The Interfit 65″ Parabolic umbrella was tested with the Adorama Flashpoint Xplor 600, the Canon 6D, and Sigma 35mm f1.4 Art lens.
Specs taken from the page listing
|Open Face Diameter||165cm (65″)|
|Fabric Material||translucent nylon|
When you get the Interfit umbrella, it comes in a well made (significantly better made than anything Westcott has put out) case. It’s solid, and has a strap to go around your shoulder when transporting the umbrella.
Take it out of its case, and you’ll find a standard umbrella, except that everything feels very well made. It’s almost as if I was touching and holding a Profoto product.
Open up the insides, and what you’ll find is a very clean white surface that has a very smooth texture to it overall. Westcott’s in comparison feels a bit textured and delivers more specular light. However, their umbrellas also don’t pitch forward as much as Interfit’s.
When it opens up, it’s very large and sturdy. Everything comes together with a great feeling snap, even details as small as the locking mechanism for the umbrella to keep it open.
I was quite surprised by how well it’s designed and built. Most umbrellas I handle feel cheap to mediocre unless they’re from Broncolor, Elinchom, or Profoto. But on the other hand, Interfit’s option didn’t have me believing exactly what I was holding. The stitching, materials, and even the umbrella’s ribs all feel very solid.
I wouldn’t shoot with it in a strong wind, but I know that it can take a little bit of a tumble just in case. I’ve even experienced umbrellas breaking on set and monolights falling on my head. I’d be able to work in confidence with the Interfit, though I’d obviously also still recommend using sandbags for the best stability.
The Parabolic’s greatest strength is its wraparound ability while also being more efficient with light use due to its design. It helps to deliver just the right mood you’re looking for while also creating enough spill to deliver a gorgeous look.
The umbrella has a white interior, and so it’s great for working with people. Silver interiors usually bring out too many elements on skin and make your images too sharp overall. But the white is just perfect here.
It’s arguable that any umbrella can create every lighting look. But what really counts with photographers is reliability, build quality, and portability. I’d be very confident taking this umbrella on the subway and perhaps even shooting with it down by a waterfront for a while. It delivers beautiful, smooth lighting; but the read deal maker here is its build quality.
And for $119, you really can’t go wrong.