Mar 062014
 

Judo Shooting..with Strobes and a Leica

by Jochen Kohl

The shooting took place at a Judo Dojo and the main participant was local Ving Tsun Master and a former national league Judoka. The picture showing the kick was done with the Leica Vario.

VingTsun

Lightning setup was a Multiblitz X10 with a 5 ft. Superbrolly Silver Umbrella and a Profilux Plus 400 with a standard reflector, both powered by a Propac on location and triggered via radio trigger on the MM’s hot shoe.

Setup

For the Judo pictures I used the Leica Monochrom with the 35mm Summarit placed on a tripod.

Because for this kind you don’t need an autofocus or a high frame rate and the final pictures should be black ‚n white using the MM was a simple move.

It was a small location with white walls reflecting the flashes badly. Simple closes the aperture and used flags to set the light.

Judo_MM

Judo_MM1

Judo_MM2

Judo_MM3

Judo_MM4

Dojo

So easy it can be.

Regards

Jochen Kohl

Nov 072012
 

Big Light with Small Gear by Anders Hansén

Hey Steve,

I was thrilled to see Per Nicolaisen’s post on using strobes, since I’d been thinking about sending you a piece about using speedlights in conjunction with small cameras to get big light, but couldn’t really decide on how to include the basic knowledge needed. No need now!

If you are new to strobe lightning, Per did a wonderful job in summarizing the things you need to account for when setting your own light. I suggest you read it if you haven’t already.

For those of you that got inspired by Per’s post on using big a$$ expensive Profoto strobes, I’d like to show you that you really don’t need to sell your precious Noctilux (nor use a car to haul the gear on location) to make a first venture into that photographic style.

(Now to get that specific look, you know Profoto quality light and gorgeous sunstars from a Canon 16-35 stopped down to ƒ/16 with minimal diffraction – sadly, you probably will… but let’s stay happy here).

I enjoy shooting in full sun more than anything else. I love the look of a rich blue sky with white clouds, and the feeling it injects into my pictures. I love to be able to include as much sky in the picture as possible instead of cropping it out because it’s washed out and overexposed. And I absolutely adore the ‘pop’ in color, contrast and rendering I get with hard crosslight between the sun and a flash.

Good news is, this can be done both cheap and lightweight – and the results will still pack a serious punch when you get it right.

Eyes in the sky, Panasonic LX3, 24mm equivalent, handheld Nikon SB-900 and a Lumiquest Softbox III camera left, ambient underexposed by at least two steps, ƒ/3.5, 1/1000s, pull-ISO 80

I’m a long time Nikon SLR user. I started out in the 90′s using a Nikon FA, a Nikon SB-24 and a Nikkor 50mm f/1.2 AI-s prime (whose characteristic swirly out-of-focus rendering I still miss to this day, oh well…). For practical reasons I have since moved on to digital and mostly shoot with a D7000 today.

However, outdoors in harsh Sunny 16-conditions, I primarily shoot something completely different: an old beat-up Panasonic LX3 compact camera. Not because its smaller – but because it does one thing much better than the D7000. It syncs with flashes up to a 1/2000th of a second.

What does that mean? Well, it means that with a typical Sunny 16 exposure (1/100s, ƒ/16, ISO100) you will easily be able to shoot with battery-powered flashes at ƒ/5,6 and 1/800s with more than a full stop of shutter speed left to underexpose ambient.

You may or may not be familiar with power ratios of small flashes. For this piece I’ll keep it really simple: at ƒ/5,6 and close quarters – battery-powered speedlights pretty much are portable nukes. You can easily use modifiers like umbrellas or softboxes and will be able to shoot the flash at quarter power for speedy recycle times.

Run and gun, LX3, 24mm, handheld bare SB-600 camera left, roughly 2/3 stops underexposed ambient, ƒ/4, 1/500s

I mentioned this wouldn’t cost you an arm and a leg. In fact, you might already own the most expensive parts of the gear: the camera and speedlight.

If not, a speedlight with manual controls and an optical slave can be picked up for next to nothing compared to other photographic gear (like, say a major brand 24-70 ƒ/2.8 zoom). I recommend you find a flash that will do TTL with your camera. It’s always nice to have that option. Many off brand flashes do. With that said, I tend to stick to Nikon speedlights for my uses, since I know their color temperature and behavior well.

As for flash triggers – I strongly suggest getting a TTL cord. I’ve done a lot of optical slave syncing, and it’s simply not reliable enough outdoors in full sun. If you’re lusting for radio triggers, don’t cheap out. I did, and I’m not going to do it again. Lesson learned: if you don’t want to spend big money on Pocket Wizards – use a cheap, reliable TTL cable instead!

Baywatch Kid, LX3, hard crosslight using a small SB-600 at camera left, ƒ/7.1, 1/1000s

How do you get this look? Easy: set your camera to manual, underexpose for a rich blue sky, and then bring your main subject up to the correct exposure by dialing in the flash. That’s it.

I don’t use flash meters. The LCD and histogram are my real world flash meters, that also shows white balance, contrast and rendering with the current light. Just pop a test shot. Then adjust. Simple when you get the hang of it. You can even start out in full TTL using exposure compensation and flash value compensation to achieve this.

So, what cameras can actually do this? First off, pretty much any camera can – but with typical mirrorless sync speeds in the 1/180s region you would need to work with a ND-filter on camera and bare flashes at full power. Use of umbrellas and soft boxes in full sun is more or less out of the question. Unless working really close and/or with double speedlight brackets.

The best affordable camera in the market for quality high-speed sync shots right now would be a Fujifilm X100. APS-C size chip combined with fast sync speed in a package that can easily be found used at a decent price. After all it’s a camera many bought because of the hype, but found cumbersome to use and ditched it since it required you to think like a photographer instead of a machine gun shooter.

There are other cameras that will do this as well – and luckily, most of them can be found dirt cheap used.

When it comes to ‘larger’ chips, Nikon D40 (not D40x), D50, D70 and D70s are the most current DSLR:s using electronic shutters that will sync at any shutter speed (though they will artificially limit you to 1/500 when using TTL). The quality of light will largely compensate for the age of the chips. I’m predicting they will easily smoke my LX3 due to the larger chip size (I haven’t gone this direction since I don’t want to carry two DSLR’s, one is more than enough, thank you…).

But the most common high speed-culprits are actually compact cameras. Sadly, most of them miss that vital hot shoe (you can still slave an external flash optically, if you really try), but as you know by now the Panasonic LX3 and LX5 will do it. I still haven’t found out about the LX7 (since Panasonic decided to switched to a MOS type sensor, and the x-sync spec is missing everywhere, I don’t have any high hopes). Many Canon G cameras, like the G9 will do it as well.

Now, I know there are plenty more dark horses to be found, but these are the ones I have solid first hand information about. Do you own a fast sync camera? Let others know in the comments below!

(Oh yeah – there’s the major league as well: medium format beasts paired with leaf shutter lenses. Like Leica S, and Phase One 645 format if you’re using the right backs. But then the noct will have to go. And probably a kidney as well. Oh, and you never cared to much for your grandmother anyway, now did you?)

Sadly, for almost every new camera announced nowadays – especially mirrorless – I’m usually put down by its sync speed.

The one exemption is the Sony RX1, that will fry every other 35mm sensor camera in this regard, but since Sony knows this as well – it’s priced accordingly. I consider it out of my league. I’ll pick it up used in a couple of years if nothing else has happened by then.

For the future, I can’t help but put some faith in Fuji.

This is mainly because the X-mount lenses and cameras tick every box for me, except sync speed. And Fuji is an ambitious contender very much in control of their chips, and despite a great photographic tradition and legendary color – Fuji don’t have a current pro segment to protect (I believe many portrait pros would happily consider ditching their single digit D’s if the Canon 6D or Nikon D600 had at least 1/250s sync – and it’s pretty evident Canon and Nikon thinks that too, hampering them to slower speeds).

One day, maybe Fuji or some other company will heed my call for a fast syncing mirrorless with interchangeable lenses. Until then, we’ll have to make do with what we’ve got. Which – as I’ve hopefully shown you – isn’t that bad, really.

(So… anyone fancy a kidney?)

Anders Hansén works full-time for Swedish national broadcaster SVT Sport as technical coordinator, director, craft video editor and, occasionally, photographer. If you can read Scandinavian, you’ll find his (occasionally updated ;-) photography blog here.

Best regards, Steve, and my congrats on creating a killer photography site and community!

Anders Hansén

Oct 262012
 

Hello from Greenland! I want to give a little introduction to strobe photography using battery power pack strobes. I made this article in a brand specific example using the Profoto 7B 1200w power pack because I find it to be the easiest way to introduce strobe photography. Battery power packs of other brands are very similar in usage.

I am not an expert or even experienced strobe photographer but I want to give my contribution this wonderful website that have given me so many great articles ever since I started to follow Steve Huff right after the M9 was announced. I always want photography to be challenging and strobe photography seemed like the next exciting photographic venture into the unknown.

I’ve never previously been interested in strobe photography or portraiture for that matter. I’ve always done everything I could to avoid top mounted camera flashes, I hate the look, and to some extent I still do. I have always chosen depth of field with fast lenses to make the images “pop” or in other words using fast lenses to make the images appear 3D in a 2D medium. The same effect can be achieved using light instead of depth of field. I eventually became more interested in strobe photography after seeing a lot of great professional photographers work and I also enjoyed a lot of the images posted in flicker group “strobist”.

I found it quite difficult to find a starting point, all I knew was I wanted something powerful and battery powered strobe to take outdoors. I quickly came down to two battery power packs brands that I found interesting(out of a lot of great brands). Poul C. Buff “Zeus” series a great value for the money or the expensive and renowned brand Profoto and their “7B 1200w” battery power pack. I called my danish dealer that had the profoto 7B on sale and decided to jump at the offer, sell my beloved Leica Noctilux 0.95, and lay down a total of 9.000 USD for a hole package to get started in strobe photograph which included:

Profoto 7B 1200w battery power pack

By the master control knob (14) you control the total power/level of light out of the two lamp sockets(12,13). This power pack allows asymmetrical and symmetrical power distribution out of the two flash head (12). This basically means there is a button to either halving the power of the second lamp (asymmetrical) or identical power(symmetrical). This can come in handy if you have your main light on your subject and use the second lamp to creatively enhance the subject, for example from the back or above the subject. I done most of my portraits with a single light and use the sun as my “second light”. To give you an idea of power of this battery pack, a top mounted camera flash with AA batteries output about 60-90w (anybody correct me if Im wrong) compared to this battery pack that outputs 1200w which means it out powers the sun for a tiny brief moment. I would love to read peoples opinion and remarks about other brands in the comments field below.

- Two pro B flash heads (includes 4 meter cable each to connect to the powerpack)

- Two stands, Manfrotto flash head stand model 1004BAC

- One additional 5m flash head cable

- Pocket wizard

Receiver and transceiver for wirelessly triggering the power pack from the camera (connects to 7 on the power pack)

- A Light meter

The light meter is where all the key information is. I use my light meter connected to the power pack with a cable to trigger the flash and adjust the power to my ideal setting. You can buy light meters with build in wireless triggering that is compatible with pocket wizard and get rid of the cable.

- Light modifier

Now I needed a light modifier to soften the harsh light from the bare bulbs. I choose one 2×3(60x90cm) softbox that mounts on the flash head to start off with. All Profoto’s light modifiers claps easily directly on the flash head.

Keeping things simple

Its easy to overcomplicate things and make a advanced setup. You can indeed make a spectacular looking portraits using multiple lights sources but I prefer to use one light and the sun. For me that is complicated enough. Using strobes in the outdoors two factors needs to be acceptable: low wind and no rain.

Setting up

The Camera

Even though I love Leica M I find a DSLR with a zoom lens to fit my needs best for strobe photography. An important aspect of shooting in sun with strobes is “x sync” which is a given cameras ability to synchronize with a strobe. The faster the shutter speed a camera can synchronize the better. I use Canon 5D mark III that has a highest synchronization of 1/200th of a second. If I use a higher shutter speed with a strobe, a big black ugly line starts to appear on the button of the image and heres why. A strobe fires at around 1/3000th of a second and in that super short moment the WHOLE censor in the camera needs to be totally open. The shutter mechanism of the Canon 5D mark III stops to expose the whole censor beyond 1/200th of a second hence the black line visible in image.

I do most of my strobe photography in midday bright sunny conditions. I know It doesn’t seem necessary with strobes but I enjoy the look. After I have found a person willing to be photographed and a location, I set up the gear. I then meter the sun. A sunny bright summer midday in Greenland I often measure to ISO 100, 1/200th, F/11. I want my strobe light to offer one F stop faster light:

Typical Day light ISO 100, Shutter 1/200th of a second and F/11

Strobe Light I dial in to ISO 100, shutter 1/200th of a second and F/16. One stop faster. This darkens everything accept the subject and gives a dramatic image and deep blue sky. I don’t always choose this approach as it depends on the location, weather and the subject I photograph. I like to set up the softbox close to the subject, preferable within 1 meter when I do head shots. I don´t like to put up “rules” about how the light should be but many put out up the main light in a 20 degree angle and 1-2 feet higher than the subjects head. This way I like how the light “travels” across the face when I put up the light in a angled position, highlighting one side of the face and shadowing the other side. That way you get a sense of depth and “see” the subjects unique conjures instead of a “mug shot” kind of portrait where the main light points directly at the face. You can control the light fall off with F stops. The higher the F stop, the higher the light fall off and that way you control how dramatic you want the difference between light and shadow but keep defraction in mind when using small apertures. Remember to keep metering the strobe light. When I measure I put the light meter directly under the chin. If the person moves a little make sure your exposure is correct by remeasuring and adjust your light accordingly.

So what is challenging about strobe photography?

I see strobe photography as one part technical, one part creative and one part coincidental. When I set up the light I always have a vision about the image and how the subject is lit. After I have taken the images I had preplanned I try unexpected/unusual angles to shot or sometimes the subject somehow seems better lit another way than I had planned. The point is I always keep a open mind to creative impulse as I shoot. Sometime it leads to mistakes which is also welcome because I learn from mistakes. Even though I have limited experience I hope I have given the reader some sort of insight and I hope more experienced strobe shooters can ad or correct some of the info I have given in the comment field below. I also welcome other online resources about strobe photography in the comment field.

Regards

Per Nicolaisen

Husky. Canon 5D Mark II. canon 16-35mm II. 
One softbox on the right. Strobe 1,5 stops faster than sun light(if I remember correctly). It was a little difficult to measure the light “under the chin” as it wanted to bite my hand but I managed :-) 

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My dad. Canon 5D Mark II. canon 16-35mm II
Softbox on the upper left, very near the face. Strobe light one stop faster than sun light.

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Soccer kids. Canon 5D mark III. Canon 16-35mm II
I loaded my SUV with strobe and photo gear and decided to drive around my home town, Tasiiaq, to see if I could find any people willing to be photographed with strobes, when I saw these youngsters playing soccer. Two lights with standard zooms on the upper right.

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Mr. Karl Pivat. Canon 5D mark III. Canon 16-35mm II
Softbox to the upper left, quite close to Mr. Pivat.

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Susanne & Hendriks wedding day. Canon 5D mark III. Canon 16-35mm II
Softbox to the upper right. 

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My Son and daughter. Malik & Niviaq among “river beauty” flowers <3
Canon 5D mark III. Canon 24-105MM
Softbox to the upper right.

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Paakkannaq. 
Canon 5D mark III. Canon 24-105MM
softbox to the upper right and one light with standard zoom behind the ship to the right pointing towards the hull of the ship to the left… Light one stop faster than sun light. 

Feb 292012
 

Lighting on the Cheap! Great light AND stool for under $150

I have not had a lighting setup in my house for years. I used to have the whole kit and caboodle though…lights, strobes, reflectors, seamless backgrounds, hair lights, shoots, filters and gels. Then I sold it all off in 2005 because I realized I did not want to be a portrait photographer even though I shot some great portraits back then with that kit and my then oh so lovely and dependable Olympus E-1. (who remembers the E-1)? I kept that setup in my garage and would torture my then 9-year-old son when testing it out (see above image using strobes in 2005) :)

Turned out I ended up doing quite a few portraits with those strobes but even so, decided to sell it off. After I sold the big setup I remember I went to a simple lighting setup, a one light/umbrella kit much like the one you see below. That and a posing stool was all that was needed if I wanted a nice simple portrait at home. Of course, adding TWO of these lights will improve things but you can get some cool stuff using one light. I kept the one light setup around the house for years and then decided to sell it (yet again) before a big move as I never really used it since I am a big “available light” kind of guy.

Well here I am again years later, wanting a simple light setup for my house/office, and look what I found. It’s cheap, it’s complete, and it works great. It is the IMPACT One Floodlight Umbrella Kit, and it is $75!

 

Yes, the complete light you see above is only $75. For that $75 you get the light stand, the 500 watt light bulb, the reflector and the umbrella! It is a GREAT setup on the cheap. If you are looking for a fill light, or something simple then this is a great solution. I have this sitting in my office and when I want to test a lens I will have someone sit on my stool while I use this light to get a shot. It’s better than using a flash on your camera because you can aim it, filter it, reflect it or whatever you need to do.

Just a quick grab with a Nikon J1 and using the Impact lighting set. Notice the shadow on his left side? If I had another light it could have filled that in, and for two of them it would be $150. Still a deal. 

Of course there are better lighting solutions out there but I’ve been using this one and find it to be a great super bang for your buck product. I got mine from B&H Photo HERE. You can also add a posing stool to the set and you would shave a complete setup. I went with THIS ONE and it is under $60.

These portraits were also shot using just one single light…

Just wanted to give a shout out on this one in case anyone out there has been considering something simple and fun to mess with. I’ll admit, I have not used mine too much but I will be keeping around for when I want to experiment with light a bit.

Feb 172012
 

(a not so) quick crazy Comparison: Nikon V1 vs Panasonic GX1 

Hello to all! Hope everyone is having a great week wherever you are and whatever you are doing. While anxiously awaiting for the new cameras to start shipping (Olympus OM-D, Fuji X-Pro 1) and my NEX-7 to arrive I decided to bring out the Nikon V1 and do a super quick comparison to the Panasonic GX1, just a daylight shot to see how each camera renders color and sharpness. I recently had a GX1 sent to me again with the 14-42 X Power Zoom lens and figured I would do some side by side testing with the smaller sensor underdog Nikon V1. I have to say that the X power zoom lens is quite nice in fit and feel. Looks great on the GX1. BUT, for some reason I prefer the standard lenses as zooming in with this lens feels like I am using a camcorder. It is great for video but for photos give me a standard zoom ring any day. Still, the lens is nice as it is small and compact, and that is always a good thing when it comes to a take around camera but at $949 it is a little on the pricey side for this camera with no EVF and a slow zoom lens.

So..just one quick grab from each…click on them for larger

1st the Nikon V1 and 10mm (27 equiv)  2.8 at f/3.5 

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and the GX1 with the zoom at 14 (28 equiv) f/3.5

Seems the Nikon is sharper but it also has more grain when viewed at 100%, which is not a bad thing for this kind of camera as I feel it is that little bit of grain and sharpness that gives it the look it gives, which many like and many hate. I like it as it is different to the smooth and softer GX1/Micro 4/3 sensor. But many say the output of the V1 looks like a small sensor P&S, and in some ways it does. That is due to the smaller sensor being used. Still, in use I prefer the V1 for everything it does well and for most of us who just share images online of print small, it is plenty good enough. Either camera is.

The few shots down below were shot as I was going through my weekly auto car wash – some are with the V1 and others with the GX1. Just shows that for 90% of our uses, any camera will work. Even one with a smaller than M4/3 size sensor. The things I look for these days in my “take everywhere” body is a combo of image quality, usability, speed, focus speed and accuracy, feel and build. These days there are many cameras that give this to you and many that do not. For me, the V1 is perfect for a 2nd body, take anywhere body, or do it all body as long as you do not want shallow depth of field. That is just about it’s only weakness when compared to a Micro 4/3 body (well, the lack of lenses as well).

With the new bodies coming though, it seems like it will be a royal rumble…every camera for itself – The Fuji X-Pro 1 (Coming March 20th) will deliver outstanding colors and IQ with amazing low light but still slower than average AF (my guess). The OM-D E-M5 will be the best M4/3 yet (again, just my guess) and have just about everything you can ask for but a full frame sensor. I think that the Fuji will be better in lower light and deliver those Fuji colors many of us love so much but it is also more expensive and larger. The Sony NEX-7 is still going string and starting to ship next week finally (I think). I should have mine soon and when I do I will be taking a 2nd look at it now that I can process the RAW files. Remember, my review was comprised of JPEG only images!

We also can not forget about Leica…where are they and what are they up to? I wonder if they are eyeballing the competition or just having a cocky attitude about it. What about the new Sigma DP series that has been revamped and promises to be the best quality compact? Will be interesting over the next few months…but this right here and right now is the calm before the storm. We are all waiting for the reviews and samples from these new cameras to surface and I am ready to rock and roll.

For now, can you tell which page was shot with the V1 and which was taken with the GX1? EXIF is there so it’s not a contest but could be fun to guess.

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and a series from the V1 using THIS cheap light kit that I have in my living room – of course I added filters using Alien Skin Exposure to give it a creepy moody look

Oh, the site may look a tad different today. I am expirementing with the colors – I added some black in as I felt it looked a little bolder but still unsure about it. I may try a few things this weekend so if you come here and it looks a bit different, that is just me messing around with it. Have a great weekend and shoot all you can! I will be heading to a tattoo convention with the M9P, 75 Summilux and SLR Magic 50 T0.95  so hopefully I will be able to do my review on the 75 soon and add to my 50 review as well!

Dec 242009
 

Impact Digital Lighthouse Kit Review: Hey guys! It’s Christmas Eve and here I am typing away with pouring rain pounding on my roof like mad. No snow this year, just a flood :) Being indoors has given me a chance to play with a new toy I bought last week and write this mini review of it as well! Not only is it affordable, it will help out my product shots for the reviews on this website! So instead of seeing my hand holding a camera or lens in my hand and being all generic you will see it presented in a much nicer, brighter ,and more detailed way. I bought an “Impact Digital Lighthouse” kit from B&H Photo and have been thrilled with the results. The whole kit with floodlights, light stands, bulbs, lighthouse, and black and white backdrops comes in at only $135. If you want to shoot images for your e-bay items, or all of those cameras and lenses you buy and sell, then this kit is easily recommended! I am not sure what took me so long to buy one of these as I could have been using it all along for not only this site, but for items I have sold in the past!!!

Here are some photos of the setup in my spare room (ignore the nasty 1980′s wallpaper and red carpet, this is why we do not use the room, ha ha)

P1010437

P1010440

P1010442

So for under $135 you get everything you need. I thought this was a great price for the stands, the lights, the bulbs, the backgrounds, the box, etc. It even comes with a carrying case for the lighthouse itself.

Here is what the listing at B&H says about this kit:

This is a B&H Exclusive Kit, built around the Impact 500 watt floodlights and the Photek digital Lighthouse small 15 x 15 x 23″ shooting tent. It is a 2 light, 500 watt total kit.

The Digital Lighthouse can be lit from the sides, top, back, front or can be placed on a shooting table for bottom illumination. It also includes a removable black sweep that aids in preventing shadows on the background and provides complete separation from the item being photographed. It contains a removable plastic base, forming a rigid base for ease of product placement.

Although this kit is supplied for use with 120 AC voltage, it can function with 220-240 voltage, with the appropriate optional bulb, and adapter plug, available separately.

• Quick and easy set up.

• Position the lights where they are needed around the Lighthouse, for soft, even, or intense lighting.

• Full zipper front and zipper on top panel for digital camera lens positioning.

• For web advertising photos, small product photography, copying art work and recording sculptures for future reference.

• This kit includes 4800° “daylight” balanced bulbs. Other bulbs are available.

• Use the included light stands to support the light heads as you adjust their position and height.

Basically you just set up your lights on the side or top of the box, place the item you want to shoot inside and have at it! Below is a Leica Noctilux lens I shot inside of the box:

noct

noct2

This was really my first attempt with this kit, and the pictures of the lens looks so much better than if I just held them up with my hand like I used to do. I know many of you probably have a kit like this already, but if not it is something that is very easy to set up and use. I was up within 10 minutes of opening the boxes. Basically you just remove the light stands and extend them. You then attach the domes and light bulbs. Then just unfold and set up your light box on a table, or something that will elevate it up off of the ground. Then just attach your background and set down the plastic piece as this will give off that shiny reflection like you see in the image of the lens above. Very pro results in minutes! I now have mine  setup in a spare bedroom we never use. When I need an image of a product I can snap one off within a minute!

So for all of you who have been looking for an inexpensive way to get a light box kit with lights, this set is highly recommended! BUT, if you want to shoot large items you would have to buy a larger kit. This small set works OK for cameras and lenses but if I wanted to shoot something larger, like a laptop computer for example, then I would need a bigger box. I may buy a larger light box because I have found that when trying to shoot two cameras side by side, this box is a little small. The cool thing is that I can just buy a new box as I already have the lights. I saw one kit that was large enough for a person to fit in! Check this one out! There are some pretty cool kits out there but this basic small setup is perfect for what I do.

Also, if you have lighting already you could also make your own light box (I did this a few years ago) but I have found you do not get the same nice results as the light is usually reflected instead of filtered and softened. This makes the items look a bit less natural and “hard”. To check out the exact kit I am using you can click here to check it out at B&H, which is where I bought mine. It really is a pretty cool setup for not much money!

HELP SUPPORT THIS SITE TO KEEP IT GOING AND GROWING!

Remember, anytime you follow my links here and buy from B&H or AMAZON, this helps to keep my site going. If it was not for these links, there would be no way to fund this site, so I thank you in advance if you visit these links. I thank you more if you make a purchase! Ha ha..

If you enjoyed this review, feel free to leave a comment at the bottom of this page and also be sure to join me on twitter or facebook! Also, you can subscribe to my feed at the upper right of any page and be notified of when new reviews are posted! You can also subscribe via E-mail (also to the right). Thanks so much for reading!

Here are a few more shots I took while testing out this lightbox kit (images shot with an Olympus E-P2 and kit zoom lens):

P1010450

P1010452

P1010453


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