The Impact Soft and Natural 4 Socket 3 Light Kit is a lightweight three-softbox continuous light source for studio shooting. MSRP is $604.90, but it seems to be perpetually discounted at B&H. As I write this it is priced at $348.95. The kit comes with stands, softboxes, heads and bulbs, everything you need to get started shooting portraits except the model and background (oh yeah, and camera and photographer, d’oh).
As you saw from our review of the Profoto B1, we were very impressed by the capabilities of this portable, battery powered flash head. At the time we wrote the review, the Profoto B1 was only compatible with Canon TTL and support for Nikon TTL was supposed to be announced later. Well, the wait is almost over, because Profoto announced the Air Remote TTL-N for Nikon, with expected availability on September 15, 2014.
The majority of my videography and photography work is with industrial clients, and I almost always find myself shooting onsite in warehouses, factories, and other indoor venues. In many of the buildings in which I shoot, lighting can consist of a mix of technologies such as high intensity discharge (metal halide, high pressure sodium, mercury vapour, low pressure sodium), fluorescent, and LED. To further complicate things sometimes facilities have had physical expansions and specific parts of a building can be illuminated by a mix of lighting sources. Rather than pull out the few, remaining hairs I have left on my head when having to deal with all of these variables, I try to simplify my shooting by bringing my studio lights with me and creating as much wide angle, controlled light as possible.
Like many photographers and videographers, I’ve found that there have been times when I really could have used a small, highly portable, adjustable light source. This most often occurred when I shooting close-up still images or video clips of industrial machinery where I couldn’t get my regular studio lighting to fit into cramped quarters. I began looking for a solution and came upon the Genaray LED-7100T On-Camera Light.
A while ago, Nasim went to London to spend some time with his family and meet up with some of our dear readers. You might have noticed that, for a couple of weeks, he did not have much time to work on articles, certainly not as much as usual. You might also have noticed my own absence for the last couple of months at least. We did not plan to take vacation at the same time. It just so happened that I, too, have been extremely busy at the time, hence no new Lightroom or composition-related articles coming out. My time away, however, was rather less glamorous than that of my friend’s. And less relaxing, let alone fun or enthusiastically met. In fact, it was somewhat of a nightmare at times, a blur of nights and days turning into long, long weeks of never-ending stacks of books, articles and albums. How I missed my job! Although rationally I understand it is not, in the moments of weakness writing articles seemed like a much simpler endeavour. Certainly much more fun.
About a year ago, I reviewed an Impact background (Impact reversible muslin background). Out of curiosity, I decided to grab another one. This time instead of one that was reversible, I chose the Impact Crushed Muslin Background in Grey Mist. What’s the difference you might ask? Let’s just see…
This is a review for the Impact’s Beauty Dish Reflector Kit with an adapter for the Paul C Buff Alien Bee Strobe. The Reflector kit includes a 20″ Beauty Dish Reflector, Honeycomb Grid for 20″ Beauty Dish Reflector, and a diffuse sock.
Studio backdrops are a great way to transform a space. There are all different sorts of backdrops but I wanted a backdrop that folds up easily and doesn’t require lugging around a bulky backdrop stand. I also own some paper roll backdrops and it is so tough bringing out of the studio. What I like about this backdrop is that compact when stored, but unfolds to be the perfect size backdrop for shooting portraits. This is a review of the Impact Super Collapsible Background.
This is a review of the Impact Reversible Muslin Background. When I’m shooting portraits in the studio or on location, I sometimes want to use a backdrop that is not a seamless paper. Why? Seamless can be too uniform in color and also difficult to transport. I have always wondered what it would be like to shoot some portraits on a muslin background with subtle color variations, so I decided to grab one of these made by Impact and try it out.