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10skBkg12ip/K975/1849/13870

New 2002 TEN Strobe/Flash Pro Lighting Studio and
Deluxe Background Support Package XII - All Brand New!

Pkg #975

Fabulous New 10 Strobe Ultimate Photo & Background Package XII!

NEW! Now with TWO Fabulous Custom Backgrounds/Backdrops! See them below!

Here's what you get: 1) Two Britek HS-500 180WS Pro Studio Strobes <- New! 180WS! (Show Me) 2) Three Britek PS-300 Pro Strobes 150WS <- New! 150WS! (Show Me) 3) Two AS-120 90WS Professional Strobes (Show Me) 4) Three AS-66 20WS Mini Strobes (Show Me) 5) Three Custom Barndoors, Snoot, & Honeycomb Sets for AS66's (Show Me) 6) Two 7 1/2 Foot Light Stands (Show Me) 7) Eight 2.8' to 6 1/2 Foot Light Stands 8) One Deluxe TRIPLE Background Support Set (Show Me) 9) One SoftCase Light Modifier (Show Me) 10) Two 44" Black / White Umbrellas (Show Me) 11) One 32" Gold / Silver Umbrella (Show Me) 12) Five Unique Umbrella Reflectors (Show Me) 13) One H70MM Snoot (Show Me) 14) One Medium Honeycomb and (Show Me) 15) Five Tilt & Swivel Bulb Holders (Show Me) 16) Two Custom Light Stand Carrying Cases (Show Me) 17) Custom Strobe Carrying Case (Show Me) 18) Custom Background Set Carrying Case 19) All necessary cords and accessories (power cords, sync cords, etc.) Bonus: Two Great Custom Muslin Backgrounds Included! 20) One 9' x 15' "Stormy Weather" Muslin Background/Backdrop (Show Me) 21) One 9' x 9' "Desert Rose" Muslin Background/Backdrop (Show Me) Package #K975

Just scroll down or click on a "Show Me" link to jump down. (Kit #975)

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This is truly the ultimate and most complete professional photographic lighting studio package! With FIVE powerful main master strobes (2 powerful 180WS units plus 3 great 150WS units) to light your victims (um, your "subjects" that is:) in the most creative manner possible, 2 potent 90WS slaves for background or accent lights (adding the depth and separation characteristic of professional images), or for lighting groups or large objects, and 3 great Mini-Strobes (complete with custom accessory sets) for highlights or hairlights, you'll be ready to rock! Add to all this light power two huge 44" umbrellas PLUS the amazing new SoftCase to soften the light in multiple and creative ways (for portrait use, umbrellas and softcases hide those facial lines, sags, and wrinkles - making your subjects look younger and more vital) and/or theyre perfect for minimizing hot spots and reflections from reflective surfaces, and we're also including a silver/gold umbrella to add those lovely warm tones to our sunlight-deprived victims. But what about backgrounds, you may ask? Got that covered, too! Also included is a deluxe triple-capable background support set to hold your backgrounds (also called backdrops)! What backgrounds, you may ask? Hey, this is a complete package, right? So let's add to all that 2 wonderful Muslin background/backdrops (one fabulous Stormy Weather "hot spot" Muslin, and one Desert Rose mottled Muslin) to start you out with the best and most popular backgrounds available anywhere (many more available, of course)! The upshot of all this? You'll have absolutely, positively, everything you'll need to start getting the fantastic pictures that will flatter and amaze your clients (or your kids, parents, friends, or relatives)! Also, by including FIVE powerful master strobes, and two potent 90WS slaves, you'll almost always have plenty of lights to direct at the background for all the many effects available (including the "drop out" effects so popular nowadays). And, with all this equipment, you'll have more than enough power to light large subjects (cars, interiors, etc.) and small groups of people (weddings, classes, etc.). Is that all? No way! For those times when you're going on location (or need to stash your studio in the closet), this great package includes three custom carrying cases! Whether you want to make magnificent portraits of people, or great pictures of products, this equipment will provide you with absolutely everything you'll need! Nothing extra is necessary; this ultimate package will put you into the photography business right out of the box! Just unpack your new goodies, and you'll have a fully-functional professional photographic lighting and background studio! Poof - you're in business! And you can have it all without having to sell your first-born child in order to afford it!

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 any of 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 subjects, and, baby, just like Elv*s, go ahead and rock and roll (fire away)! NO additional equipment or parts needed to start using your new studio!

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All this equipment is BRAND NEW!

Would you prefer a smaller 2 to 9 strobe photographic lighting studio package? Perhaps just a strobe or two? A few light stands? Maybe a great, affordable, starter 2, 3, or 4 flash kit? Something really special to blow the mind of the photographer you love with all your heart and soul (like yourself, perhaps:)? All this - and much more - is available right now in my other auctions! <-- CLICK!

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Top 10 Questions about this equipment!

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!

--> Check out all my other wonderful auctions!

The NEW HS-500 Monolight This brand new Britek HS-500 is a great 180WS Monolight for the beginning professional, the pro with 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 dark out, if everyone we need to make the pictures are available, under all the right conditions.... beginning to see now? When we can control the light, we can make the best photographs (and with this great package, you'll be able to do just that).

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 180 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. Back to the top

More about the new HS-500.....

At the great price you'll get this package for, you could own all this equipment for LESS than you might pay for just a couple of strobes from a competing manufacturers!

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 babies sure make a lot of sense. They pump out 180WS of power, and will easily handle almost anything you could fit in a small or medium-sized studio. Let's face it, your portrait clients (or your mother-in-law) won't have any idea whether you paid six hundred or six 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.

Now lemme tell ya about another great feature on these dynamite units that are 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 HS-500 is well-stocked with controls and comes with all the extras already built-in. The HS-500 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 rock and roll! <- Click to enlarge 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 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.

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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 HS-500'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. The HS-500 comes with a powerful 150 watt halogen modeling light (it's rated at 1,000 hours; the flash tube is rated for 10,000 flashes! And, yes, replacements are always available - but you'll probably grow old before you'll need to replace one of these flash tubes).

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 HS-500s 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 all the strobes in this package 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 Elv*s) 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 2001 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 wryter@usa.net or check out-my web sites.-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 the top

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 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).

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 the top

Wondering what the price is? I never hide anything from my (beloved) bidders! Just look for "Elv*s" and you'll see the price clearly listed, just above the "Elv*s has left the building..." line.

Q. What the heck is a "WS" and what's a "GN," and what in the world do they mean?

WS = Watt Second | GN = Guide Number Here's a brief explanation (using, for this example, your new HS-500 strobe (well, it might be yours soon:) , which has a power level of 180WS, and a GN of 150): The "180WS" (or the 80WS, or 20WS, etc.) is the output power of your strobe and a watt second is equal to the electrical term "joules," a high-falutin term for a high power level. The Guide Number (GN) of these HS-500 units is 150 (for ASA/ISO 100 film), with a standard reflector. What good is knowing the guide number? Well, the GN gives us a method of calculating exposure (for any strobe and any film) in this way: to calculate the correct approximate exposure for any subject at any distance, simply divide the distance (in feet) that the subject is from the strobe, into the strobe's GN (guide number); the result is our approximate "F" stop. For example, (presuming you're using ISO/ASA 100 film), our GN is 180, and the subject is 12 feet away, then: 180 (GN) divided by 12 (feet away from the subject) = 15, so we'd use an exposure setting of about F16. If our subject is 20 feet away, then: 180 divided by 20 = 9 which would give us an approximate F stop of about F 8 (bracketing is always a good idea, too). See? Umm, if you don't understand it, don't worry about it (it took me years to fully comprehend). Suggestion: If you're serious about improving your photography, you might consider getting a handheld flash/ambient light meter (sorry, I don't carry any at this time; if you want recommendations, see here). Back up to the HS-500 description from whence you came

Technique: Why would anyone want to dim a strobe to 1/2 its normal power?

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 (or 1:3) 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 gives 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 HS-500)! 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 HS-500 description from whence you came.

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Here's some information about the items comprising
your new studio kit: NEW! Britek PS-300H Professional Studio Strobes

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!

All the basic data & information presented about the HS-500 Pro Studio Strobe (above) also pertains to the PS-300H Pro Strobe - the only differences are: The PS-300H puts out 150WS of power (instead of 180WS); and The PS-300H has a 100 watt halogen modeling light (instead of the 150 watt halogen on the HS-500). Here are some pictures of the PS-300H Pro Strobe for your consideration.

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

At the great price you'll get this kit for, you could buy 2 or even 3 of these for LESS than you might pay for just one or two competing lights! (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....

Guerrilla Photography is Coming!

Just as with the HS-500 Pro Studio Strobes, when you set these PS-300Hs for 1/2 power, the modeling lights ALSO dim to 1/2 power! 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.

As with the HS-500, we can see the PS-300H's Modeling Light Bulb and the Flash Tube (the circular tube surrounding the modeling bulb). The reflector has been removed so you can see the flash tube and modeling bulb easier (but a reflector is included with every PS-300H and HS-500 Pro Studio Strobe, of course).

Complete: Each of these PS-300Hs (just like their big brothers, the HS-500 Pro Studio Strobes) 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! Many additional accessories are also available for these units, whenever you're ready for them (e.g., snoots, barn doors, softboxes, stands, unbrellas, honeycombs, gel holders, etc.). These are brand new, 100% guaranteed, with full manufacturer's warrantee . These are NOT seconds, blemishes, or anything other than brand new, absolutely perfect, current 2001 models!

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Questions, questions, questions....

How can you sell brand new photographic equipment for such low prices? What shipping and payment options do you offer? How do I know I can trust you with my hard-earned money? What's your policy on customer service? Will these pro strobes work with my camera? With my digital camera? What if my camera is old? How do I contact you? If I live in Southern California; can I pick up the equipment myself? Will you offer more photographic equipment (than you have now)? Are your products guaranteed or warranted? What if I want certain equipment, but you don't have an auction with the equipment I want? Do you accept Lay-Away payment plans? Will you ship to Canada or Europe or Asia? What if I have some technical questions? Hey! Somebody else e-mailed me after I bid on your auction(s) and told me the most terrible lies, or offered me a "deal" on cheaper equipment... and many more of your questions answered - just click below!

For answers, see here

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Here's some information about the items comprising
your new studio kit: The AS-66 Mini-Strobe Slaves -Plus- Custom Accessories and Bulb Holders

AS-66 Mini-Strobe: This has got to be the cutest little Mini-Slave you've ever seen! It's great for adding a hairlight, or a fill light, or for anyplace you might want an extra spot of light! It pumps out 20WS of light, and with all it's included accessories, you'll be able to place that light exactly where you want it. Hey, this is small, but it allows us to add those extra highlights that separate the amateur images from the professional images! This is an accessory light that you'll find yourself using for just about every shot - you'll see!

The Specs: AS-66 Mini-Strobe Slave: 20WS Output GN No.: 66 feet with ASA 100 Receptacle: E27 Edison Screw Base Triggering: Test Button and Slave Sensor Recycling Time: 4-6 seconds Effective Slave Distance: 50 feet WeightL 100 grams Size: 12 x 6 x 6 CM Accessories Included: Custom-Fitted: Barndoors Honeycomb Snoot - Plus - E-27S Tilt & Swivel Clamp Light Holder with integral Umbrella Holder, 10 foot Power Cord, and On-Off Switch

Reality Check: But be aware, though, that this unit is NOT sufficient to light a large subject (e.g., people) all by itself. But to illuminate small items, or for a fill light, an accent light, a hairlight, a copy light, or as an additional light for all your setups, etc., this 'lil beauty is a photographer's best friend! It will come in handy for almost every shot, and will allow you to fill in those little areas where an extra highlight or a little spot of light - right where you need it -can make all the difference in your shot. The accessories included will allow you to direct the light to the specific spot or area you want. Remember, it's all in the little details!

You're getting Three AS-66 Mini-Strobes (& 3 accessory kits) with this package

Here's some information about the items comprising
your new studio kit: 2 Brand New 3.3 to 7.5 Foot Light stands & 8 New 6 1/2 Foot Light stands

Unlike many of the items you'll find listed on eBay, these light stands 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.	These fabulous light stands are truly top quality units without compromises. These Brand New Britek light stands extend to a height of 6 1/2 or 7 1/2 Feet, and fold down (fully assembled) to only 2.8 or 3.3 feet, depending upon model) for easy packing and transport. Both sizes of these stands (the number of each size that's included in this kit is listed both above, and below this section for you) have a black finish which reduces unwanted glare; three vertical sections (22mm, 19mm, 16mm), and three double-braced legs (16mm), which provide excellent stability in the studio or on location. They're topped with a standard 5/8" stud, with a 1/4" thread, type B. Sturdy as all get out, yet only weigh about 3.3 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 3.3 feet, they're great for background lighting; at their full 7.5 feet, they're perfect for lighting from above, or hairlights; and adjusting them anywhere in-between, they're perfect for subject-level lighting, whether you're photographing kids or basketball players (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! 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 18' stands anyway, so these stands work just fine for me. 7 1/2 feet is plenty high, even for hairlights, or toplighting, etc. And they're unquestionably 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 reliable, blue collar light stands; not the prissy luxury models. Treat them with minimal respect, and they'll see you through to old age. These light stands, like all this equipment, are brand new and, of course, they come with the manufacturer's full warrantee. Additional accessories are also available (booms, clamps, studs, swivels, adapters, ball tilt heads, etc., etc.), as your needs may dictate. These sturdy light stands are rated to hold a load of over 17 1/2 pounds (but, personally, I try to keep the load under 15 lbs when it's fully extended out to 7 1/2 feet) either way, they're likely to be able to hold darn near any lighting units you're using. 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. NOTE: The 6 1/2 foot models are basically the same as the 7 1/2 footers, except they're adjustable from 2.8' to 6.5 feet.
Check out my other auctions! I usually have photo equipment, pro strobes, background systems, and other great photo stuff, etc. listed.
Guaranteed! These brand new, top quality, stands equal or surpass in quality many with retail list prices far higher (try double or triple and sometimes even more)! Go ahead, check with your local photo store(s). Bid responsibly, but with confidence. These units are 100% guaranteed to be brand new, with manufacturer's warrantee! You may return these stands (in new and undamaged condition, of course) within 7 days of receipt for a full refund (excluding shipping), if they are not exactly as described above in every way. Trust me, you'll love them! For literally hundreds of other, more impartial and objective opinions, check my feedback see here; and see what every other customer has had to say about these stands (as well as every other item I've ever sold), and my service, and my commitment to 100% customer satisfaction! Hey, us struggling photogs have to stick together, y'know (and all of us are always struggling - to make that elusive "perfect" photograph or vid, huh?). Thanks again for viewing this auction; feel free to e-mail any questions to me see here.

Here's some information about the items comprising
your new pro package: The Deluxe TRIPLE Background Support Set (with THREE crossbars)!

Fabulous New TRIPLE Background Support System PLUS Two Fabulous Muslin Backgrounds!

Can hold THREE backdrops at once! Extends to almost 12 feet high! Whatta Dream Package!

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 clearly listed, just above the "Ladies and Gentlemen, Elv*s has left the building..." line. It's the same with all my reserve auctions; the reserve prices are always clearly and honestly 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 future. And don't forget - keep making great photographs!

We all know (er, well, we all should know) how a different background (also called a backdrop) can completely change the look, feel, tone, and atmosphere of a shot. That's why there are backgrounds! Hey, this isn't the forum for a photography lesson, but just as a "quckie" (no, not THAT kind of a quickie :) to give you an idea, look at the pictures below; both are the same girl. Only one has a blue background, and the other has a green backdrop. Look at her eyes. See? If the simple procedure of adding even a simple, solid color background can add so much to an image, just think how much better the fantastic custom-made backgrounds included with this package will add to your creativity! If you want to improve your pictures, you should consider using backgrounds. If you choose to try this, you'll need something to hold the backdrops: ergo, background stands and systems!

Yeah, yeah, I can hear the purists already complaining about the lighting differences, but I ain't trying to make art here, nor is it a "lesson" but just an imperfect example, so keep quiet and make your own pictures; if you've got a better example, send it in, OK? If not, then buy one of these great packages and make better photographs!

Here's every photographer's (or videographer's) dream photographic studio setup all in one dynamite package! Not only can this system hold backgrounds / backdrops up to TWELVE Feet wide (one crossbar extends to 12.8 feet wide! and two to 9 feet wide), it can hold THREE separate backgrounds at a time! That's right, folks, this system comes with a unique Triple background roll holder and 3 crossbars (beware of others advertising "Triple" background support sets that only come with ONE crossbar!). Of course, you can use paper rolls, canvas, muslins, fabrics, or whatever your creative little heart desires (well, whatever you can figure out how to hold on 3 beautiful extendable background bars, anyway :). And in addition to this Triple Background System you also get two beautiful brand new custom-made muslin backdrops! An "Instant" professional lighting and background studio! Hey, you know what a pain it is to be constantly running around switching backgrounds, and with this great package, your work will be cut in thirds, since you can have three different backdrops "online" all at the same time! Will wonders never cease? Not if I have anything to say about it, it won't. Also included in this marvelous package are THREE custom carrying cases, so you can pack it all up and stash it in the corner of a closet (when your spouse wants the living room back:), or take along on location shoots (wow, just think how much easier it will be to have THREE backdrops - at the same time - available on locations)!

Here's what you'll get with this wonderful new background package: 1) Two 408C compact background end stands (can double for light stands, too!) 2) Three Background roll cross bars (additional bars also available) --- One 12 foot crossbar --- Two 9 foot crossbars 3) Two three Background roll crossbar support attachments (triple holder) 4) Two beautiful brand new 100% muslin backgrounds / backdrops BONUS! 5) Custom carrying case for background support set included! Plus a strobe and accessory carrying case AND a light stand carrying case.

The Specs: Support stands: 4 sections (25, 22, 19, and 16mm); Legs: 19mm; Extended: 11.8 feet (almost 12 feet high!); Closed: 3.5 feet Cross bars: One 6 section pole; Extended: 12.8 feet; Closed: 3.5 feet; Will accept: 12 ft background rolls; and two 9 foot expandable crossbars Multiple bar support attachment: Can support THREE paper rolls, canvas, or fabric backgrounds/backdrops at the same time! Please be aware that this is a heavy duty background support set that can hold over 50 pounds securely!

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Here's some information about the items comprising
your new pro package: The AS-120 Professional Studio Strobes

	AS-120 Variable-Power, Multi-Use Professional Flash Unit The AS-120 is a dynamite strobe with all the extras already built-in. It gives you variable power output (full power and 1/2 power) with a flip of the switch, 90WS of powerful light output, can be used as a master strobe (sync cord included, of course), or with its sensitive optical slave trigger (as well as a test button; see picture below). As you get into photographic lighting techniques, you'll discover that you can't 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, lighting your backgrounds, hair lights, rim lights, spot lights, 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: - 90W/S (J) Output (actually over 100!) - 1, 1/2, Power, Control 22F/ Stop Setting - 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 top view, the AS-120 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 "Ready Light" tells you when it's charged up and ready to be fired, and the "Sync" terminal lets you connect it to your camera's PREFERRED CUSTOMER plug whenever you want to use it as a master strobe. The Slave sensor is explained above. 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.
This view shows you the "Full / Half" Power Switch, which lets you easily choose whether to shoot at its full 90WS of power, or at its 45WS half power, with the flip of a switch! Actually, folks, when I tested the power output (with my brand new Sekonic L-508 flashmeter - which I Love dearly!), it really pumped out over 100WS! But since it's listed at 90WS by Britek, we'll just call it 90WS.
And, as you can see here, the AS-120 also has an integral (built-in) light stand connector. This allows you to use either the Tilt/Swivel Bulb Holder (as seen in the picture above), that's included with this package (of course! all my auctions contain well-designed kits and packages that come with everything you'll need to use your new equipment - unlike some others you'll find selling "kits" online that need extra parts - at additional costs, too), or you can attach the AS-120 to the light stand with its built-in attachment for better balance when using light modifiers (softboxes, umbrellas, etc.) which add weight to the front end of the unit. All good equipment gives you the options you need to make the best choices for your needs. It's my job to make sure my (wonderful and cherished) customers receive the best equipment available - at the best possible price.
Feel free to contact me with any questions: PhotoSource3@pss3.com - or - wryter@usa.net

You're getting Two AS-120 Pro Strobes with this great package

	Here's a front view of the amazing new SoftCase. The SoftCase performs the same function as a soft box, the only difference is that it's a molded plastic unit, rather than made entirely out of fabric, as is the softbox. Both the SoftCase and the SoftBox are used to soften the light, which almost "magically" softens and hides the lines and wrinkles often found on the faces of our portrait subjects, as well as minimizing or eliminating the reflections and "hot spots" caused by reflective surfaces (glass, metal, ceramics, chrome, oil paintings, and virtually all other reflective surfaces). Needless to say, our clients love the results! The SoftCase is one of the most valuable pieces of equipment the photographer has in his/her arsenal of accessories. Similar to the photographic umbrella in it's ability to mellow out the light, it allows more light to reach out subjects, since it allows us to direct the strobe towards our subjects, rather than "bouncing" the light backwards off a reflection umbrella.
	The SoftCase gives us the the options of using only the outside light panel, as pictured above, or using only the Interior Baffle, as shown here, or using BOTH the outside panel AND the Interior Baffle. More choices, more creativity. Unlike the umbrella, which offers us no choices in light softening, the SoftCase gives us the choice of modifying the "softness" of the light by one panel, or by two panels. This choice of light softening levels gives the photographer more control, more creative options, and the ability to use these choices to exert the maximum possible creative control in his/her photographic endeavors. Just one more reason why the professional photographer's pictures look so much better than our pictures do - because the pros have the right tools for the job!
	This view shows the SoftCase without either the interior or exterior panels. As you can see, it is designed to fit your Britek strobes perfectly. You simply remove the reflector from your strobe, and attach the SoftCase. This is a great starter strobe kit for portrait work and/or for photographing reflective surfaces. You have the strobe, the light stand, the Muslin background, and the SoftCase to soften the light and help to hide the wrinkles or minimize reflections. A good beginning to get started in studio photography (and it's a simple and easy matter to add additional equipment as your future needs may dictate). Who da man? Huh?

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What is the price of this package? | What are the shipping charges?

Top 10 Questions about this equipment!

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Backgrounds / Backdrops

Fabulous Brand New custom-made Backgrounds!

"Stormy Weather" "Hot Spot" Background Backgrounds, also called Backdrops, are one of the photographer's best friends. A good background adds immeasurable class, quality, and - most importantly for the struggling photographer - VALUE to our work! Whether your "studio" is in a corner of your your living room, your garage, or a fully outfitted professional photographic studio, makes no difference. In the final print, all anyone will see is your subject looking beautiful in front of a professional background! "Stormy Weather" This backdrop is a full 9 feet wide by a HUGE 15 feet long!

Ever wish you could get those fantastic glowing "Hot Spots" behind your subjects like you see in all the top magazines in the pros' images? Think they were all done with lighting techniques? Nope! Hot spots are very difficult to achieve using only lights, unless you can afford some really expensive and powerful models, anyway. Here's the real secret almost all the pros use: "Hot Spot" backgrounds! With these fabulous "Hot Spot" backgrounds, you can get this kind of image simply, easily, and inexpensively! The backdrop artist has done all the work for you. The bright, glowing, "hot spot" has been painted onto the backdrop for you! What's the value of Hot Spots? Just look at the picture above; where does you eye automatically go to? To the lovely model! Why? The glowing bright area surrounded by darker areas, draws your eye to the lighter area - and your subject! That's the photographer's job - to draw the viewer's eye to our subject! And, as you can so clearly see, the hot spot background does exactly that! Pick up one (or more:) of these dynamite backgrounds and "wow" your clients, too! The photographer creates the mood, and creates the art by using many different kinds of creative and ingenious photographic techniques! And no other photographic tool is as powerful or as impressive as the background (also called a backdrop)!

Plus, also included in this fabulous, ultimate, 10 strobe package is:

"Desert Rose" "Mottled" Backdrop This backdrop is a full 9 feet wide by 9 feet high!

Here's another one of the most useful and popular Muslin backgrounds in use by pros today; a lovely combination of rose and purple over a white base. Unlike many of the "cookie-cutter" backdrops that are being passed-off on unsuspecting buyers online lately, every one of these fabulous muslins are hand-painted by talented artists in the Old Masters tradition (a real person, with a real brush custom paints each and every one of these quality backdrops). Consequently, please view this sample picture as a guide which will be very similar to - but not exactly the same - as the one you will own if you are fortunate enough to win this auction. Every one of these unique and beautiful muslins are an individual work of art in and of themselves; since a talented artist creates each one of these to your order, each will be similar, but subtly different. No one else in the world will have the exact same background as you will, because each one is created the old-fasioned way... with hard work, artistic talent born of years of practice, a passion for the the art, and tender, loving care. Your muslin will be created just for you. Consequently, please allow approximately 3-7 days for your muslin to be created (we do have a small number of certain popular designs in stock for immediate shipment; if you encounter an emergency situation; please call here for details if you have an immediate need). At Photographer's SupplyStation, we will sell no backdrop before it's time.... :) Be aware that this is a fully and professionally-finished backdrop, not just a piece of material slapped together in someone's back yard; it comes hemmed and finished on all 4 sides, with a professionally sewn crossbar pocket across the top. How good are our products? How satisfied are our customers? See what every other customer has to say about dealing with "PhotoSource3" on eBay, and Photographer's SupplyStation online; check my feedback here!

Another phenomenal deal from Photographer's SupplyStation -"PhotoSource3" on eBay!

IMPORTANT: Yes, yes, I know you can find cheaper backdrops, but you can't find any better than these fabulous creations. In fact, when you consider the extraordinary skill, time, effort, and talent that goes into creating these masterpieces, not to mention the cost of the top-of-the-line muslin and supplies, it's amazing that these can be sold for so little! Yes, as I said, these muslins are not the cheapest available, and I made this choice advisedly (sure, I could have posted the cheaper muslins at lower prices, just like all the others are doing); but after using the cheaper muslins and experiencing the frustrations and disappointments with the stretching, wrinkling, tearing, and fading problems common to so many of the cheap muslins, I found that the top quality muslins (like these) quickly amortize the small additional cost entailed, and will last you for decades; they're by far the best value for your money. With these pro quality backgrounds, no matter where your "studio" may be, your portraits (and product photography as well) will glow with professionalism, and impress and amaze your clients! It ain't magic, folks, it's just one more of the secret weapons that make the pros' pictures so much better than ours: They have the right tools for the job! And now, so can you! Check out my other auctions for more great deals!

Now you'll have a truly great photographic package, with the lights, light modifiers, light stands, triple background support set, and two of the most popular, useful, and dramatic backdrops available! Why are photogs so in love with their studios? BECAUSE (in our studios) WE CAN CONTROL EVERYTHING! 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. And nothing is more powerful than the location where we choose to present our victims (um, er, our "subjects," that is:) to the world through our images.

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? By using an appropriate background, of course! Look at the example above, again and see how the simple choice of using even a simple, solid color background that matches our subject's eye color can improve our pictures. 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 the section above, again; 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 photograp