Magazine Article



“This portrait of my wife, Mary, was made using a Flashpoint II 1220, placed camera right and fired though a 45-inch F.J. Westcott Halo Mono lightbank near its lowest setting. On the left, a DigiPopper 200 fitted with the standard reflector was aimed at the top of her head to act as a hairlight. The image was captured with a Canon EOS 20D at ISO 100; exposure was 1/60 second at f/18 in Manual mode with an EF 85mm f/1.8 lens. A rear-mounted handgrip makes for quick positioning of the monolight and makes it easy to schlep the Flashpoint IIs around. Umbrellas and lightbanks can be mounted via a non-lockable slot that’s built into the monolight’s shell. Each metal-shelled Flashpoint II includes a sturdy reflector that is a good match with the 45-inch F.J. Westcott umbrellas I use. The fan isn’t noisy and does a great job cooling the unit; it never got hot during any of my sessions. The Flashpoint IIs were wonderful to work with and deliver great value for the watt/second.” — Joe Farace
© Joe Farace

Richard Gere
“I took this photo of Richard Gere on a dock for an ad campaign I shot in Orlando earlier this year. Richard was not in direct light; he was sitting in open shade. I used the California Sunbounce Sun-Swatter with a single-stop diffusion to light his hair. I used the Sunbounce Pro and Mini, with silver matte material, one as key, one as fill. What’s great about the Sunbounce reflectors is that they’re sturdier, especially in the wind, they’re easy to transport and set up, and they create a beautiful complement to natural light, which lets me mold and sculpt my subject.” ­­­— Greg Gorman
© Greg Gorman

woman behind screen
“Minimalism was the primary force behind this image—the shot was really about the eyes, the framing, and the subtle translucence of the latex material, revealing just enough to tease the viewer back into the eyes. My approach was to use the Hensel Integra 500 W/S Pro Plus mono light. With its totally controllable remote transmitter/receiver technology built in, I could change the setting on the power head without leaving the camera—the flash sync is also wireless. The Hensel beauty dish with a 20-degree grid mounted in the dish was the perfect modifier. The overall soft falloff of the beauty dish was enhanced by a harder, more defined light striking the middle of the face. It was the perfect reflector for creating definition on the edges of the delicate rubber strips and the model’s awesome stare, the harder light from the center pushing through the material to her lips and skin beneath.” — Robert Sanders
© Robert Sanders

“This photograph, ‘Leah,’ was recognized as the Best in Portrait and People’s Choice Award for the Professional Photographers of California. To create this look, reminiscent of the ’30s and the ’40s, requires a strong, directional light source that produces a beautiful and unique skin quality. My choice of lighting for the key light in this portrait is the Norman 16-inch reflector (5WW-RP) with the glass diffusion dome, the Norman (# G16) 15-degree honeycomb grid, and Norman’s ML600R monolight. The key light was used in the classic paramount position, with an additional light on the background and hair.” —Tim Meyer
© Tim Meyer

woman & flowers
“Four LiteShapers, designed for use with the 24x32 softbox, were attached to cover the front of the box to fully block all light. The two bottom LiteShapers were then bent open to control the light falloff, allowing it to only hit the subject’s face and parts of the hair where light was directed.” —Xavier and Patrice DeLa Paz
© Xavier and Patrice DeLa Paz


The new Integra Pro Plus monolight flash features automatic voltage sensing, with a built-in radio receiver that provides remote triggering to 100 feet, with power and model lamp control. Flash power can be adjusted in 1/10-of-a-stop increments over a six f/stop range. The unit is housed in a solid, lightweight aluminum case with a backlit control panel you can see in the dark.

Hensel also introduces its Porty Premium AS/RC battery portable strobe, the first battery portable to feature a built-in radio receiver that provides remote triggering to 100 feet and both power and model lamp control capabilities. The two-head outlet pack can be adjusted asymmetrically with ratios of 1:1, 1:2, and 1:3, with a maximum power of 1,200 watt/seconds.

Larson Photographic

Transform your camera room into a one-light studio with the Starfish, a soft, diffused light source that can be used as a main light or a fill. This six-sided, strong-but-collapsible light source is durable, easy to use, and compatible with all major light heads. Its innovative design (a 175-degree light spread and protruding front) projects light in a wide arc for a wrap-around effect.

Larson Photographic features a monthly Web special (the Starfish is October’s), so be sure to check out the website.


The E Photomaker eliminates poor exposure, gray and orange photos, unwanted shadows, and poor color casts with a three-wall casing that creates the perfect backdrop for product photos. The unit contains a built-in reflector that directs the light onto the subject and creates a controlled-shadow environment.

Lightsphere II for Photojournalists

In the field you can’t always rely on natural light or take the time to set up a studio, but achieving flattering, soft light from your on-camera flash can be challenging. Now you can replace your bulky studio lights and flash bracket with one lightweight, supremely portable flash diffuser: the Lightsphere II for Photojournalists. Designed to turn your on-camera flash into a portable studio, Lightsphere II doesn’t cast shadows or require a flash bracket for vertical shots. So now you can create the soft, wrap-around light you want right out of your gear bag.


The future’s so bright, you gotta wear shades—if you’re using the Metz 54 AF-1, 28 CS-2, or 28 AF-3 digital flash units, that is. Whether you’re shooting digital or film, if you’re searching for a fast flash that’s simple to use you’ll find the 54 AF-1 (featuring a user-friendly interface with only two function keys, TTL auto zooming, and short recycling times) an ideal companion. The 28 CS-2 is a compact slave unit that incorporates Metz ’s exclusive “easy mode” technology, which allows the user to automatically fine tune the flashgun to the specific camera’s requirements. Finally, the 28 AF-3 is perfect for all digital cameras, even those without a hot shoe. It’s compatible with the newest technologies from camera manufacturers, including the i-TTL mode for the Nikon D70 and the E-TTL mode for all of Canon’s digital cameras.


No more tripping over cumbersome cords: Go wireless with Nikon’s versatile SB-600 and SB-800 Speedlights, a powerful pair that’s part and parcel of Nikon’s Creative Lighting System. Both Speedlights feature Nikon’s next-generation i-TTL flash-control technology, which delivers automatic balance fill-flash and advanced wireless lighting capabilities. The SB-600 and SB-800 are designed to work in tandem, so you can use them individually or in arrangements of multiple Speedlights for consistent i-TTL control.


What makes the Auto-Flash-Art P anel flash unique is its patented parallel-light reflection technique that replicates light rays with the characteristics and shadow rendering of sunlight. Because Auto-Flash-Art can be positioned up to 45cm off the optical axis, the illumination can be varied from virtually shadow-free to very high contrast.

Photo Control/NORMAN

Whether you’ve got a demanding studio assignment or a high-volume school portrait session, the compact Norman ML400 and ML600 monolights can handle the heat. The digital controls on these 400 and 600 watt/second monolights allow accurate, repeatable setting in 1/10-stop increments through a 5-stop range. The option of adding a built-in PocketWizard radio receiver allows wireless actuation without the need to carry a separate module and batteries. The ML400 and ML600 monolights are compatible with more than 100 Norman light modifiers, including a variety of softboxes, reflectors, grids, snoots, and barn doors.