As we can see from the back view, The New SM-1250 is well-stocked with controls and comes with all the extras already built-in.

The SM-1250 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!

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.

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 SM-1250'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.

Complete: Each of these SM-1250s 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 the strobe in this package is an A.C. unit (a completely self-contained MonoLight), it's 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, this is 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, this strobe is 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 2000 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 site 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.com (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.com comes online, shortly).

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).

Specifications: SM-1250 Pro Studio Monolight

Here's a brief explanation (using, for this example, your (well, it might be yours soon:) new SM-1250 strobe, which have a power level of 125WS, and a GN of 125):

The "125WS" (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 power level. The Guide Number (GN) of these SM-1250 units is also 125 (for ASA/ISO 100 film), with a standard reflector. Often, the Watt Second power output is close to the guide number. 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 125, and the subject is 12 feet away, then: 125 (GN) divided by 12 (feet away from the subject) = 10.4, so we'd use an exposure setting of just under F11. If our subject is 8 feet away, then: 125 divided by 8 = 15.6 which would give us an approximate F stop of just under 16. 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 should consider getting a handheld flash/ambient light meter (sorry, I don't carry any at this time).

Back up to the SM-1250 description

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 perhaps the perfect starter strobe kit for portrait work and/or for photographing reflective surfaces. You have everything you'll need to get started in studio photography, and it's a simple and easy matter to add additional equipment as your needs dictate.

Who da man? Huh?

These fabulous light stands are truly top quality units without compromises. These Brand New Britek light stands extend to a height of 7 1/2 Feet, and fold down (fully assembled) to only 3.3 feet for easy packing and transport.

These stands 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.

You're also getting a great new 9' X 12' Raw Muslin Background / Backdrop to start you off! This is a wonderful starter background for those of us who are just begining to realize the importance of backdrops to good photography. Raw muslin is a lovely cream color (sort of like this background color), and has been used in its raw state as a favorite of photographers for decades. Be advised that this is a brand new, top quality, 100% pure cotton muslin (unlike the cheap recycled and cotton blend so-called "muslins" that others have been selling online recently). Also, you can easily dye and/or paint raw muslin to create beautiful custom backgrounds that sell for up to $450.00! Of course, you can paint, sponge, or dye this great muslin, too, if you like, but raw muslin is one of today's most popular background colors. What IS a "Muslin" you may ask? Muslin is a type of cotton material that is light weight, easily hung, draped, stretched, folded, or rolled. It's easy to paint and dye, and relatively inexpensive. Unlike paper rolls, it can be washed whenever necessary (as with all 100% cotton items, you can expect a 5% 10% shrinkage after the first wash); and unlike canvas, it won't crack, peel, dent, or dry out.You'll likely acquire several different color muslins as your photographic needs advance. But if your budget won't stretch to buy additional backgrounds, you add to your background creativity by using a bed sheet (iron it first, so all the wrinkles are gone), or a wall, or buy some cheap material at a local fabric store (use solid colors, or mellow blends; avoid loud or busy patterns or designs - they just detract from your subject. You want your background to compliment your subject, not overpower it). Set your victim (um, your "subject," that is:) at least 4-6 feet in front of your background (whatever it may be), and place your background strobe behind your subject (hidden from the camera's view, of course). No need to spend a fortune to get great pictures, just be imaginative and creative with the equipment you have. Please note that this muslin does not come hemmed or with a loop sewn across the top (however, it's a simple matter to make a loop - to insert a background cross bar through - with a few safety pins (real photographers improvise:), or you can sew one yourself, if you're handy); it really doesn't matter, though, because we never show the outside edges of our backgrounds in our pictures, anyway.

Why, you may ask, do we need a 12 foot long muslin background when we only have an 8 1/2 foot high Background Support Set? Good question. The answer? Because, as a photographer, I know that we often want to curve a few feet of our background material onto the floor under our subjects. This allows us to make full-length shots of a standing (or sitting) subject, and have the background continue under their feet. Also, it allows us to curve the background material along the floor (also under our subjects) to eliminate the horizon line (e.g., the line where the wall or background meets the floor); it may sound a bit esoteric to you now, but as soon as you start using background support sets, and discover all the neat stuff we can do with it, it'll become clear to you. Things like these are one of the reasons why you're better off acquiring your photographic equipment from a photographer, instead of from just someone trying to "sell" you photographic equipment, because a photographer knows why something is important (or NOT important) for you to have, and how you can use it to improve your photography. Of course, "you da boss," because it's your hard-earned money you're spending - so you decide what to buy, and from whom to buy it (however, since PhotoSource3 not only knows photography, is willing to help you, and also has the best prices; it's really a no-brainer:)!

Read some more about backgrounds.... 

 H70MM Snoot

The Snoot provides a 30º concentrated light source for spot lighting or dramatic accents. Often used to "spotlight" a product, or a specific area of a photograph; also used for hairlights in people pictures. One of the photographer's "must have" accessories (the Snoot also acts as a holder for the Medium Honeycomb, below).

Starter Portrait Studio Package Kit #241
On Sale for only: $499.95
Shipping (UPS Ground): $46.65*
Total: $546.60

Click the PayPal link to go to a secure site where you can charge your new strobe to your MasterCard, Visa, or by Electronic Check.

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