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3StbPtStrt8w/239/479/3985

NEW Three Strobe Professional Portrait Studio Package VIII
- All Brand New for 2003!

Here's a GREAT New Portrait Studio Package! All BRAND NEW!

Here's what you get: 1) Two Britek PS-300H 150WS Professional Strobes (Show me) 2) One SM-1000 Pro Strobe (100WS) (Show Me) 3) Two 32" Black/White Umbrellas (Show Me) 4) Two 6 1/2 Foot Light Stands (Show me) 5) One backlight Stand (Show Me) 6) Two Unique Umbrella-Capable Reflectors (Show Me) 7) One Tilt/Swivel Bulb Holder (Show Me) Professional Portrait/Product package level 2

Just scroll down or click on a "Show Me" link to jump to the item. (Kit #239)

This is a GREAT 3 Strobe Starter Portrait Studio setup! You'll have what you'll need to get fabulous portraits (also great for product photography)! With 2 powerful 150WS Master strobes, you'll have two strobes to appropriately light your victims (er, your "subjects, that is:) from two opposing locations, which will allow you to get professional-level results with the necessary interplay of light and shadow, resulting in the depth and texture characteristic of pro portraits. Also, professional strobes (like these) come with all the bells and whistles already built-in - like what, you may ask? Like Modeling Lights, (see here and here), variable power with the flip of a switch, removable and interchangeable umbrella-capable reflectors, built-in umbrella holders, integral power supplies, and the capability of using an almost infinite variety of light modifiers (such as umbrellas, softboxes, SoftCases, snoots, honeycombs, etc.). In addition, you'll also have a fabulous backlight strobe to light your background (providing the depth and separation between the victim and background for pro results), plus three Light Stands for your strobes, AND two Black/White Umbrellas to creatively soften the light and effectively help to hide the lines, sags, and wrinkles often found on our older victims (it makes them look younger, more vibrant, and attractive - and often results in the photographer being called names, like "Artist" and "Genius" :). Umbrellas also help us eliminate the reflections and glare from reflective surfaces, glass, chrome, etc. And in addition, you'll also receive an umbrella-capable reflector with each strobe. Over all, this is a fabulous starter package which will give you what you need to start you off in portraiture or product photography the right way, and is infinitely upgradable! Unlike other kits, this starts you at the pro level, and allows you to expand whenever you like - without being stuck with amateur equipment that you wasted your money on. And you get all this for less than you'd pay for just one single strobe from a competing manufacturer (and less than a dinner or two would cost you at a nice restaurant - and this professional lighting equipment is absolutely guaranteed to last longer than any dinner you'll ever have ;-).

Wondering what the reserve price is? I never hide anything from my (beloved) bidders! Just look for "Elv*s" and you'll see the reserve price minimum clearly listed, just above the "Ladies and Gentlemen, Elvis has left the building..." line. It's the same with all my reserve auctions; the reserve prices are always clearly listed for all to see. Thank you for viewing this auction, good luck, and please accept my most sincere wishes for a wonderful, prosperous, and joyful photographic year.

Another great photographic deal from Photographer's SupplyStation! "PhotoSource3" on eBay photographerssupplystation | myphotohome | photobackdrops

Important: I just HATE IT when I buy a "kit" or "package," and then when I receive it, I discover that I can't use it because there's something else I need (usually at a substantial additional cost, too) to make it work (i.e., the "batteries not included" syndrome)! So I'd never do that to my (cherished) customers! With this fabulous package, absolutely everything is included (well, except a camera, film, and photographer, that is)! When this package arrives, all you'll have to do to start making great photographs, is open it up, unwrap your new goodies, put the strobes on the light stands, plug 'em in, point them at your favorite victims, and, baby, just like Elvis, go ahead and rock and roll (fire away)! NO additional equipment or parts are needed to start using your new studio equipment!

Note: Although this rarely happens, sometimes item numbers or minor appearance differences may change, or new models replace older ones, as manufacturers alter, or update equipment, etc.; items are subject to change (but any changes or replacements will be with items of equal or greater capabilities. Being human, sometimes a typographical error might creep into the descriptions; please forgive any mistakes, and please rely on the large listing of the package contents at the top of this description, and repeated again down at the bottom (just to be sure:), for the final word on what this package includes. Thanks for understanding.

Portraiture! The art making people look great (or at least better than they really are:). This is the most popular and useful branch of photography today, and nothing's going to change in the future, so even if you're not into portraiture now, you might as well plan on doing some (or a lot) of portraiture work soon. Also, remember that EVERYONE you'll ever see, meet, or pass in the street is a portrait customer! When do people need their portraits made? The answer to that question would take at least a week just to scratch the surface of all the possibilities! But for just a few examples, consider these reasons: birthdays, graduations, school yearbook pictures, sports teams (baseball, football, soccer, swimming, skiing, etc.), bands & musical groups, etc., anniversaries, new babies, holidays (Xmas, Easter, Mother's Day, Father's Day, etc.), religious reasons (baptisms, bar mitzvahs, confirmations, marriages, etc., etc.), and a million more reasons. Basically, everyone you'll ever know (even if you live to be 101) will have a hundred different reasons to have their portraits taken. And one client with a few kids can pay your rent every month! It doesn't matter if you've never made a pro picture in your life, or even if you're a product photographer, a still life photographer, a fine art photographer, a landscape photographer, or even an architectural photographer; as soon as people find out you're a photographer, they'll start asking you to take pictures of them, their kids, or their friends and relatives. So no matter what type of photography is your first love, sooner or later (most likely sooner), you'll most assuredly find yourself making pictures of people. And every single one of us has parents, friends (and sometimes spouses, children, and relatives coming out of our yin-yangs:). If you're a beginning photographer, portraiture is the fastest and easiest way to find clients, because everyone you meet is a potential portrait client! It's also a great way to meet those beautiful girls and gorgeous guys, while making money as well as new friends (i.e., "Hi, I'm a photographer, and you're just the type of model I need for my portfolio; I'd love to shoot you one day... Um, with my camera, that is"). ;-) This package is specifically designed to be the second least expensive Professional-Level starter portrait package available anywhere. When making portraits, we need - at a minimum - two strobes to light our victims (um, our "subjects, that is:), one strobe for the highlight side of our victim's face, and another for the shadow side of the face. PLUS, we'll definitely want to have a third strobe to light our background (which not only blows away those ugly, pesky shadows that plague our amateur images, but the baclight strobe also gives us the depth and separation between our victim and the backdrop). Ideally, we might want a fourth mini-light for a hair light (ever notice how the pros' pictures always show the shining, glow on the hair? The hair light is the secret of this healthy and shining hair). But in an ideal world, we'd all be rich and famous photographers; in the real world, though, many of us don't have sugar-daddies (or sugar-mommies:), and we have to start someplace. That's what this kit is designed to do: get you started in portraiture or product photography with a set of Professional Level equipment that you'll need in order to make great Professional portraits or product shots. After a few profitable portrait sittings or product assignments, you can then add other equipment, like a hairlight, a custom backdrop, and a background support set. But realize that - with this package - you'll have everything it takes to make great PRO images. But please see THIS so you'll understand the reality and limitations of any professional photographic lighting equipment. How do the pros make their older subjects look so much better than they usually do? That's easy - when you know how! Just soften the light with umbrellas (or a softbox or oftcase), which help hide all those lines, wrinkles, and sags on so many of our older victims. No portrait setup would be complete without these secret weapons (umbrellas), so this kit includes 2 umbrellas for you! Just open the boxes that will arrive at your front door, and you'll be in business! Add one photographer, a camera, some film, and a victim to photograph, and you're ready to fire away! Although I have several entry-level 2 and 3 light kits available, if you're serious about making great people pictures (and especially if you're just starting out in studio lighting techniques), this is the package to buy, because the strobes are pro equipment with modeling lights, variable power, interchangeable reflectors and accessories, and capable of using all kinds of light-modifying equipment (check my other auctions for other portrait packages that include a background support set and a custom backdrop). And now you can own this complete starter portrait studio package without taking out a second mortgage on your house! Heck, you can own this great package for LESS than you might pay for just ONE competing strobe! For more information on this, just click the "tell me more about photography" link below.

Hmmm. Tell me more about photography... and what equipment I'll need to succeed

Want a whole professional 7, 8, 9, or TEN strobe photographic lighting studio in one dynamic kit? Maybe just some light stands? Only a strobe or two? Something really, really special for the photographer you love with all your heart (like, perhaps, yourself:)? Look no further! You can find ALL these things right now in my other auctions (except for the luscious lovely to the left; I'm gonna keep that one for myself:) <-Looks almost like natural light, doesn't it? Not completely! Strobes made this lovely image better. The give-away? The main light looks like it's coming from the left (which it is - for the main light - a window), but look at the catch lights in her eyes! That's coming from 2 strobes; one just behind and (barely) to the right of the camera, and the other just to the left of the camera (a Minolta Maxxum 7, btw)! From now on, whenever you're looking at pictures in magazines, notice the eyes for clues to the lighting setup - and where the catch lights appear in the models' eyes. The secret to ALL magnificent images? That's an easy one; it's the LIGHTING! A photographer is a LIGHT writer! See below for more information and lotsa photographic tips and tricks...

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Shop with confidence! Bid with confidence! Buy with confidence! From a Profoundly Proud eBay PowerSeller! This PowerSeller proudly provides a plethora of perfect premium photographic products - PLUS - pure, powerful, and peerless customer service! [Ain't that great alliteration? Huh? Well, ain't it?]

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The NEW 2003 Britek PS-300 Professional Studio Flash

The NEW PS-300 Monolight This brand new Britek PS-300 is a great starter Monolight for the beginning professional, the pro with tight budget constraints, or the advanced amateur who is ready to bring the professional look to his or her photographs (without mortgaging the house). Why are photogs so in love with their studios? BECAUSE (in our studios) WE CAN CONTROL THE LIGHT! And a "studio" can be a corner of any room, as long as we can CONTROL THE LIGHT. In our studios, we can play God! We can make it daytime or evening or night; we can shoot 24 hours a day, 7 days a week. We can CREATE anything we can imagine - as long as we can CONTROL THE LIGHT!

After all, the word "photographer" itself (from Greek) actually means Light Writer, or "one who writes with light." The term is meaningful because those of us who make photographs are slaves to light. Light is both our nemesis and our salvation (when we can control the light). Without the right types of lighting equipment, we can never progress to professional level studio pictures. Or location pictures. Sure, we can make beautiful photos with available light... when the light's just right, at the exact time we need it, and at exact place we need it, if it's not raining, if it's not snowing, if it's not too cold, if it's not too hot, if it's not too dark, if everyone we need to make the photographs are available at the exact time the light's just right for our needs, under all the right conditions.... beginning to see now? When we can control the light, we can make the best photographs.

PhotoSpeak: BTW, did you notice, above, that I said "make" photographs, and not "take" pictures? Well, here's your first lesson in how pros speak about photography (photospeak): "Snapshooters" or "point and shooters," who don't think and plan their shots (e.g., most of us) are the ones who "take" pictures (the rank amateurs). Photographers "make" great photographs by careful thought, detailed planning, and, most of all, scrupulous attention to lighting. Before they even think about pressing that shutter, they "design" their photos carefully. Soon, with a little effort, you'll be "making" great photographs! It's not that hard, believe me. But ya gotta CONTROL THE LIGHT!

This little beauty cranks out a full 150 watt seconds* for mamma or poppa (or both)! Why do photographers want powerful flash equipment (strobes)? Because (both indoors and outdoors) with strobes, WE CAN CONTROL THE LIGHT! Sound familiar? Starting to get the picture, now? (sorry, I just couldn't resist ;-) BTW, did you realize that both the photo above, and the photo on the left, were both taken against the same background? Yup. The backdrop was a pure white canvas. Why does the picture on the left look like it has a brown background? BECAUSE I COULD CONTROL THE LIGHT. Even with a cheapie old (really old) digital Fuji (no speed control, no slr, no aperture choice, etc.). How? See the "technique section below). Hmmm... Light! What the heck is a "Watt Second?" And what's a "GN?"

Technique: How was I able to make the background that's in the top picture pure white, and the very same background, in the picture above, appear brown? It's easy - when you know how (it's sorta like this: What kind of question is a hard question? Answer: One you don't know the answer to. And what kind of question is an easy question? Answer: That's the one you do know the answer to). Here's how it's done: In the top picture, I lit the background with a backlight strobe (it's own strobe), so it received enough light to expose properly, and consequently it came out pure white. In the picture above, I did not light the background; I just used the tiny little built-in flash on the digital Fuji, which was enough to (barely) light the strobe I was photographing, but too weak to reach or brighten up the backdrop to white; therefore, the background underexposed and looked brownish, even though it was really a pure white canvas! Carried to an extreme, I could even make a white background look black, if I wanted to. How? By lighting the subject so brightly that the (unlit) background would underexpose (i.e., not receive enough light) so badly it would come out black. It's all in the LIGHT folks; it's all in the light! Remember, a photographer is a LIGHT writer.

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Tell me more about this equipment | Contact Info | E-mail Me See my Feedback (and find out what almost 600 other eBay buyers think about this equipment) & my service! See my eBay Store | See ALL my eBay auctions!

Sorry, folks; eBay won't let me place the handy and enlightening links in the text of my auction descriptions anymore. I know it's much more convenient to have a link to information about a strobe, for example, right next to the strobe being described; or links to backdrops right next to the background support sets in my auction descriptions; but as logical and helpful as this was, we can't do it any more (jealous and childish competitors - the ones who warn you not to buy from "other sellers" have complained that my interesting, helpful, and educational auction descriptions are unfair to the sellers who know nothing about photography and nothing about the photographic equipment they're selling), so now you'll just have to follow the links in the box above in order to get further information about the products in my auctions. My apologies for the inconvenience.

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At the great price you'll get for this fabulous package, you could buy 2 or even 3 of these kits for LESS than you might pay for just a single competing strobe or 2! (Well, probably, anyway :) BTW, when I tested this fabulous new strobe, I discovered that it clocked in at an incredible F16 at 10 feet! Whatta powerful little sucker it is! Plus, you can set it for full OR half power.

Technique: BTW, I purposely made the photograph above to show you an example of a photographic situation (perspective distortion) that often plagues our amateur images. I used this technique to distort the relative size of the reflector, compared to the strobe's body. Look at the picture at the top of this auction description (or the small one to the left); then look at the image above. The reflector in the image above appears larger than it really is, in relation to the body of the strobe (compare the relative sizes of the strobe and the silver reflector). Why does this happen? It's called "perspective distortion" and I'll spare you the physics of the explanation, but whenever one part of an object is closer to the camera's lens than the other part of an object, the perspective is distorted (it's due to the rendering of a 3 dimensional object into a 2 dimensional image). For fun, try this: come in really close to someone's face with your camera, and with the person's nose closest to your lens, take a picture. When the print comes back, you'll see the nose looks huge (compared to the rest of the face). Of course, you can do the same with almost any object you photograph. The lesson? Beware of holding the camera too close to your subject (unless you want perspective distortion for some reason, like this example, or for fun). This most often happens when we're using wide angle lenses (since we can fit more into the frame, we sometimes bring the camera too close to our subjects), but it happens with all lenses. For portraiture, use somewhere between an 85 to 135mm lens (the short telephoto range makes most faces look better). The opposite of the perspective distortion effect is a compression of space caused with long telephoto lenses. If a subject really does have a large nose, shoot your victim with a longer telephoto lens; it will compress space, and make the nose look smaller. Just a couple more tricks up the professional photographer's sleeve. Read on, and learn more.... Back to top of page

More about the new PS-300.....

As we can see from this top view (with the reflector removed), The PS-300 allows us to control the power level output (full or half power), and lets us choose whether or not we want to turn on the modeling light.

This is a Fabulous deal, but let's not lose sight of the reality. If you're rich, have a sugar-mommy or daddy, are a high-income pro, or if you can get financing, my advice would be to spring for something (several somethings, in fact) more powerful, more feature-rich (and a LOT more expensive). Lights are like hard disks and internet connections: no matter how big a hard disk is, and no matter how fast your net connection is, they're never big or fast enough. But if you're just starting out, or are on a budget, or are an advanced (or advancing) amateur, these little babies sure make a lot of sense. Let's face it, your portrait clients (or your mother-in-law) won't have any idea whether you paid three hundred or three thousand for each of these strobes; they'll just be impressed (let them think they cost you an arm and a leg; especially those snooty, skinny, little models - "Ya want great head shots, sweetie? It's gonna cost ya; hell, my lights are so valuable, whenever I trade one in, I gotta pay it alimony!") Umm, just some photographer humor, folks :) - it sorta grows on you as you progress in photography; you'll see.

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Now lemme tell ya about another great feature on these dynamite little units that's not found on many competing strobes costing 3-5 times the price of these: when you set these units for 1/2 power, the modeling lights ALSO dim to 1/2 power! What a great feature (what's a "modeling light?" see the explanation just below this picture)! [Why, you may ask, would we want to reduce a strobe's power output? see the "technique" section, below. As we can see from the back view, The New PS-300 is well-stocked with controls and comes with all the extras already built-in. The PS-300 is a "Monolight," which means that all the required components are included in the one package (as opposed to other strobes which may have the flash head in one segment, and then need an additional and separate power supply in order to get it to work; at an additional cost, too). With these units, everything is included; just plug them in, and fire away! The "ready" light goes on to let us know when the strobe is charged and ready to fire; the "test" button lets us fire the strobe to test its proper functioning; the "sync" terminal lets us attach a sync (or PC) cord to the sync terminal on our cameras to control the firing of the strobe with the shutter button on our cameras; and the "optical slave sensor" lets us fire the strobe automatically with the flash of any other strobe or flash unit. The other controls are pretty much self-explanatory.

BTW, a "Modeling Light" is a separate, additional, light (in addition to the strobe's "Flash Tube") that's built into the strobe and throws continuous light over the same area as the strobe's flash tube will (see the picture below for a close-up). You turn on the modeling light (before your shot), so the photographer can see what the modeling will look like, as s/he adjusts the lights before he takes the shot and fires the strobe ("Modeling" is PhotoSpeak for the highlights (light areas) and shadows (dark areas) that fall upon the subject, giving it the depth and texture necessary for professional results). This great feature (modeling light) is usually only found on much more expensive lights. This unit can be activated by the PC Cord (included, of course), the Test Button, or the Slave Sensor (which means that any other flash, even your camera's little built-in flash, can automatically fire this unit by it's light alone, so you don't even need to use a sync (PC) cord unless you want to). BTW, a "PC Cord" (Push Contact), also called a "Sync Cord" is a wire that connects the strobe to your camera, and fires the strobe when you press the camera's shutter button. Back to top of page

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	We can see the difference between the Modeling Light Bulb and the Flash Tube (the circular tube surrounding the modeling bulb) in this close-up shot of the PS-300's business end (with the reflector removed, of course). The modeling light is especially valuable to the amateur, because it let's us "see" exactly where the light will fall when the strobe flashes. This feature alone is worth at least a hundred rolls of ruined film (which you'll save by having a modeling light)! One of the major questions (and hesitations) I had when I was beginning to learn photography, was "If you use strobes, how do you know what the subject will look like, or how and where the light will illuminate the subject, if you don't have continuous lighting to judge by?" The answer was really simple: You don't. UNLESS your strobes also have MODELING LIGHTS! With modeling lights, you can see exactly where the strobe's flash will illuminate the subject, because the modeling light falls on the subject the same as the strobe's light will fall on the subject (less intensely, of course)! And this is why the pros pay lotsa money for good strobes that come with modeling lights. That's why the professional photographer's pictures look so much better than ours do: they have the right equipment for the job! They can CONTROL THE LIGHT! And now, so can you. Back to top of page
PhotoSpeak: What's a "Slave Sensor?" Well, if you had to use a PC Cord for every strobe, just think what a mess of tangled wires you'd have if you were using 5 or 6 or more strobes to light your subject (as many pros do)! So, science came to our rescue with slave sensors. It's a tiny little sensor built into most good strobes, that sits & waits for a short, intense burst of light. When it detects this burst of light (the flash from another strobe), it automatically sets off the flash tube in the strobe its built into. Voila! Now, with strobes that have slave sensors (often just called "slaves"), we can connect only one strobe to our cameras (with the PC or Sync cord), usually the strobe closest to our camera, and when we press the shutter button, firing the one connected strobe, that flash will automatically set off all the other strobes we may be using for that shot! Ah, ain't technology wunnerful (sic)? Even most of the little flashes built into most modern cameras can set off most strobes with slaves. A strobe that has PC socket, or both a PC Socket and a slave sensor is called a "Master" strobe; a strobe that only has a slave sensor and no PC socket (usually less expensive units) is called a "Slave." Whichever strobe you're using with a PC cord is referred to as your "master" strobe for purposes of that shot. Most of the better strobes have both PC sockets and slave sensors, so they're more versatile and useful to us (however, there are many very good slaves out there today, and you won't need all your strobes to be masters, so don't hesitate to buy some decent slaves when the time comes - and, believe me, if you stick with photography, the time will come).
Complete: Each of these PS-300s comes complete with umbrella-capable reflector, sync cord, AC cord, Flash Tube, Modeling Light, built-in umbrella holder, and standard light stand connector; it's ready to plug in and fire away! Since these strobes are A.C. units, they're ready to rock! No batteries or powerpacks or light heads or connector cords are needed; just plug 'em in, and (just like Elvis) you're ready to rock and roll. As with all quality strobes, these are capable of using many additional custom accessories, of course (e.g., snoots, barn doors, softboxes, stands, unbrellas, honeycombs, gel holders, etc.). BTW, pros use umbrellas to "bounce" the strobe's light off of (or sometimes through) to make the light softer, reduce or eliminate shadows, and "mellow-out" the picture. Softboxes (and SoftCases) and umbrellas are specifically designed for this purpose (and yes, these are able to use custom-fitted softboxes & softcases). These are brand new, 100% guaranteed, with the manufacturer's full one year warrantee . These are NOT seconds, blemishes, or anything other than brand new, absolutely perfect, current 2003 models! Just 'cause the price is great, doesn't mean these are in any way less than perfect! Questions? Requests? just e-mail any questions or requests, to me at PhotoSource3@pss3.com or check out-my web sites see links here.-These strobes and other photographic equipment also come with an "extra" that's not available anywhere else, at any price whatsoever: FREE photographic education, advice and training from MyPhotoHome (coming soon to a computer near you)! MPH Members also get FREE web space (to post your own pictures), and much, much more (when MyPhotoHome comes online, shortly). Back to top of page
Point of Information: Why, you might be asking yourself, have virtually all photographers switched to using strobes, when "regular" continuous lights (photographers call them "hot" lights) are everywhere, and it's easier for us to see how the lighting will look with them? Well, the continuous lights, like the ones in our houses (tungsten lights), or halogen (and similar) are called "hot lights" for a reason: they get hot. Really hot! And the special photographic hot lights get twice as hot as household bulbs! This tends to make certain things, like flowers, foods, animals, and those darn pesky models, wilt. Especially models. They get very, very, unhappy when they wilt. Whine, gripe, groan; you'd think a little melting makeup, and running mascara, limp hair, and sticky lipstick, and beads of sweat running down their lovely curvaceous (umm, let's say noses) was a big deal or something, the way they complain! ;-) Next, there's a little problem with the "color temperature" being way off with hot lights, so we have to use special films (3200K or 3400K) or filters, or special photographic bulbs, when using them (strobes are perfectly balanced at 5500K to simulate sunlight, so we can use all the regular daylight films we've come to love/hate over the years). You'll notice that most of your pictures taken indoors without using a flash turn out with a yellowish color cast; that's because household lights are loaded with yellow and red light. The solution is to either use special films, or special filters. But why create more problems for yourself? Using strobes eliminates all these headaches (and heat!). Also, with continuous lights, they're always shining; usually right in our subject's eyes, causing squinting and annoyance (and ugly looking pictures). With strobes, nothing is shining in their eyes, and the flash is too short to cause any of this discomfort to our beloved subjects (until AFTER the flash, when they might be chasing all those little light blips around the room:). Additionally, with strobes, we can control the light much better! We can adjust the power output with the flick of a switch. We can modify the light with umbrellas, softboxes, softcases, filters, scrims and gobos, doo-dahs, and thingamajigs, etc., etc. We can direct the light with barn doors, snoots, honeycombs, and many other accessories. In short, with strobes, we can play God with our photography; WE CAN CONTROL THE LIGHT! And we can do it 24 hours a day, 7 days a week, whenever we want, no matter what the weather is, and without regard to daylight or night. There are yet other, more esoteric, as well as mundane reasons why strobes are the preferred means of photographic lighting in the modern world, but we'll pass on those things for now. You've probably had enough information shoved down your throat already (sorry, but I can't resist trying to educate everyone about photography).
BTW, technically speaking, all professional photographic flash units, even though nearly all pros call them "strobes," are not technically strobe lights. A real stroboscope is capable of dozens (or hundreds or even thousands) of flashes per second, and many can maintain that flash rate for hours on end. Our photographic strobes would die a dozen deaths if we tried to set them off 25 or 50 times a second! However, since photographers almost always call these lights "strobes," we'll just stick with the term; but, technically..... Well, you get the idea ;-> Back to top

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Technique: Why would we want to dim a strobe to 1/2 power? Because in order to get great pictures, we have to be able to control the light (sound familiar?) in a number of ways. Sometimes a full power flash is too powerful for the effect we're after; other times we may want to reduce the illumination to create a different mood. In people pictures, for a head shot (that's what photographers call a picture of a person's face, often the face and shoulders), we often want part of the face highlighted, and the other part of the face in a light to medium shadow. This interplay of light and shadow is called "modeling," and is a hallmark of good photography. Anyway, as an example, a common lighting ratio for people pictures is a 1:2 (also 1:3, 1:4, or even 1:5) ratio - full illumination on one side of the face, and 1/2 that amount of light on the other side of the subject's face (we rarely want full frontal lighting, because it gives the face a flat and unappealing look, as well as other negative aspects). The 1:2 (full/half) lighting combination can give us an interesting and often flattering image, with a good ratio of light and shadow - revealing the character, and giving us depth and texture (but be sure to play around with other lighting ratios, too, for even more creativity). Whenever we have two strobes to work with, we can achieve this 1:2 ratio by moving one strobe (the one providing the shadow side lighting) twice as far away from the subject as our main light (the strobe providing the full illumination). But often things get in the way, like walls and such; not all of us have lots of room in our studios (especially living room studios :) to move our lights as far away as we like. Aha! The scientific wizards devised a most convenient solution! A variable-power strobe (like this great PS-300)! Now, instead of moving lights all over the place, all we have to do is flip a switch, and Voila! 1/2 power without any hassle at all! In some very powerful strobes, we might even find variations from full power, all the way down to 1/32 power. Another way to achieve a lighting ratio (when we only have one strobe) is to use a reflector to "bounce" some light onto the shadow side of the subject's face. You can buy a "professional" reflector for as much as $100.00 or more, but I just use a white poster board, which you can find at any art supply store for under two bucks. You don't have to spend a fortune to make great pictures, just use your equipment to its fullest extent - and use your head! Back up to the PS-300 description

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Here's some information about the items comprising
your new pro package: The SM-1000 Professional Studio Strobes

	SM-1000 Multi-Use Professional Flash Unit The SM-1000 is a dynamite strobe with all the extras already built-in. It's shown here with the optional barndoors (not included, but optionally available); It gives you 100WS of powerful light output, it can be used as a master strobe (sync cord included, of course), or with its sensitive optical slave trigger, as a slave (and can be tested with the built-in test button; see picture below). As you get into photographic lighting techniques, you'll discover that you can never have too many lights; and this one is wonderful for many different jobs. You'll find this versatile strobe great for numerous uses: lighting your main subjects as a main light or as a fill light, it's also perfect for lighting your backgrounds (and blowing away those ugly shadows), or even as a hair light, rim light, spot light, and many other uses. Compatible with a complete line of accessories (snoots, barndoors, honeycombs, etc., etc.), of course, as your future needs may require. Specifications: - 100W/S (J) Output (actually over 120!) - GN 36M, 120/Ft - Slave, Synch, Test Trigger - 3-5 Sec. Charging Time - E-27 Edison Base - Slave Sensitivity: 15M (50Ft) - Light output angle: 60º
	As you can see from this view (as well as in the images below0, the SM-1000 has all the controls you'll need, already built in. The "Test" button allows you to fire the strobe to assure that it's working properly, or to take a flash meter reading. The "Sync" terminal lets you connect it to your camera's PC plug whenever you want to use it as a master strobe. The Slave sensor is explained above. This unit can be fired by the PC Cord (included, of course), the Test Button, or the Slave Sensor (which means that any other flash, even your camera's little built-in flash, can automatically fire this unit by it's light alone, so you don't even need to use a sync (PC) cord unless you want to). BTW, a "PC Cord" (Push Contact), also called a "Sync Cord" is a wire that connects the strobe to your camera, and fires the strobe when you press the camera's shutter button (for cameras that have sync jacks).
As you can see here, the SM-1000 has a "test" button which lets you fire it to assure all is working well. All well-designed professional lighting packages will give you all the options you need to make the best images. It's my job to make sure my (wonderful and cherished:) customers receive the best equipment available - at the best possible price. But always remember, if all it took to make someone a "great photographer" was an expensive set of strobes and fancy equipment, then everyone who could afford a fully-outfitted photographic lighting studio would be a "great" photographer! So don't let anyone promise you that "If you'll buy MY lighting equipment, you'll become a great photographer!" Sure, great images are much easier and much more convenient to make with studio lighting equipment than without equipment, but it also takes some time and effort on YOUR part, too. You have to first learn how to use your equipment, and then start making some fantastic pictures with it. But I promise you, if you'll give it a fair chance, you will make some fabulous pictures! Here's the SM-1000's "Slave Sensor" which allows us to fire it "automatically" with the flash of any other strobe (even the little flash units built into our cameras or an accessory or dedicated flash attached to the hot shoe on our cameras). With this fabulous Studio Lighting Package, you'll have everything you'll need to start making phenomenally beautiful images - right out of the box! Simply unpack your equipment, and you'll be ready to start making great studio pictures within 30 minutes of receiving your order!
Feel free to contact me with any questions: PhotoSource3@pss3.com

Here's some information about the items comprising
your new starter studio: Brand New 2.8 to 6.5 Foot Light stands

Unlike many of the items you'll find listed on eBay, all these items are Brand New, not old, used, banged-up cast-offs that someone else is trying to get rid of. These are 100% new, perfect, and come with the manufacturer's full warantee. Consider this when making your purchasing decisions. Top: 3/8" stud, 1/4" thread, type A. Size: 2.8 ft to 6.5 feet; Weight: 2.4 lbs. ea.

Here's a fabulous deal on an excellent quality light stand. This Brand New Britek light stand extends to a height of 6 1/2 Feet, and folds down (fully assembled) to only 2.8 feet for easy packing and transport. These stands have a black finish which reduces unwanted glare; three vertical sections (19mm, 16mm, 13mm), and three double-braced legs (16mm), which provide excellent stability in the studio or on location. They're topped with a standard 3/8" stud with 1/4" thread, type A. Sturdy as all get out, yet only weigh about 3 lbs. (so you can pack up a set of three stands for under 10 lbs. for location shoots - believe me, schlepping around anything heavier can give you a hernia, especially when added to all your other gear). Yet these babies can be folded up and put in the corner of your closet and take up very little space. I've been using these same stands for over a year now, and couldn't be happier! You'll probably love 'em, too. They're sized perfectly for multiple uses: with a low height of under 3 feet, they're great for background lighting; at their full 6.5 feet, they're perfect for lighting standing subjects, lighting from above for kids or sitting subjects, or even hairlights; and adjusting them anywhere in-between, they're perfect for subject-level lighting, whether you're photographing kids or adults (or things)! BTW, as stated above, you'll be buying brand new stands here, NOT my used ones (those are mine! you can't have them; I like them, and I'm gonna keep them; you go buy your own! (hey, at this great price, buy several. :). Reality Check: Hey, if you're rich, I'd suggest buying a set of bigger, heavier (& more expensive) stands for your pro studio setup, and another set of lightweight stands for location shoots; but my studio is in my house, and I don't have 20 foot ceilings for the 15' stands anyway, so these stands work just fine for me. 6.5 feet is plenty high for most uses, and we have larger stands should you need more height. And they're sturdy enough for studio work, and light enough for location work. Realize, though, that these stands, while certainly a great deal and a marvelous value, are the working photog's Chevys and Fords; not Rolls Royces. Treat them with minimal respect, and they'll see you through to old age; but if you're looking for the Ferraris of light stands, go buy something else. This sturdy light stand is rated to hold a load of 10 pounds (but, personally, I try to keep the load under 9 lbs when it's fully extended) either way, it's likely to be able to hold darn near any lighting unit you're using. Of course, there are bigger and heavier stands, too. All the sections of these stands are quality tubular stock, NOT the cheapie solid ones (which are heavier and less versatile, as well as cheaper). The only "cheap" part of these stands is the price - not the quality! Bid now, while they're still in stock. Back to top of page

Here's some information about the items comprising
your new studio kit: The Backlight Stand!

Backlight Stand Now here's one of the best backlight stands I've ever come across. First of all, it comes apart and folds up into a tiny little package when you're not using it. Next, it's got some really neat extras, like the additional connector on one of its legs that allows us to connect another light or accessory to it, right where we'll need it, too (it's removable, too)! And it's adjustable from a low of only 1.1 foot up to 3.3 feet. It's black, to reduce glare and interference, it has neat little rubber pads on all three of its feet, and comes with a standard light connector on top. Basically, this is the coolest backlight stand I've seen in a long time. Specifications: 3 Section pole: 22, 19, and 16mm tubular stock Weight: 2.9 lbs. Attachment: 5/8" stud with 1/4" thread, type B Base attachment: Type D

You're getting one of these Great Backlight Stands with this package.

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Free Photo Tips!

Technique: Which background should we use? That's a question with a million answers; the answer is: It depends. It depends upon what effect we're after, which mood we wish to create, how we choose to present our victim (um, er, our "subject," that is:) to the world. But there are a few basic guidelines we can follow. If our victim has striking blue eyes, for example (blue, brown, or whatever color, if their eyes are beautiful, use a similar color backdrop), but for this discussion, if our subject has beautiful blue eyes, consider a background with blue as a predominant color (just like this one!). If our victim has wonderful blond hair, consider using a backdrop with gold, tans, or light browns in it. If our subject is wearing a red blouse or dress, use a background with red. If our subject is wearing a green suit, consider a backdrop with green. It's our job - as photographers - to make our subjects (whether they're people in portrait pictures, or products, or buildings) look as good as we possibly can. And one of our most powerful and potent allies in this quest is the use of backgrounds! It's up to us to make our pictures make our subjects look as beautiful (or handsome, or striking, etc.) as we possibly can! Anybody with blue eyes, and everyone wearing something with blue in it will look wonderful in front of this fabulous background! The Portrait Session: If, for example, we're doing a portrait session, and we only have a blue background and a brown background to work with (hey, not all of us can afford to have dozens of different backgrounds when we're just starting out, y'know), what do we do? That's easy: tell our portrait client to bring two (or more) changes of clothes; in one set of clothes, wear something blue, and in the other set of clothes, bring something brown! This way, we get to make our clients look great using the backgrounds we already have! Also, tell them to bring one dressy outfit, and one casual outfit, so we can get images that show them urbane and sophisticated, and another set of images with them casual and comfortable. Oh yes, and this way we get to sell them twice the number of prints, too! One set for business and impressing folks, and one set showing that they're pretty darn attractive in jeans & cowboy boots, too (or whatever their particular casual attire may be). Back to top of page Tip 1: Ask the client what they enjoy doing; ask them about their hobbies, their passions, their interests. If they play the guitar, have them bring one along; if they love basketball, have them bring one to the session; if they just adore their dog or cat, bring them, too (more pictures, more poses, equal more SALES!). Tip 2: If they have a child, then tell them to bring the child along (unless it's strictly a business sitting, where children would be inappropriate), and bring a couple of sets of clothing for the child. too. Make some exposures (in addition to the standard single-subject portrait poses, of course) with the victim and the child, and some exposures of the child alone. Have the child in dressy clothes for some shots, and in play clothes for another set of shots (film is the cheapest part of your costs, so don't be afraid to use a lot). Then, be SURE to ask the subject to bring the child's grandparents (or uncles & aunts) along to view the prints - I guarantee you, 90% of the time, the grandparents will - at the very least - triple your sale! They just can't resist ordering pictures of their little darlings! A couple of 11 x 14s for the walls in the house (and for the office walls, too); a few 5 x 7s for their relatives, and some wallet-size prints, to carry with them! Remember, you're not only a photographer - you're also in business to make a living (quite a nice living, too, if you use your head)! See my other auctions for some more tips see here. Quickie Technique #3: Portraits - Set the camera at subject's eye level; focus on the eyes; light one side of the face brighter than the other (half in light to medium shadow); to hide wrinkles use umbrellas or softbox; to de-emphasize a large nose, raise camera level slightly and shoot full or 3/4 face; to de-emphasize a receding hairline, lower camera slightly or have subject raise head slightly. More "quickie technique" information will be included in other auction descriptions. Thank you for viewing this auction, and good luck! Tell me more about getting perfect exposure...see here Back to top of page

What is the reserve price on this auction? | What are the shipping charges?

Top 10 Questions about this Auction!

Technique: The most important "secret" of good photography is the thought the photographer puts into a picture before s/he even considers what type of film to use! The point here is that we have to train ourselves to think before we shoot! What color is our subject? How can we make that color (or shade) stand out? In the lovely picture to your left, notice how the blue-violet shadows to the right of the model's head accentuate her blue eyes. Notice, too how half the face is in a light shadow, adding depth and texture. We have to ask ourselves: What do we want to emphasize in our picture? How will we direct our viewers' eye to our subject? If it's an outdoors photograph, how will we separate our main subject from any other distracting elements in our photograph? At which angle should we shoot? Is it important to establish place in this photograph (i.e., is it important for the viewer to know where our subject is? Or do we want to hide the location)? If we're shooting people, what is our victim's least appealing feature (i.e., a large nose, a bald head, pot belly, lotsa wrinkles, etc.:)? How can we hide or de-emphasize it? What's our subject's most appealing feature (i.e., eyes, profile, smile, boobs - oops! sorry, I couldn't resist:) ? How can we emphasize the attractive aspects of our subjects? These are the questions photographers have to ask, before we shoot. THINK before you shoot! MAKE a photograph - don't "take" a snapshot! Review the "Tips" in my auction descriptions; take the time and thought to prepare your photo sessions long before your subject arrives! Learn to know what you want before you put film in your camera. Learn to "design" your pictures before you pick up your camera! Take a piece of paper and a pencil, and sketch out what you want in the picture you're considering; this will be a great help in the beginning, and after a few weeks or months of doing this, you'll start to do it all in your head, and won't need the pencil and paper any more. Is your subject a child? If so, have some colorful toys around. Is your victim a man? Have him bring a suit and some jeans to the session. Is your subject an attractive and shapely young woman? Ask her to bring a dressy outfit and a sexy outfit or a bikini. Is your subject older? Be sure to have an umbrella or softbox ready to hide the lines and wrinkles. Shooting outdoors? Avoid placing a subject in the bright sunlight (which causes squinting eyes and harsh shadows), and find some open shade to shoot in (overcast days are great for outdoor shoots). I promise you that a good photograph doesn't require the genius of an Einstein - it just takes a little thought and preparation (creativity and practice doesn't hurt either)! You don't have to study photography for 20 years, just train yourself to think before you shoot! Don't try to plan out 100 subjects all at once; think about one or two, and then use 10 rolls of film on just a few ideas. Shoot from different angles; shoot from different heights; shoot with different lighting angles; shoot with color film; shoot with black and white film; think, then shoot! Pretty soon, you'll wake up one day and realize that you've changed; you'll look at the world differently; you'll "see" things most people never even notice; one day, you'll realize that you've become something special; something different, but different in a most amazing and wonderful way; you will have become - a photographer! © 2002 Back to top of page Quickie Technique #5: Exposure - All meters built into all cameras are "reflection" meters; they read the light reflected by our subjects AND everything else in our viewfinder! This often causes incorrect readings, and pictures that turn out looking like doo-doo. Instead of letting our camera's meter read the exposure from our whole frame, set your built-in meter to its "spot" setting. Then, center the most Important part of your subject (i.e., the face of a person, the flower petals of a flower, the coat of a dog, etc.) in your meter's spot circle and take your reading; then, when our viewfinder's spot circle is filled with our subject and NOT with the surroundings, lock in exposure (e.g., press the shutter button half-way down), re-compose the shot, and then press the shutter button all the way down and make the exposure! I think you'll be pleased with the results! More "quickie techniques" information will be included in my other auction descriptions. Thank you for viewing this auction, and may you have the very best of luck! Photo Tip #29: Go buy (or subscribe to) at least a half-dozen top magazines (Vogue, Cosmo, GQ, Elle, etc., etc. and don't forget my favorite, Playboy:). Then get a 3-ring binder and a 3-hole punch; this will become your idea and guide book. Go through the magazines and tear out every page with an image that you admire, find interesting or striking, or has dramatic lighting. Then take the pile of pages, punch the holes in them, and put them into your binder. Separate the images into categories. Study each picture to determine where the strobes were located, how the shadowing was arranged, what the background was (and how it was lit). When you're about to do a portrait session, look at your victim's face; find similar features and similar clothing on models in your binder, and see how the pros lit them. Pay attention to where and how the hands are placed in the pictures. Pay attention to where and how the legs are placed in the pictures. Pay attention to what angle the body is placed in relation to the camera; see how the clothing is arranged, and how it relates to the background. Pay attention, read the magazines, tear out pages, put them into your binder. Study them. Emulate the best you find. This is the best way learn: from those who are great - and successful - photographers! Back to top of page

From whom should you buy your photographic equipment? Hey, it's your hard-earned money, so you should buy from anybody you darn well like! However, one of the advantages of buying from another photographer is that, unlike "salesmen," who just want to "sell" things to you, a photographer will know what you need, and what you don't need; a photographer will know why you'll need something, and why you won't need something; a photographer will have actually used the equipment being sold, and will be able to offer advice based on real-life experience. Of course, the facts that photographers (like us) are usually much better-looking, a lot smarter, definitely kinder, and unquestionably much more creative than other folks, doesn't hurt either, does it? ;-) Unlike the others who try to cover up their own photographic illiteracy with not-so-vague warnings cautioning you against buying from anyone else (but them, that is:), I won't stoop to such reprehensible behavior; I guess I'm just not greedy enough to do such things. In addition, I trust you to be smart enough to make up your very own mind, without my self-serving advice, telling you who you should and shouldn't patronize. Sure, I'm in business to sell photographic equipment, but I'd rather lose a few sales than insult my customers' intelligence with admonitions like: "Buy from me! Don't buy from the other guy!" So go ahead and check out what's available, compare prices, quality, and customer service philosophies see here; see who you think will provide more help and support. Then, check out the feedback profiles see here; go look to see what the other "photographic experts" were selling a few months ago (that'll be a revelation:). Next visit the web sites, of your potential suppliers (especially those who claim to be photographers with "100 years experience," and see how much they really know about photography). Then, in addition to the usual, logical, informed, procedures for making your purchasing decisions, check with the old standby that's almost always right, your gut feelings. Check things out; make up your own mind. Then, without doubt, you'll come to the right conclusion. [However, - just in the interest of saving you time and trouble ;-) the conclusion you'll surely come to is that "PhotoSource3" on eBay (who is also the beloved founder and talented creator of MyPhotoHome and Photographer'sSupplyStation) is "Da Man" from whom to buy your photographic goodies! =:-) ] Thank you for being kind enough to view this auction (I hope you realize that my humor is meant to be fun, and is intended with good will), may you have the best of luck, and don't forget, as always, no matter who you choose to honor with your photographic purchases, take (or better yet, "make") lots of great pictures! And remember, you can't get good - unless you get started. Back to top of page

Accessories & Information

	Point of Information: BTW (btw means "by the way" for any "newbies" paying us a visit), a "Reflection" umbrella is one that reflects the strobe's light back onto the subject, and thereby softens and diffuses the light. This technique is often used in portraits, delicate items, and for photographing reflective surfaces, and performs many beneficial services for all us hard-working, and under-appreciated photographic artists. Keep it a secret from others, though, and let them think we get our beautiful images through some sort of secret and esoteric magic, passed down through the centuries, from master to disciple. It helps increase our value ;-) - and please don't send me any e-mail explaining that photography hasn't been around for centuries, I know that. Duh. Actually, photography (in one form or another) has been around for about 150 years. Back to top
	White/Black Reflection Umbrellas: 32" The White/Black umbrella is made of the new P-Satin clothes-PU bonding with high denier Satin. Their Black cover can achieve almost 100% light reflection rate and provide soft almost shadowless light, which is suitable for indirect and diffusive lighting. A wonderful method of softening the light. You get TWO Black/White Umbrellas with this fantastic kit! Technique: Photographers use these umbrellas to diffuse and soften light; in portraits, for example, this soft lighting very effectively hides many of the lines and wrinkles on the faces of our victims (umm, our "subjects" :), making them look younger and more vital. It's also great for photographing highly reflective surfaces, such as jewelry, glass, and chrome (it avoids the bright reflections that mess up our pictures). But don't let our clients know our little secrets, just accept their appreciation (along with your quickly-escalating fees), and let them believe it was your phenomenal photographic skill that made them (or their products) look so damn good! Look, you're spending a lot of time and money acquiring the equipment, and learning the skills of the photographic arts; you're becoming a skilled professional; your work is valuable as well as beautiful. Don't price yourself out of the market, certainly, but don't sell yourself cheap, either. Back to top of page
	H70- 150mm 7" Umbrella Reflectors Used alone for about 60º coverage, or with optional barn doors to control lighting spread, or with an umbrella to create soft and diffuse lighting. This custom reflector is designed with a special "slot" in it to allow for the use of an umbrella, without the need for a special umbrella holder accessory! A unique innovation! This is usually the reflector that comes with the Britek PS-300H Strobes, since they have an integral umbrella holder built in to the strobe's light stand connector. You get TWO of these reflectors with this package!
	Here's a great little accessory that all photographers always need more of: a panning light head with integral umbrella holder! You get three of these tilt & swivel bulb holders with this great 4 Strobe Kit (these are designed to hold your AS-120 and AS-66 strobes). It's hard to wax philosophic about a photographic accessory, but anyone who's ever worked with lights knows that these little tools are absolutely indispensable. For example, even a super-duper, antique, $100,000.00 table lamp isn't going to do anyone much good without a light bulb that works. And this little baby works, and keeps on working. You'll need one of these for every standard e-27 Edison base strobe or continuous light you'll ever work with (the E-27 is the standard household light socket size, so you can use "regular" lights with it too, if need be). Plus, this little baby has an integral (built-in) umbrella holder, which saves you from having to buy an additional umbrella adapter, whenever we want to "bounce" the light off of (or through) an umbrella. Specifications: Single standard E-27 bulb socket On / Off switch 10 foot power cord 3/8" Stud for attaching to light stands Back to top of page
You'll also be receiving a Sync Cord (also called a "PC" Cord), and a power cord for each and every one of your new PS-300H Pro Strobes, and don't forget that both have integral (built-in) umbrella holders, too! Everything you'll need is included, so when your new photographic equipment arrives, all you'll have to do is plug 'em in, and rock & roll (fire away)! Unlike some other lighting equipment which requires additional power supplies and connector cables, this great A.C. kit comes 100% complete - no additional attachments or accessories are needed to use this equipment! Back to top of page
Options: Questions? Requests? Just e-mail me if anything is unclear or if you have any requests. I'm here to help.
Unbelievable as it may be, this great kit is only $499.95! (Similar kits from competing manufacturers sell for double, triple, and sometimes even more!) NOTE: On Sale for ONLY $479.95!
You can own this great professional photographic lighting package for only $499.95! LESS than what you'd pay for just one strobe from a competing manufacturer or photo supplier! But please bid a lot more than that, OK? Pretty please! :) [How can you sell brand new equipment for such low prices? see here for answers] Back to top of page
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