 offers:
– 250Ws power. (Half that of the B1)
– High-speed flash sync and
– TTL flash exposure metering, as well as a
– Freeze Mode where the flash duration is cut down to 1/15,000 sec. at lower power settings.
– It is much lighter and compact than the B1 – but this comes with a few penalties.

Before we discuss the advantages and disadvantages of the Profoto B2 vs the B1, I have to mention that every review I’ve read so far, mentioned the B2 as a lower-cost alternative to the Profoto B1. However, I don’t see the Profoto B2 positioned like that – the single-flash unit is about the same price as the B1. So there’s no financial advantage there. Now, by the time you get to the 2-flash head Location kit, then the B2 kit is less expensive than two Profoto B1 heads … but still with certain disadvantages to it.

So really, I don’t think the Profoto B2 was meant to be a lower-cost option to the B1, but was meant to just be a different option to the B1. Just different. You have options. You get to choose what suits your needs best.

 

 

 

  • 1/2,500 @ f/1.4 @ 64 ISO (this photo)

 

  • 1/2,000 @ f/1.4 @ 64 ISO

For the entire photo shoot with Anelisa in various spots in Manhattan, I wanted to shoot at f/1.4 to give a very specific look. It helps isolate your subject from the background, even with wider lenses, such as the 35mm.

With the crispness that the Sigma 35mm f/1.4 ART lens (affiliate) offers, I was confident getting crisp images at the widest aperture. Here is my review of the Sigma 35mm f/1.4 ART lens. I liked the angle of view that the 35mm lens offered for this shoot – expansive enough to get in some of the cityscapes, but not too wide that we’d lose Anelisa in the frame.

 

 

For the later part of this photo shoot, I also used the Sigma 50mm f/1.4 ART lens (affiliate) for a slightly tighter view. The 50mm ART lens is just as amazingly sharp. Here is my review of the Sigma 50mm f/1.4 ART lens.

Here are two of the test shots leading to the photo above. One without flash, and then adding flash to see the difference it makes.

 

Specifications of the Profoto B2

Full wireless TTL operation with the purchase of a dedicated AirRemote TTL transceiver for your Canon or Nikon Camera.

The B2 250 AirTTL Power Pack weighs just 2.2 lb with its Li-Ion battery.

The Profoto B2 has two outlets, each with a dedicated thumbwheel that allows the pack’s 250Ws  to be distributed asymmetrically over a 9-stop range in full or 1/10 steps.

The B2 boasts recycling times from 0.03 – 1.35 sec. There is a Freeze Mode that selects a flash duration of 1/15,000 sec. at lower power settings – fast enough to “freeze” fast movement. Bursts of up to 20 frames per second are possible while High Speed Sync allows shutter sync speeds from 1/4,000 – 1/8,000 sec., giving you wide ambient light control options.

The B2 Off-Camera Flash Head weighs only 1.5 lbs – truly lightweight for the power that it offers.

The B2 has a 50W halogen-equivalent LED modeling lamp that can be used as a continuous light / video light, further extending the use of the B2.

The B2 To-Go Kit contains almost everything you need to go off-camera. Just add the remote that fits your camera and you are ready to take control and shape light.

The gear comes packed in a custom shoulder bag. The B2 Location Kit contains everything you need to overcome almost any lighting challenge you might face on location.

 

 

  • 1/4,000 @ f/1.4 @ 64 ISO

My reaction when the initial images showed up on the back of my camera, was one of “wow!”. I knew what I had envisioned with this photo session, and the specific look I had aimed for, but when the images showed up, they looked even better than I had hoped for. Crisp lighting to lift my subject, and wafer-thin depth-of-field to isolate my subject from the smooth background. Just beautiful.

The Profoto B2 made it easy – giving enough juice to overcome the light-loss from the high-speed flash sync, and still match the bright daylight.

  • 1/2,000 @ f/1.4 @ 64 ISO

With a few test shots, I really liked how the out-of-focus sun umbrellas added splashes of color in the otherwise austere-looking surroundings.

I kept the Profoto B2 at full power, and had my assistant move forward or back to control the amount of flash as I changed my shutter speeds. Remember, with High-Speed Flash Sync, the shutter speed has a linear effect on the flash exposure. So to compensate for the loss (or increase) of light as I changed shutter speeds, I would ask my assistant to move forward or back a little bit. Even though I had complete control over the flash’s output from the Proto Air TTL Controller, for me it was faster doing it this way than jiggling a button on the controller to adjust the power.

 

 

Scouting around the area down the street where we started, we stopped for a minute or two at this metallic facade of the building. I liked the glare of the sun on the metal; the shadows; the leading lines … and then we added flash.

  • 1/2000 @ f/1.4 @ 64 ISO

 

 

Again in an area where we had to shoot fast because of the security guards refusing that we stand on the sidewalk. We had to step into the street and shoot in the part of the road leading into a parking garage – out of the jurisdiction of the security guards. We were completely safe from the traffic since the traffic was at near stand-still speeds.

The idea that I had was that the yellow cabs and the yellow bollards would perhaps make a repeating pattern … with the buildings creating a V-shape towards Anelisa. The final photo didn’t quite work as well as I had intended though. Sometimes an idea just doesn’t quite pan out, but the resulting photograph still holds up.

 

 

Still feeling brave, I moved the shoot to Grand Central. I knew we ran the risk of being kicked out – and we were – so I opted to shoot in TTL mode to be sure to nail a few images before having to move on.

  • 1/200 @ f/1.4 @ 800 ISO (flash in TTL mode)

Always a comparison photo. Invariably, working with flash on location, the starting point is the available light – and then you add flash to enhance or overpower the available light. In this case, we used flash simply to light Anelisa to the levels of the settings I chose … still keeping some of the available light there. The ambient exposure settings were chosen so that I had some details in the windows still, and the people moving around would be darker, and be less of the subject, and just be part of the setting – the background.

Again, the Profoto B2 made it easy to move in and out. No need to set up. I just posted Anelisa and my assistant brought the light more or less into place. The accurate TTL exposure of the Profoto system, took care of the flash exposure for me. Painless and easy and fast.

 

A new range of light-weight light modifiers, for the B2

Simultaneously with the release of the B2, Profoto also released a range of light-weight light modifiers. They have the same diameter as the regular Profoto mount, but a simpler mounting clamp.

While this new range, named an obvious OCF (for Off-Camera Flash), is interchangeable with the existing range of Profoto lights, care has to be taken to not run the modeling lights on the other Profoto lights – the heat may cause damage to the OCF speed-ring.

The lighter weight and simpler clamp comes with a penalty – you can’t rotate the soft-boxes like you can with the regular Profoto speed-ring. This isn’t of importance with an octa-box, but will slow you down if you are used to rotating a stripbox horizontally and vertically as you shoot.

 

 

  • 1/3,200 @ f/1.4 @ 64 ISO

For the last part of the photo shoot, we went down to the Meat-packing district. With a less expansive view than the area of the city where we started, I switched to the Sigma 50mm f/1.4 ART lens. I also switched from the 2′ Octa to the Profoto OCF (1×3′) Softbox for half-length and full-length photos. The taller stripbox would have less light fall-off vertically than the 2′ Octa.

I reverted to manual flash here, which is easy to do with the Profoto TTL Air Controllers – you simply hit the button that switches between TTL and manual, to lock the exposure.

Here, for comparison as usual, is the available light only shot.

 

Summary

I really liked the Profoto B2. It is really straight-forward to use – all the controls make sense. The lighter weight made a difference while out on location like this. The lighter weight meant the B2 wasn’t nearly as top-heavy as the B1. But this also meant the B2 had to be powered with a cable. I missed that freedom from a cable tangle. In the end, this is part of what you’d need to balance in your decision whether the Profoto B1 or B2 (or any other lighting kit), is a good choice for you.

The 250Ws meant a stop less juice than the Profoto B1, and I often had to use the flash closer to my subject than I would ideally have liked to.

There is more to deciding on a lighting kit than just the specifications on the sheet – it has so much to do with the speed of use, and the ease of setting up. It has to do with your needs and what you’d typically shoot. In the end, while I really liked using the Profoto B2 Flash, but the Profoto B1 (affiliate) remains the flash of choice for me.

 

Related articles

 

Purchase the Profoto B2 flash through these affiliate links

 

Filed Under: Anelisa Durham, equipment review, equipment reviews: Profoto, models, off-camera flash, photo shoot, Profoto Tagged With: ,

 

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I also offer photography workshops and tutoring sessions, whether in person, or via online video tutoring sessions.

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Thank you,

Neil vN

Books by Neil van Niekerk

 




73 Comments, Add Your Own

  2. Neil,

    I have to be honest and tell you I did not read the article. I saw the blog photo on Facebook and wanted to see the photos. These are among my favorite photos you have taken with Anelisa. Fabulous OCF work, stunning portraits. You were on fire!

    Reply

    • I can echo this in Afrikaans: MOOI SO MAN! I actually have much to learn about off camera lightning, but in this article I am rather captivated by the quality of your photo’s – it makes me want to pick up my camera and shoot!

      Greetings!
      Niël

      Reply

  3. Great review Neil! I had an opportunity to use both the B1 (during your photo walk at WPPI) and the B2 (during another photo walk). Both are very impressive! As you say, there’s pros and cons to both. Being that I’m usually shooting without assistants at weddings, I find the B2 a better portable option for me to handle alone. I’m actually ordering the B2 system tomorrow. Thanks for your continuous efforts in sharing your product reviews!

    Reply

  4. The B2 is indeed not a cheaper version of the B1. It’s a potential competitor to the Canon/Nikon speedlights. I would be the type of customer interested in this.

    Reply

  5. Neil,

    Such a great review, many thanks! I was thinking about investing in the B1´s since I have read and saw too many good comments and reviews for the quickness and accurate of the system. For weddings and some photo shoots I usually do for a local magazine where speed is key I think this type of system is the best choice of the market, and as you said I believe that the B1´s are my choice because of the more power and the cable thing. I really don´t matter about the weight or size. Once I get the location Kit of the B1´s, I will probably add in the near future a single B2 kit for having the option to shoot a 3 light setting if needed.

    Thanks for sharing your experience, excellent as usual!!
    Best,

    Mauricio

    Reply

  6. Great review Neil! Thanks. :)
    BTW, do you have a review or article of comparison between Softbox and Octabox? And perhaps also comparison against beauty dish and umbrella.

    Reply

  7. Neil, unrelated question. You said you saw the images on the LCD and said ‘Wow’. How are you able to view the LCD clearly under these lighting conditions? Do you use a Hoodman loupe?

    Reply

  8. I have a Zacuto finder … which I had left at home.
    So I inelegantly just cupped my hand to my face and camera to see some of the images.

    Reply

  9. Yeah, gotta agree with the above poster about Anelisa. With the difference that I did read the whole review. But the only thing that really stuck with me at the end was “Anelisa”. Love the pics. And the model.

    Especially the model.

    Reply

  10. Very nice write-up, Neil! I have been looking for a review with the details like this one ever since B2 came out. Thank you! I was a bit concerned about its power, but it looked like it performed quite well with full power. Without an assistant, B2 will likely be more convenient than B1. I am thinking to trade one of my B1s for a B2…

    Reply

  12. Great review! Thanks Neil.
    Is there any way we could see what it would look like using the Nikon speedlight instead of the B2?
    Like a power comparison and trying to match the final output (would imply to use it much closer no?)
    At what point does the speedlight give up in terms of power?

    Reply

  13. Kevin, you will have to do interpolating for yourself here.

    In this comparison between the Profoto B1 / D1 and a speedlight, it would appear the Profoto B1 gives nearly 3 stops more light than the speedlight. That’s about 6 – 8 speedlights to match the Profoto B1.

    With the B2 at half the power of the B1, I would guess it would be 3 – 4 speedlights to match the B2.

    So if you want to imagine a comparison, either:
    – imagine the bulk of 4 speedlights (and the mishmash of cables and triggers),
    or if you want to use just one speedlight,
    – imagine a photo with the subjects 2 stops under-exposed, or
    – the background 2 stops over-exposed.

    Reply

      • Hi Neil,

        You are and inspiration not just in terms of your creativity, but how much you share your knowledge!

        You have inspired me to share more of my knowledge.

        On the technical side, I was told by a rep that the single B2 head is 125 Ws, so both heads are half of the B1.
        However, was quite impressed with your results using a single B2 head, 1/2000-1/3200 shutter, and the light to subject distance.

        I echo your sentiments about comparing the equivalent Speedlight setup to the B1.
        I just purchased my first B1 to replace a well used four year old 4xSB800+RadioPopper+SU800 solution.

        I have used the snot out of my old solution and was my primary run and gun light for outdoor family, high school senior, and business portraits. I often dreamed of a single light powerful enough to replace this.

        While I had produced thousands of gorgeous f/2.8 – f/1.4 outdoor portraits with the above 4xSB800 solution, I am very excited to use the B1 single light with more power, and it costs less!

        Let me break down the cost and show how the B1 is nearly $1000 less, and of course, a simpler more reliable solution:

        Profoto B1 500 Air TTL Off-Camera Flash…$2,095.00
        Profoto 3′ RFi Octa Softbox….$240.00
        Profoto B1 Air Remote TTL-N…..$403.00
        Profoto Speedring adapter for RFi Softbox….$128
        EXTRA Profoto B1 Li-Ion Battery….$261.00 (Never leave home without extra batteries!)

        Profoto B1 500 Total: $2866

        My old 4xSB800 in a 30″ FourSquare softbox solution:
        Light, receiver, and modifier($2540):
        ———————————–
        4xSB800($400 each)…$1600
        4xRadioPopper RX($130 each)….$520
        Lightware Direct FourSquare Super Pro Pak 30″, includes 4-square block and extension handle $420

        Quantum Battery power($590)
        (to get fast recycle times(1-2 seconds) and shoot for long periods):
        ———————————–
        Quantum TURBO 2×2…$300
        4x Quantum CKE2 Power Cable($45 each)….$180
        2x Paramount Turbo-Y-Z Turbo Splitter($55 each)…..$110

        Wireless Controller($380):
        ———————————-
        Nikon SU-800 Speedlight Commander….$250
        RadioPopper TX(velcro’d to front of SU-800)….$130

        16 AA, 10 AAA NiMH Batteries for SB800 and RadioPopper RX/TX…$50

        NiMH Charger…$50

        4xSB800 Total: $3610

        I saved $390 by making a fiberoptic splitter with 4 piece of fiber optic cable to use just one RP/RX. However, Gaffer taping the ends to the IR windows on each flash can be problematic. Plus each time I need to charge the 4AA NiMH batteries in the four SB800, I have to re-align and tape the fiber optic ends.

        Setup time to get the old 4xSB800 was a pain with all of the batteries to charge, mounting the lights, taping the fiber optics.

        Lastly it was a beast for my assistant to handle in the field with the mess of CKE cables and the 2×2 Turbo battery.

        Setup time with the Profoto B1 500 will be as easy charging the B1 batteries and the AA NiMH for the controller. Truly run and gun from setup to shoot to putting it away!

        The Profoto B1 Air Remote TTL-N menu is almost the exact same as the Nikon SU-800 commander, so moving to that is a cinch.

        Lastly I echo the need for a Loupe. I use my Hoodman Loupe to view every shot. I have a custom button on my D800 to zoom in quick to check my focus.

        Reply

        • I stand corrected on the power of the B2.

          The battery pack produces 250 Ws.

          Plug in one light and you will get all 250 Ws available to that single head.

          Two and it splits the power.

          250 Ws = 4-5 SB800.

          Reply

  15. I recognize Columbus Circle, Grand Central, Meat Packing District …. that must have been a loooong day for you and your team!! :-)

    Reply

  16. Hi Neil,

    I was hoping you would do a review of the B2. Great photos. How did you find the accuracy of TTL compared to speedlites?

    Thanks,
    Steve

    Reply

    • There’s no reason why it shouldn’t be identical unless the flash is less (or more) accurate in setting its own power levels. The camera still makes all of the decisions. All the Air TTL system does is translate phrases like “Group A, if you could set yourselves to 2.3 stops higher than that metering pre-flash, that’d be great” from Nikonese to Profotish (and get the timing right). And as in the Nikon CLS (or the Canon equivalent), any flash exposure comp is added on top of that “correct exposure” decision the camera makes. It all boils down to power level settings decided in the camera relative to the pre-flash.

      Reply

  17. Thanks for the review! Very helpful, as always. How do you see the B2 as useful/usable as an indoor bounce flash? Is it too heavy for the mount for moving around and/or has limits for bouncing it? As a 3-4 speedlight equivalent unit, it would have some great benefit in the power department for bounce flash.

    Reply

  18. Andrew … I didn’t test it as a bounce flash option, but I regret that now that I didn’t try it out as that. It really might be the solution there for bounce flash in massively large places. The B2 head itself is about the same weight as a speedlight.

    It would need a big-ass Black Foamie Thing though.

    Reply

  19. i am split in two Neil. I like the smaller form factor if the B2 for shooting interiors, but then the cable free, twice the power output of the B1 seems more viable for shooting portraits etc. Thanks again for a concise and intelligent article.

    Reply

  20. Danie … the Profoto B2 that I had here was a review loaner. I bought and own the B1.

    Given the opportunity to spend my money again, I’d go for the B1 again in a heart-beat.

    Maybe that will help answer your quandary.

    Reply

  21. Love the light and the tips, the Grand Central shots seal it for me! But I have agree-it is Anelisa who makes this come alive. She is so natural and poised.

    Reply

  22. Thanks Neil another great post on your Tangents, that’s why we all keep coming back for more! Yes I really like the new Profoto B2 and had a chance to try it at the recent trade show here in the UK. It’s just a shame that like so many photog’s, I’ve invested much into the Elinchrom Quadra over the past few years. The advantages of Profoto’s AirTTL approach is clear, particularly for us hard pressed wedding snappers. I guess ultimately you pays your money you take your choice, and just have to get the best out of what you have.

    Reply

  23. Great video. Very informative, not only about the B2, buy also about the settings etc etc. and very enjoyable to see Anelisa.

    Could you shoot this with speedlights? Maybe 2 stacked together?

    Greets
    Steven

    Reply

  24. In this comparison between the Profoto B1 / D1 and a speedlight, it would appear the Profoto B1 gives nearly 3 stops more light than the speedlight. That’s about 6 – 8 speedlights to match the Profoto B1.

    With the B2 at half the power of the B1, I would guess it would be 3 – 4 speedlights to match the B2.

    So if you want to imagine a comparison, either:
    – imagine the bulk of 4 speedlights (and the mishmash of cables and triggers),
    or if you want to use just one speedlight,
    – imagine a photo with the subjects 2 stops under-exposed, or
    – the background 2 stops over-exposed.

    Reply

  26. Michael … Mostly it is just skin retouching with the Healing Brush,
    and then I run Shine-Off and Portraiture on layers at 30% opacity in Photoshop.

    Here is the bigger description of what I do. In this case I did a more simplified version of this process.
    Retouching for portraits.

    Reply

  27. And did you all notice Neil shooting with transition lenses on his peepers? Man, how can he tell what’s what with the exposure? I remember when I just first started with a camera and…my transition lenses! Couldn’t figure out, for the life of me, why the hek all my photos looked so dark. And then I read about the mistake of forgetting about one’s sunglasses. Oy vai!

    Anyway, I thought it was interesting to see Neil shooting with shades!

    Reply

  28. Hi Neil
    Thanks for taking the time to answer my questionn. I hadn’t noticed the comparison.
    I do own 3 600EX-RT ( Yongnuo and Canon) speedlights so no troubles with cables and triggers, but still a bulk. Plus with my Westcott Apollo I’d have to bounce the flashes, which would loose even more light.
    I’d love to get a B1, but I can’t aford it
    Thanks again
    Greets from The Netherlands
    Steven

    Reply

  29. Hi Neil, I’m wondering if or how the recessed tube design of the B1/B2’s effects light distribution? Might I expect a more directional output compared to a typical bare bulb design?

    Thanks.

    Reply

  30. Steve … I don’t think the slightly more recessed tube design is an issue in any way. I know I would 100% of the time use this with a light modifier or diffuser – and that would entirely change the way the light is dispersed.

    The comparison between the Profoto B1 / D1 against speedlights, convinced me the B1 has a wide enough spread of light that I don’t need the Profoto glass dome on the D1 / B1 head to get an even wider spread.

    I am sure if someone tested the Profoto B1 / D1 with and without the glass dome, while using various softboxes, they might maybe discern slight differences. Maybe. But if there are differences, I don’t think they would be pronounced enough for me to hassle with the glass dome on the front of the flash unit.

    With that then, I don’t think the B2 flash head being recessed, would be an issue of any kind.

    Reply

  31. Would Profoto have been better served making the B2, 500Ws at the theoretical expense of heavier weight, or would that have encroached too much on the B1’s territory? I think 500W’s would’ve eliminated a lot of griping.

    Also, I’d like to know what determines the watt second rating, the battery size, flash tube, capacitors?

    Reply

    • The capacitors. *Theoretically* you could make a 500WS flash that’s powered by a single high-capacity AA NiMH battery (cell). And you could get four or five full-power pops out of it, if you had the patience to wait for the many-minutes recycling time. The tube has to be able to handle the power, of course, and its size and design needs to be a good compromise between short flash duration at a given power level (lower resistance once the arc is ignited) and not melting the circuitry down (higher resistance – that’s less of a problem with a pack-and-head design, since the cable itself contributes to opposing current flow). The battery will more-or-less determine how quickly you can recycle and how many flashes you can get before swapping/recharging (it’s not the only factor, but it’s a key player). And let’s not forget that all of the heat you’re producing has to go somewhere; the unit would need a bigger fan and bigger heat sinks. Doubling the power would way more than double the size of the pack if you want the same performance otherwise.

      Reply

      • Thanks for the thoughtful and informative reply. You just let me know the trade offs, so essentially a 500ws B2 wouldn’t have much of an weight advantage over a B1. The head and pack would both be larger. The B1 is a monster sizewise though.

        Reply

  32. Your article(s) and video was very enlightening. I was wondering if you can comment on the battery life. You shot all over NY I’m assuming all day? How many batteries do you recommend without fear of running out of power on an all day shoot with the B2? Do you see it as an either or solution? B1 or B2 or blending both systems? Thanks!

    Reply

  33. I don’t know how many shots the B2 battery lasted for, but we shot everything on one battery.

    Right at the very end of the shoot, the first battery went flat … and by that time we were so close to the time Anelisa had to leave, and we were all hungry and cold, that we just wrapped it up then.

    So that battery did last us the entire shoot, with me shooting at full power all the way. There’s plenty juice there.

    Reply

  34. Thank you Neil. Fascinating video. Would you say it was an 8 hour shoot? Since you indicated you prefer the B1 – would you say for a 3 light set up you would use 3, b1s or for weight and to risk less tipping in the wind would you recommend a 3 light setup with 1 B1 and 2 B2s? thanks! I’m rewatching your video, very well done and well explained. thank you! ~ Karen

    Reply

  35. Karen .. you can’t define a flash’s use (or a battery for that matter), but the duration of a shoot. It is about how many full-powered bursts the flash delivered.

    According to the Profoto B2 info sheet:

    The pack’s battery will give you up to 215 full-power flashes on a 45-60 minute charge from the multi-voltage 2.8A battery charger.

    As I mentioned, I didn’t specifically count how many shots I took at full power, but going by the afternoon’s shoot, I’d say the B2 spec sheet sounds reasonably correct.

    Reply

  36. I received my first B1 and did a few tests with it shooting at f/1.4 and 1/2000-1/8000 shutter speed.

    The B1 jumps to power level 8-10 as soon as my camera goes over the FP setting(1/250 or 1/320).

    While is is good for keeping the head and modifier(currently have the 3′ Octa RFi) out of the shot, it can be problematic when shooting at slower shutter speeds and f/1.4, when the power level 8-10 on the B1 is too much light and I must resort to stopping down to smaller apertures.

    The B2 at half the power of the B1, should equate to the power level between 8-10 being lower and perhaps allowing use of slower shutter speeds and f/1.4

    OR Profoto could release firmware that allows greater range of power levels at shutter speeds over 1/250.

    Reply

  37. The video was very informative, and it helped me realize something about the Profoto B2 Location Kit. I noticed that the Location Kit has two heads, but only one battery pack. If a photographer is managing two B2 units on lightstands, there may be a problem with the cord length if he/she sets the two lightstands far enough apart. This would imply needing a battery pack for each B2 unit or an extension cable, both of which Profoto sells.

    That Octa softbox looks much more “annoying” to set up than the Lastolite Ezybox softbox. It’s good to see these items being put together in the field, so somebody can decide if that is the route he/she wants to go.

    Reply

  38. Its posts like this that make me think buying more gear will make me a better photographer. LOL.. great post Neil, I love everything about the photos you posted… The girl, the posing, the colors, the lighting, the composition…. everything is hitting on all cylinders!

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  39. I would say the correct gear is what makes the difference. Correct for what you want to do and need.

    In terms of lighting, the Profoto B1 made life a lot easier. And as I mentioned elsewhere, I’d get the B1 again without second-thought. And I would choose it over the B2.

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  40. Neil, I am surprised that you did not have the necessary “permit” for that light :)

    Great BTS video and it always helpful to see another photographer in action….especially one that knows what he wants.

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  41. This isn’t the first time we’ve been stopped by security or police while out shooting. Just for reference, here is how it played out a few years ago when a police officer in Hoboken confronted us during a photo session, asking for a permit.

    The original plans for the day was something slightly different – I had this idea that we could walk down the 5th Ave area, and use f/1.4 and HSS flash with the Profoto b2, to throw everyone else out of focus (and under-expose them), and thereby making Anelisa the high-lighted subject in the frame.

    On our way to pick Anelisa up, we drove past Columbus Circle, and I immediately said that this would be where we should start. From there we adapted and changed the plans for the day … doing nothing we had originally thought we had roughly planned. It was very cold outside as well, and that also affected our plans.

    So the visit to Grand Central was a spur-of-the-moment decision. I had hoped that the lack of light-stand might maybe let us fly under the radar, but we weren’t that lucky. However, by the time we were stopped and asked for a permit, we were pretty much done there. We had other places to go to.

    It is kind of the luck-of-the-draw whether they stop you in Grand Central. It seems to depend on whoever is on duty there that day. Some photographers that I know, have had 100% success there. With me, it’s been hit-or-miss, even when I just shoot with available light, and it is just me and the person I am photographing.

    Anelisa knows from previous photo sessions in NYC, to just continue and let me deal with security people when we are stopped. She remains very nervous about it all though.

    There you have it then – how it came about that I didn’t have a permit to shoot there. In the end, it isn’t of such importance – if we had been blocked right as we started, we would jut have continued on to the rest of Manhattan. There are a zillion places to shoot. No need to feel heart-broken about any one specific spot.

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  42. Neil, what would be the difference, if any, in shadow softness between the two methods you mentioned, i.e. moving your assistant forward and back versus changing flash power with the switch on your camera?

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  43. In theory – the larger the light source, the softer the light. So by moving the light forward and back, you’d be changing how contrasty the light would appear.

    In practice – you probably wouldn’t notice the difference in an on-location shoot like this with these relatively small movements.

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  45. Phil .. in HSS, any flash will have to dump more light than it would at a shutter speed below max sync speed. It is in the nature of high-speed flash sync.

    With this shoot, I shot everything at full power anyway.

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  46. This was a fantastic video, Neil. That B&W inside Grand Central Station is breathtaking. Too bad security made you leave. As always, there is so much to learn from you. Did you TTL at all? Your review may have been the first that I watched that had an honest critique of the B2. I too was underwhelmed by the battery pack and cable. If you had to live with just one flash for street photography, what would you choose, the B1 or B2?

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  47. The images in Grand Central were shot in TTL – I knew we’d have to work fast.

    For the rest of the day, we were at full power all the time. High-speed flash sync eats up juice.

    The Profoto B2 was a review loaner.
    I have and own the B1, and would get it again in a heart-beat.

    The fact that the B2 has a battery pack and a cable, isn’t a negative per se – you can’t have that small size head (and lots of power), and still have the battery on the head like the B1. That is in part what I also meant that the B2 is an option. Not a cheaper version of the B1. It’s a different option. If you like it .. then great. If you want more power and can handle the increase in bulk of the B1 .. then great.

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  49. Neil, as always, AMAZING shots, photog and model. You are the MAN. Loved the subway scene where they said you needed a permit and said, “then were done” and off you went with your amazing images in the bag. Did you know that was going to happen and did it anyways knowing you’d get at least 1 – 10 shots off b4 the renta-cops came by and kicked you out? ;) (evil photog laugh) hahahah
    Love your work. B2 looks like an amazing little compact system that will for sure be in a lot of pro/advanced photogs gear bag very soon.
    Keep up the great work,

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  52. Lovely work.
    The person who kicked you out for lack of a permit, was incorrect. You only need a permit if the equipment is on stands and goes on the ground.
    He saw something he perceived as pro gear and went into protect his hide mode.. but he was wrong.

    Take a look at my Profoto B2 Rig the Double Jay Six Beats Rig.. its on YouTube. Hope you enjoy it. Its available for rent at Foto Care under the same name.

    Be well!

    ~jj.

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  53. I suspected as much, but this wasn’t the time to get into an argument that is impossible to win. Police officers would automatically take the side of the officials there. Besides, I got a few images, and there was the rest of New York to explore. So the simplest options as to just move on without fuss.

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  54. Hi Neil,

    I have to say a big thank you, as your post is one of the most accurate reviews of the Profoto B2, which I am evaluating to buy (still uncertain about power output, though).

    I regularly use my Profoto D1 1000W, then I might be a bit spoiled about unlimited and abundant power available, but weight is always an issue when shooting on location and need to be mobile… then still undecided, as a B1 weight more or less as a D1 monolight, with the uncomfortable issue to have all the heavy load on the head itself.

    By the way, I think you used the B2 at best, as your photos of Anelisa around NYC are technically and artistically superb!

    Thank you Neil,
    mjf

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  55. Great video, Neil – thanks for posting it. Would be curious to know if you could use the B1 in the same configuration (extended on a monopod with a softbox on top). Would likely be quite a bit more unwieldy for your assistant.

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  59. Hi Neil.

    I’ve been a fan of your blog for some years now – I became in love with the BFT :) .

    I’ve been testing (Profoto try before you buy campaign) the B2 (first) and the B1X (now). I was very disappointed with the B2 HSS. I tried with my Nikon cameras (D7000 and D600) and when I passed the maximum sync speed (D7000: 1/250 to 1/320, D600: 1/200 to 1/250) light loss was 3 f/stops, and then it was normal (1/500: 4 stops, 1/1000: 5 stops…). With my Nikon speedlights (SB800 and SB900) and even my Godox V860 II, I only loose 2 stops when passing max sync speed. This week I’m trying the B1X and surprise… I only loose 1.5 / 1.7 f stops.

    Did you experience the same?

    Thank you in advance,

    Jorge Ricardo

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  60. I don’t have a Profoto B2 on hand right now to test this directly – but I have added this to my To Do list, to more thoroughly check out. Thanks!

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  61. Hi Neil, I just love your work and I have learned so much with your tutorial videos.

    I have question to you, in some of you work you use umbrella and in others a softbox. What are the criteria to decide between one and another?

    Thank you very much,

    Alexandre de Paula

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  62. Hi there Alexandre … For me it mostly hinges on the practical side. Umbrellas are compact and easy to set up (which is great for indoor work), but for outdoor work, the wind seems to scoop them much more easily than softboxes. So outdoors I tend to favor softboxes. Softboxes are also easier to handle when walking along sidewalks where there are people around.

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  63. As a headshot photographer I’m always looking for great lights and to be mobile. I currently own Canon speedlights and Godox but I am seriously considering betting a couple of the Profoto lights. Thank you for sharing this video!

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  64. Hi Sir,

    i have jus watched in youtube the above more than 8 times every time it will be fresh something to learn one of the best .

    Reply

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