The Godox RS100Bi is a continuous LED (Light Emitting Diode) video light designed to illuminate your video or photography subjects while on location. Its compact design enables you to fit it easily into your camera backpack, and its built-in USB-C chargeable battery means that you don’t need to carry a chunky V-mount battery (as I had to when I tested the Godox ML150Bi).

Godox released a very similar-looking RS100R version at the same time as the RS100Bi. The key difference between the two lights is that the Godox RS100Bi emits light in degrees Kelvin (K), with a color temperature range of a very warm 2800K to a cooler 6500K. The RS100R is an RGB LED, so it has much more control over color. The RS100R can emit a wider range of CCT values than the RS100Bi, between 1800K and 10,000K. It can also mix RGB LED bulbs to produce a rainbow of creative colors. This extra color output means the RS100R has 14 animated video effects, whereas the color restrictions on the RS100Bi limit it to 11 animated effects.

So on paper, it would appear to be a no-brainer to buy the RS100R instead of the RS100Bi. But hold on a tick – it all depends on your needs as a videographer/photographer. If you need creative color output (beyond a typical CCT range), the RS100R should be the model for you. But if you need a brighter LED with a longer reach, then the RS100Bi will meet your requirements. I’ll delve into the key differences between the two models in the Design and Handling section so that you can make an informed choice between the RS100Bi and the RS100R, both of which aim to be among the best LED video lights.

Godox RS100Bi: Specifications

Godox RS100Bi: Price

The Godox RS100Bi retails for an official price of $229 / £209. It’s a fair bit cheaper than its sister light – the RS100R, which costs $319/£289. As well as being cheaper, the RS100Bi is much brighter than its more expensive sibling, with the RS100Bi emitting 28,600 lux compared to the 15,900 lux from the RS100R.

So if you need a portable LED with a long reach, then the RS100Bi offers good value for money. However, if you need a light capable of producing more creative colors, then the RS100R might be worth the extra cost. As an RGB light, the RS100R can produce a wider range of color temperatures, plus it can cast thousands of atmospheric colors on your subjects. This extra color control gives the RS100R more effective animated lightning effects, such as a red, yellow, and blue cop car effect – something that is absent on the cheaper RS100Bi model that I am testing for this review.

So, if you need more creative color control, can compromise on a weaker lux output, and have more money to spend, go for the RS100R. If you’re on a tighter budget, don’t need to produce colors beyond a 2800-6500 Kelvin range, and want a much brighter light source, then the RS100Bi is the model for you.

Godox RS100Bi: Design & Handling

The Godox RS100Bi looks virtually identical to its more expensive sibling, the RS100R. However, the RS100R uses a full-color LED array to produce an extensive range of RGB hues, whereas the RS100Bi is dedicated to bi-color (warm and cool) white light. This limits its CCT range to 2800-6500K, compared with the RS100R’s broader 1800-10,000K range, but enables the RS100Bi to deliver considerably more brightness. With the supplied lens reflector fitted, the RS100Bi produces up to 28,600 lux at 1m and 5600K, compared with the RS100R’s 15,900 lux under the same conditions.

Now that I’ve got the crucial difference between the RS100Bi and the RS100R out of the way, I’ll focus on my experience with testing the Godox RS100Bi for the rest of this review.

The RS100Bi is constructed of a black plastic material and is shaped like a chunky flashlight (or torch). It feels satisfyingly heavy at 1.95lb (886g), giving it the feeling of a well-constructed and professional piece of kit. Yet at under two pounds (one kilogram), it’s not too heavy to cart around in your camera backpack, and at just under 10 inches in length, it’ll fit easily into your backpack (or into one of the tripod/bottle holders on the side).

The RS100Bi ships with a few accessories. The most important one is the high-efficiency lens reflector. This slots onto the front of the LED with a click and a twist, massively boosting the output of the light’s LEDs. A USB-C charging cable enables you to charge up the RS100Bi’s internal battery. This battery is designed to operate for 52 minutes at full power, though I found that 50% power output was more than bright enough in my studio location. Talking of power, a really nice touch is that the little OLED display on the rear of the unit gives you a battery countdown, so you know how long the power should last during a shoot. I could have done with a runtime countdown when testing the Godox ML150Bi LED, as it ran out suddenly before I’d finished the shoot. The RS100Bi is compatible with 18-140W PD chargers (though a charger is not included).

The kit also ships with a little lighting stand mount. This screws into the RS100Bi’s 1/4-inch thread and then slots onto a standard light stand. You can adjust the angle of the mount with ease so the light points up or down at your subject. There’s also a cloth carry bag in the box. Thanks to the LED’s Godox S-mount compatibility, you can replace the supplied reflector with a wide range of Godox accessories, such as softboxes (not supplied).

The properties of the Godox RS100Bi are controlled by three buttons and a knob at the rear of the light. The knob also functions as an extra button. The settings or modes that you select are visible on a little OLED screen, so you can operate the light with ease using these features. You can also use the free Godox Light smartphone app to adjust lighting settings or trigger effects from a distance. I found the app was very useful as I could adjust the light while it was illuminating me from a distance, which makes it the perfect piece of kit for a self-shooter.

Godox RS100Bi: Performance

To test the Godox RS100Bi, I took it to a TV studio. I used the studio’s row of ceiling-mounted cyclorama lights to light the backdrop curtain, and used the RS100Bi as my key light, mounted on a lighting stand at approximately 26 feet (8m) away. When the RS100Bi was turned off, I was in silhouette, so I was easily able to demonstrate the difference that the RS100Bi’s output made during my test shoot. If you watch the supporting video that accompanies this review, then you’ll see the light in action!

The RS100Bi was easy to set up. I screwed the supplied mount into the 1/4-inch thread at the base of the light and slotted the bottom of the mount onto a standard light stand. I then adjusted the light stand’s height and tilted the mount so that the light would illuminate me when I was standing on a stage in the center of the studio.

I started the test by manually operating the RS100Bi using its rear panel controls. It was a simple matter to press the On switch, and (as with most Godox LEDs) I then had to rotate the main dial to turn on the light. This two-step button press/dial twist process ensures that the light doesn’t get turned on by accident on your way to a shoot, so you know that you’ll have plenty of battery power when you arrive on location. The little OLED screen makes it easy to see what setting you’re adjusting. Rotate the dial to toggle between CCT (Color Temperature) and DIM (brightness). Press the dial to select one of these options, then rotate it again to choose a specific color temperature or adjust the brightness. The brightness can be adjusted very smoothly and in fine increments of 0.1%. It was handy to refer to the runtime countdown on the display so that I knew I had enough battery power to conduct a thorough test shoot.

During my shoot, I used an iPhone 16 Pro to record my “talking to camera” pieces while being lit by the RS100Bi. I used an iPhone 17 to run the Godox Light app so that I could operate the LED remotely while standing in its illumination. I found it even easier to change the properties of the RS100Bi when using the app, as you’ll see from this review’s supporting video. I was able to trigger a variety of animated effects, such as Lightning, Broken Bulb, and Fire, with a tap and a few swipes on my iPhone’s display. You can also use the app to fine-tune the way the effects behave, such as making a Broken Bulb flicker more slowly.

The RS100Bi was so bright that at 100%, the highlights in the shot were blown out. I found that 50% was the perfect setting, even when the LED was shining at me from 26 feet away. This gave me the confidence that the RS100Bi would perform well (and for long enough) on a model shoot on location.

Godox RS100Bi: Verdict

If you need a portable LED that can illuminate a subject (such as a model) without the light appearing in the shot, then the RS100Bi will meet your needs. It’ll fit easily in your camera backpack and thanks to the 1/4-inch thread you can mount it on a mini tripod or use its supplied mount to attach it to a standard light stand. The handy runtime countdown on the OLED screen ensures that you know how long the light will shine on a specific setting, so you can adjust your settings on the fly to make sure the light doesn’t “die” before you finish the shoot.

The RS100Bi has a narrower CCT range than its more expensive RS100R sibling, and it lacks a couple of extra animated lighting effects, but the RS100Bi is cheaper and brighter, which should make it an attractive purchase.

Alternatives

I have to admit, as both a photographer and a tech journalist there are some new product launches that are, well, boring. V-flats are usually one of them, flat pieces of foam core used as both lighting tools and easy backdrops. But lighting giant Westcott has just re-invented the v-flat – and made it not only portable but washable.

The new Westcott V-Flat, announced this week, uses fabric and an aluminum stand with magnetic legs rather than foam core. The design reminds me more of a scrim than a v-flat, but the design looks far more portable and durable than the standard foam core.

A typical v-flat is a large piece of foam core that’s versatile, but unwieldy to pack. The foam also often dents easily, making it a photography staple that tends to need semi-regular replacing.

V-flats are often loved for their versatility, and Wescott has worked to keep that intact as well. The design uses two panels that open to a full 82 by 84 inch / 208 x 213cm surface that can be used both as a lighting tool or a simple backdrop.

The two sides of the v-flat can also tilt from 15 to 80 degrees, allowing photographers to create a wedge wall or intentionally create a small slice of light entering the frame.

The fabric is interchangeable. The black can be used to enhance shadows and help prevent unwanted light from the outside the scene from entering the shot. The white can be used to bounce light and create softer studio lighting.

The fabric on the new Westcott V-Flat can be tossed in the washing machine to clean, and Westcott also offers replacement fabric.

A two-color kit with both fabrics and one frame retails for $299 / £255 / AU$442 / CA$434, while two-stand packs, single packs, and replacement fabric are also available. The new v-flat system is available directly from Wescott, while a number of retailers have already opened pre-orders, including B&H in the US.

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The Godox ML series consists of a series of modular continuous LEDs. I use the term modular because you can attach a range of accessories to them, such as magnetically attached diffusers or a twist-and-lock ML-CS1625 soft tent (which is basically a little soft box). You can also power them wirelessly using a clip-on Godox ML-BA battery, or use the ML150Bi’s supplied ML-VMA battery plate to attach Godox or third-party V-mount batteries to the LED.

The Godox ML range starts off in terms of affordability and power with the palm-sized ML-40Bi. At the top of the ML range, we have the Godox ML150Bi. This is the bigger brother to the similarly specced Godox ML80Bi, a key difference being that the ML150Bi produces a much brighter continuous light source for photographers and videographers to enjoy, even in the brightest of outdoor locations.

Both the ML80Bi and the ML150Bi ship with an ML-Z Zoom Reflector, so when this accessory is set to spotlight, the ML80Bi can emit 29,600 lux. On the same reflector setting, the ML150Bi produces 61,054 lux. Time for your model to put on some shades!

The term "Bi" pops up a lot in this introduction. The entire ML series consists of bi-color lights, meaning that they can emit a range of light color temperatures in degrees Kelvin. The ML150Bi can be adjusted – via button rotation or a swipe of a slider in the Godox Light smartphone app – to emit light that has a color temperature between a warm 2800K and a much cooler 6500K.

Being able to control the LED’s color temperature means that you can complement existing light sources, such as dialing in a cool daylight temperature of 5600K to add fill light that’s compatible with the location’s natural outdoor key light.

If you need a more colorful light source (such as purples, greens, and reds), then you need to look for an RGB LED, not a bi-color one. I can recommend the Neewer HB80C for both creative color and Kelvin scale illumination, among other continuous LED options in our buying guide to the best video lights.

Godox ML150Bi: Specifications

Godox ML150Bi: Price

The Godox ML150Bi retails at $259/£229. Its weaker little brother, the ML80Bi, retails at $229/£203. So for only around $30/£30 extra, you can purchase a more powerful 150W LED (compared to the weaker 80W device). So on paper, it seems like a no-brainer to go for maximum power for an extra $30.

However, I do have a word of caution. The cheaper ML80Bi ships with a dockable ML-BA battery that matches the white design of the lamp. The more expensive ML150Bi doesn’t ship with the ML-BA battery, so you’ll need to power the ML150Bi by its supplied mains cable or use its supplied ML-VMA battery plate to attach a V-mount battery (not supplied). You can buy an ML-BA battery to power the ML150Bi, but that will add another $89/£73 to your costs.

Personally, I like the fact that you can power up the cheaper ML80Bi out of the box thanks to its supplied battery (after charging it via its USB-C cable). I did have a V-mount battery to attach to the ML150Bi’s adapter plate, so that was fine for my test, but bear this powering issue in mind when considering a purchase.

Godox ML150Bi: Design & Handling

After unboxing the Godox ML150Bi, it looks like an elongated version of the Godox ML80Bi, with the same distinctive plastic white body material. The bigger ML150Bi features extra grilles and ventilation holes to help dissipate the extra heat that its 150W produces (plus an internal fan is on hand to keep the lamp cool). As with its little brother, the ML150Bi has an identical control panel that has an On/Off button and a Mode button to jump between controlling color temperatures in CCT Mode or choosing animated lighting effects in FX Mode.

A ridged plastic control wheel enables you to scroll through various menu items or adjust the frequency of lighting flashes, for example, and a central Set button lets you commit to your desired settings. A little OLED screen tells you all you need to know about the properties of the currently selected mode, and you can use that to activate Bluetooth, which enables you to control every setting via the Godox Light smartphone app.

The control dial/button (or the Godox Light app) enables you to adjust color temperature between a range of a warm 2800K to a cooler 6500K, so you can mimic candlelight, a sunset, or average daylight with ease. There are also 11 animated lighting effects – Lightning, Flash, Cloudy, Broken Bulb, TV, Candle, Fire, Fireworks, Explosion, Welding, and SOS.

As it’s a bi-color light, the lighting effects can use a mix of warm and cold color temperatures – such as creating cold flashes of lightning using a color temperature of 5400K, or a flickering fire at 2800K. If you want to mimic the flashing blues and reds of an off-screen police car, then you’ll need an RGB-capable LED such as the Neewer HB80C (which has 18 lighting effects, compared to the 11 from the ML150Bi).

The rear of the ML150Bi is initially hidden by a white plastic panel. At first, it was a bit of a challenge discovering how to remove the panel, but all you need to do is slide it up. Behind the panel are docking clamps that enable you to connect the LED’s body to a Godox ML-BA battery (not supplied). Fortunately, the kit does ship with the Godox ML-VMA battery plate, so I was able to pop a Neewer PS099F V-mount battery onto the plate and power the light during my test shoot.

Also included in the sturdy carry case that ships with the ML150Bi is an ML-Z Zoom Reflector. This mounts onto the front of the LED and can be rotated to create a wider or narrower (and more intense) beam of light. The front of the reflector is magnetic, enabling you to easily attach diffusers to subtly change the light’s properties. The Godox ML-D diffusers (sold separately) are designed to pop straight into the reflector. I found the diffusers to be a bit too subtle when out in a busy city location, but they may be more attractive (and more noticeable) if you’re shooting in a studio against a plain backdrop.

Godox ML150Bi: Performance

Since the ML150Bi didn’t ship with a battery, I popped on its supplied adapter and slid a Neewer PS099F V-mount battery I already had onto it. The Neewer battery’s display informed me that it was 80% charged, so I thought that would be more than enough power for a one-hour test shoot with Maddy, the model.

The ML150Bi’s sturdy black and branded carry case fitted nicely into my Gomatic 25L Camera Backpack, alongside a variety of accessories such as mini tripods, a Hohem iSteady V3 Ultra gimbal (to record my intro for the video review), and a spare iPhone 17 to capture some B-roll clips for my video review. The Neewer V-mount battery fitted in there too, so I found the backpack quite heavy to carry as I wandered through London to my shooting location – the Barbican Centre.

I’d previously tested the smaller Godox ML80Bi on a model portrait shoot in the Barbican Centre, so I decided to repeat the shoot with the ML150Bi. The weaker ML80Bi needed a Fresnel lens attachment to boost the light when shooting outdoors. The more powerful ML150Bi did not!

I started by using the bright sun as a key light, but this plunged parts of my model’s face into harsh, contrasting shadows. I was then able to position the ML150Bi on a lighting tripod to fill in the harsh shadows with a complementary daylight color temperature. I also enjoyed placing the LED behind the model to create a rim light that helped her stand out from the background. This extra light source helped "sculpt" her face with a key, fill, or rim light, giving it a more interesting three-dimensional look.

To make the ML150Bi’s light a little less harsh, I removed the reflector and slotted the Godox ML-CS1625 Soft Tent onto the LED, courtesy of the soft box’s supplied Godox mount adapter. The soft box reduced the intensity of the LED, so I needed to place the light in the shot while I snapped portraits for this review with my iPhone 17. It was an easy job to paint out the light stand and its shadow using Photoshop’s Generative Fill tool, so I was happy to keep the light in the shot when capturing wide shots of the model. For tighter portraits, I was able to keep the ML150Bi out of the shot.

I then moved into the shadow of the tall Barbican towers, which had a cooler, darker, and flatter lighting that was no good for portrait photography. Fortunately, after adjusting the LED via its tactile switches and dials, I was able to summon a strong golden-hour sun to be a key light in the gloom. This enabled me to capture some attractive sunset portraits (and slow-motion video of the model’s hair being backlit by the "sun").

Finally, I headed to a darker shaded area and used the ML150Bi as a harsh key light to capture film noir-style portraits with stark shadows. I also experimented with using some of the lighting effects while shooting video on the iPhone 17. The Broken Bulb effect in particular worked well with the grungy mise en scène of the urban environment, so these lighting effects should make the ML150Bi appeal to video creators as well as portrait shooters.

My hour-long shoot took place in four different locations that were relatively close together, so the light was on more than it was off! Given my V-mount battery started at 80% charge, I was lucky to have around 4% of power left at the end of my shoot, so I’d certainly recommend taking a spare battery along with you, especially due to the 150W power of the Godox ML150Bi.

I have one little niggle regarding the performance of the Godox ML150Bi. I turned the LED off between the various location setups to save battery power. To turn it on, you need to press the power button. A little icon appears on the OLED screen indicating that you then need to rotate the plastic dial in a clockwise direction to activate the LED. Sometimes this operation didn’t work, so I needed to press the power button again and have another go at rotating the dial. This did slow me down a little.

Oh, there was also a little bright orange rubber stopper that fitted onto the end of the metal lever that releases objects mounted to the front of the LED, such as the supplied reflector. This rubber stopper kept dropping off and, as I expected, it got lost during the shoot. However, it doesn’t affect the performance of the light in any way, so it is negligible, but I do like to be thorough in my reviews.

Godox ML150Bi: Verdict

I enjoyed using the Godox ML150Bi during my model portrait test shoot. As it was considerably more powerful than the ML80Bi, I could travel lighter without needing the brightness-boosting Fresnel lens that the ML80Bi required when shooting outdoors. However, I missed the Godox ML-BA battery that is supplied with the ML80Bi. My Neewer V-mount battery powered the ML150Bi throughout the shoot, but its bulky black casing looked out of place against the LED’s white body. Godox’s white ML-BA battery blends much more neatly with the white plastic bodies of its ML series LEDs, although buying one to power the ML150Bi would cost an additional $89/£73.

All in all, the Godox ML150Bi deserves a place in your kit bag as it elevates portraits from good to great. You can fill in harsh shadows or add a key light that accentuates the shape of your model’s face. Videographers might find the animated effects useful for adding drama, but the lack of RGB lighting effects (such as Squad Car) means that the effects from this bi-color light are less useful.

Alternatives

Earlier this year I wrote about the development of a rather unusual camera accessory claiming to be the world’s first light-meter integrated watch and from today, Increment Labs’ LMW-V1: Light Meter Watch Kickstarter is officially live. Billed as “the first purpose-made watch for photographers,” and “the only watch to feature an integrated light meter,” the Light Meter Watch is designed to take the guessing game away from film photography.

But before I talk more about this product’s concept, I think it’s important to note that I haven’t seen or tried it in the flesh. And, as with all Kickstarters, there is a degree of risk involved for backers because you are buying into an untested product. That said, Kickstarter is a fantastic platform for allowing start-up ideas to become a reality and it was made for a small project like this.

Back to the product itself. I’d actually argue that a light-meter watch concept is more relevant now than ever before. That might seem like an odd statement, what with the heyday of film long behind us, but the recent film resurgence came at a time when very few film cameras were still being made. Beyond the Pentax 17 and Kodak Ektar H35/H35N, new film cameras are still hard to come by.

Because of this, many film photographers are turning to vintage film cameras to get their analog fix. This is relevant because not all vintage cameras have built-in light meters and it’s not uncommon for those that do to feature light meters that either do not work or have degraded over time. The light meter then – which was pretty much extinct outside of professional photo studios – has had a little bit of a resurgence. What better time to wear one on your wrist?

One burning question I had originally was whether the light meter would meter reflective or incident lighting (or both). It’s since been confirmed that the Light Meter Watch will measure reflective light (at a 45-degree angle) only and while it would have been nice to have the two options, I think this makes a lot of sense. Reflective metering measures the light bouncing off a subject, while incident metering measures the light falling onto the subject.

The former is measured from the camera’s shooting position, while the latter is measured right by the subject and angled towards the light source. While an incident reading is more accurate, a reflective reading is more practical. And indeed, a camera’s built-in light meter is reflective and for an accessory that’s designed for photographers out and about with their film camera, this is by far the more useful of the two.

Already, the LMW-V1: Light Meter Watch’s goal of £28,875 is well over 2/3 of the way to completion, with just over £23,000 pledged at the time of writing. The goal must be reached by June 4, 11:22 am (BST) for the project to be successfully funded. There are four rewards to choose from. A total of 800 backers will be able to take advantage of the Super Early Bird (300 units) and Early Bird (500 units). These both come with the LMW-V1 and a rubber strap for £119 and £129, totalling 36% and 30% off the £185 MSRP, respectively.

What’s proving most popular at the time of writing is the Limited Edition: Black LMW-V1 (300 units exclusive to Kickstarter) priced at £143. The biggest saving is achieved when ordering the LMW-V1 Bundle (300 units), which includes both the standard and Black LMW-V1, along with a Milanese strap and a black leather strap.

No matter the reward, you can also select from optional add-ons, whereby you can upgrade the watch’s body to stainless steel, order a travel case, and choose from a range of straps. Should the Kickstarter prove successful, shipping is expected to start in Q1 of 2027.

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If you're looking for a light meter you can pick up right now, the TTArtisan Light Meter II comes highly recommended, along with the Sekonic L-208 Twinmate. If you like the vintage look but aren't sure about shooting film, then check out the best retro cameras, these are modern mirrorless cameras with a decidedly vintage vibe.

Godox has revealed a new line-up of softboxes that fold flat in an instant and can be re-opened in seconds - no messing about with fiddly poles or multiple parts.

Called EazyFlow, the softboxes are designed for ultimate portability. Each modifier packs down to a slim, travel-friendly folded profile which enables them to slide easily into a backpack or stack neatly inside a hard case - ideal for photographers who need to travel light.

Godox hasn't sacrificed ease of use with the design, either. EazyFlow softboxes can be set up quickly on location thanks to a quick‑release mechanism that snaps them open and locks them in place within seconds. Breaking them down is just as quick - simply squeeze the release buttons and everything collapses immediately. The result is a modifier built for fast‑moving environments.

EasyFlow softboxes are available in a range of sizes and shapes, including square, rectangular and octagonal. You can go as large as a 90x90cm square softbox, or down to a super-portable 30x45cm rectangular model. Octagonal EasyFlow Octa soft boxes come in four size options, ranging from 150cm diameter down to 60cm, plus there's an extra-long 40x90cm softbox that's perfect for lighting full length portraiture.

Whichever size or shape you choose, you'll get a softbox lined with a silver reflective interior and fronted by a dual-layer diffusion panel that should reduce hot spots to produce soft, even and flattering illumination. Inner and outer diffusers are included, as is a fabric grid that will allow you to focus light more directly. Everything is supported by a metal mounting ring which can be coupled with various interchangeable speed ring adaptors: a Bowens mount is included, but optional Godox, Profoto and Broncolor speed rings are also available.

Godox EazyFlow softboxes are available to pre-order from B&H, with prices ranging from $49 for a 30x45cm or 40x40cm softbox, up to $99 for the largest 150cm diameter EazyFlow Octa.

Hands down, my favorite accessory for on-camera flash is the MagMod Sphere diffuser – so when I saw the brand’s newest Kickstarter, my interest was instantly piqued. The MagMod MagStand is a light stand with a rapid setup, modular monopole, compact design, and dedicated accessories – and I’m geeking out about it.

Light stands are usually fairly basic, but MagMod is bringing a few unusual features with its entry into the category, starting with the quick set-up. The MagStand unlocks all three legs in one motion. Height adjusts by pressing a button on one of the telescoping sections – the stand automatically locks the height when released, no knob tightening required.

Above: See the MagStand in action in this YouTube promo video

While the stand has a handful of features for faster setup, MagMod says that the focus of the stand is stability. The legs have a wider 42” base to help hold lights more securely by lowering the center of gravity. Each leg also has two feet instead of one.

That wide base won’t work in every scenario, however, so the MagStand legs can also adjust to a base as small as 16 inches wide. Channels cut into the three legs allow for adding on accessories, and the rapid-mount weight looks a lot more convenient than sandbags (though the brand notes accessories are still under development).

The stand can also be removed from the three legs to use as a lighting monopole. The stand also has a weight hook built in.

Like the brand’s flash modifiers, the MagStand is magnetic – this is for connecting two light stands together when folded, so that you don’t have to make two trips to carry them.

The MagMod MagStand is built with anodized aluminum and comes in two sizes, a nine-foot option and an 11-foot option. When folded, both stands are designed to fit into a standard-sized checked luggage, with the nine-foot version folding down to 32.75 inches and the 11-foot to 37.75 inches (and you can get them a bit smaller if you separate the monopole from the base).

I haven’t been this excited about a light stand since I discovered the auto-deploying legs on the Cheetah Stand. I’m a bit disappointed there’s no auto deploy here, but the MagStand looks to add stability and versatility. Deploying the legs still looks fast, but also like it requires two hands. But I love the idea of not having to twist knobs every time I need to adjust the height. I’m always having issues with wind and stability, so I’m also intrigued by the wider base and future weight accessories.

Like with several of MagMod’s previous launches, the MagStand is launching on Kickstarter. All Kickstarter projects come with risks, but the MagStand has already surpassed its original funding goal.

Crowdfunding pricing starts at $145 / £107 / AU$204 / CA$197 for the nine-foot model and $160 / £118 / AU$225 / CA$217 for the eleven-foot option. The Arizona-based company will also ship to the UK, Canada, Australia, the EU, and Mexico; however, taxes and VAT are not included in the pricing.

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Godox has launched a new all-in-one outdoor moonlight: AD800Pro. Designed for no-fuss location lighting, it delivers rapid recycle times and long battery life, while also offering versatile wireless control and TTL compatibility across major camera systems.

As its name suggests, the AD800Pro boasts an 800Ws maximum power output. This makes it Godox's most powerful monolight flash, with a high enough output to overpower bright sunlight.

At this power setting you'll get up to 300 flashes on a full battery charge, with recycle times being between 0.01 and 1.5 seconds. Power can be adjusted over a 10-stop range in 0.1-stop increments for precise lighting control. Several lighting modes can be selected, including a Freeze Mode that produces a super-short flash duration as quick as 1/35,710 s (t0.1), designed for capturing split-second moments like splashes, jumps and other fast motion. Stable Color-Temperature mode minimizes color drift as power changes, ensuring consistent color across the flash output range. High speed sync of up to 1/8000s is also supported, along with first- and second-curtain sync modes.

The AD800Pro can be triggered via a 3.5mm sync cord, or wirelessly using Godox’s 2.4GHz X wireless system. This provides reliable wireless control over long-distances using Godox's X-series transmitters. External 433MHz receivers can also be connected through USB-C for even more triggering versatility. Other features include an HD color screen, 16 color group indicators, and a 40W bi-color modelling lamp. Optional accessories like snoots, umbrellas and soft boxes can easily be attached using the Bowens-type front accessory mount.

The Godox AD800Pro all-in-one outdoor monolight is available to buy now, priced at $999/£911.

Buy now from B&H

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If there’s one area of photography I could improve upon, it’s studio photography, so I jumped at the chance to watch Adorama and Gavin Hoey’s ‘3 Smart Ways to Use Grip Arms in Photography’. What’s a grip arm? I hear you say. Well, as Gavin points out, a grip arm – sometimes misidentified as a boom arm – is an extendable rod with a grip that can be used to position lighting, modifiers, flags, and generally acts as a very useful bit of lighting kit.

Above: watch Gavin Hoey demonstrate how he uses grip arms in his photo studio

Gavin’s first tip is to use a grip arm to extend the height of a lighting stand. Pretty simple stuff, but essential if you’re using shorter lighting stands. His next tip is to use the grip arm to 'boom' a light outwards, and what I like about this section is that he takes the time to talk about the proper way to do this safely. As a photographer, you’ve got a responsibility to keep everybody in your studio safe. And while photo studios aren’t inherently dangerous, you do need to be mindful of potential areas of concern, such as trip hazards and falling lights.

When using a grip arm as a boom, you need to be particularly wary of the latter, which can cause the light stand to become top-heavy. As such, Gavin explains that the grip arm should be boomed over a C stand’s longest leg or any leg on a more traditional stand with equal leg lengths. He then drapes a small sandbag over the top of the leg in question to provide extra stability.

To find out more of Gavin’s tips for using a grip arm, as well as some very useful insights on how to use sandbags, make sure you watch the rest of the video. You even get a fantastic, creative portrait project that you can try at home at the end.

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Getting into studio photography for the first time? Here are some lighting setups for professional portraits. Maybe you're unsure whether to go for continuous lighting or flash? I’d choose continuous lighting if I were starting my portrait photography career today – here's why. And stay updated on the latest camera news.

LED panels have to find a balance between power and portability – but Godox’s newest light panel for creators is less than an inch thick yet delivers multi-color light at up to 20,400 lux. Introduced today, the Godox LiteWafer UP150R is a full-color LED that can be linked with a second panel for an even larger constant light source.

The Godox LiteWafer UP150R delivers 20,400 lux at one meter and 5600K, which the company says is around twice as bright as other lights in the category. That power is mixed with a 1800K to 10,000K color range and full HSI, RGB, and gel color modes. The light also has 14 special effects options built in.

Despite the light’s brightness, the LED panel is less than an inch thick (about 24mm). The light has a large surface area of roughly 13 by 26 inches. Adding the controller and mount will increase the light's size to just under three inches thick, but the LiteWafer is designed to create a large light source while still being portable enough for on-site shoots.

To make an even larger light surface, creators can connect two panels together and control both with the Godox Light App, which uses NFC for quick pairing. Or, the LED can be controlled with the DMX-TRS1 (an optional transmitter not included in the box).

The LiteWafer uses an included 5/8-inch baby pin mount, with a swivel holder available as an optional upgrade. It also uses a dedicated holder and includes a quick-release softbox for quick setup and breakdown. An AC power cord is included, but an integrated V mount allows users to add battery packs (sold separately).

That’s all wrapped up in a full metal chassis that Godox says is built for both durability and heat dissipation.

The Godox LiteWafer UP150R, which comes bundled with a bag and softbox along with the controller, cables, and pin, is expected to retail for about $699. International pricing has not yet been announced, but that translates to roughly £521 / AU$1,048 / CA$962. Godox will also be offering a two-light kit, which adds a controller, second light, connector, and a softbox made to fit two lights.

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Perhaps more than any other variable, including your camera and lens, lighting can make or break an image. And while natural light is all well and good, for truly creative photography and videography you simply need supplemental illumination.

I've used a lot of lights over the years, both for commercial shoots and teaching lighting to photographers. But the best, most adaptable light I've ever used is the Rotolight Aeos 2 Pro.

Not only is it powerful enough to use for stills as well as video, it's also large enough to create soft, flattering, wrapping light. And it's packed with HSI gel packs from professional photographers, as well as special effects from Emmy-winning lighting artists.

This comes at a cost, though, as the Aeos 2 Pro isn't a cheap light, carrying a price tag of $2,049 / £1,799. However, they've been dramatically discounted in the both the US (to just $1,050) and the UK (down to £849) as part of the Cyber Monday camera deals.

Which is still expensive, I know, but honestly – this light is worth every penny even at twice the price (as in, its regular retail price). I've used it in professional environments as well as for my own portfolio work, and there's just nothing like it.

For starters, I love the way they handle. The full-color touchscreen on the back makes using them as simple as swiping a smartphone; just tap the gel you want, or touch the variable you want to adjust whether it's intensity or temperature, and you can drag sliders to get the lighting to taste. Or use the Rotolight app to literally control it with your smartphone.

It makes lighting with gels an absolute breeze, especially if you've never shot with them before. Yes, it's an expensive light, but bear in mind that it packs 2,500 filters from Lee and Rosco – so you'll never need to buy physical gels again.

I also love clever technological tricks like Source Match – a one-touch tool that instantly duplicates the dominant light, whether it's standard indoor room lighting or colorful ambient illumination. It makes it incredibly easy to match and amplify the existing light in the room.

And the quality of both the light and the gels is gorgeous. As you can see from my sample photographs, the colors are punchy and vivid while the light remains soft rather than harsh and overpowering. And obviously, because it's constant light, it's perfect for photo and video in equal measure.

You get what you pay for with lighting, but at half price you really are getting so much more than you bargained for.

🇺🇸 US deal

🇬🇧 UK deal

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If there’s one area of content creation I’ll admit I need to brush up on, it’s artificial lighting. In this age of constant lighting, I’m sure I’m not the only one guilty of thinking: “That looks about right,” instead of spending more time delving into lighting theory.

However, video lighting is a broad subject, which can make it difficult to know where to start. That’s why I think this YouTube video by award-winning cinematographer and Academy nominee, Curren Sheldon, is so useful. Curren has reverse-engineered the topic by identifying six amateur lighting mistakes and how to avoid them.

With Curren’s lighting pedigree, it would be easy to overcomplicate things, but this is a great video for beginners and more experienced videographers alike. For example, mistake number one is very much a beginner mistake, flat lighting, whereby the videographer mounts the light – typically on the camera – so that it’s beamed onto the subject in the same direction as the camera is pointing. It’s essentially the same reason why, in photography, many photographers scoff at built-in flash; it essentially creates a similar washed-out effect.

The tips get progressively more advanced as the video continues, but things never get overly complicated. It’s a great springboard for you to identify areas of improvement, which you can head off and research further. A lot of ground is covered in barely 10 minutes, from lighting the space/scene to making sure that you’re using the right lighting equipment and learning to light with intention. I’ll certainly be bookmarking this video so I can refer back to it in the future.

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Harlowe (formerly Hobolite) has launched a duo of LED lighting solutions, the Harlowe Pro 300 Spectra and Harlowe Max Air 40, both the latest generation of existing ranges. The former, part of the company’s professional line, is available in Standard AC/DC and Creator AC/DC kits, priced at $1,999 (approx £1,522/AU$3,055) and $2,499 (approx £1,902/AU$3,821) respectively. The Pro 300 Spectra is designed to provide a powerful high-output beam for studio and on-location work. It boasts Harlowe’s classy retro styling and while I’ll reserve my judgement until handling the light in person, I’d expect it to exhibit Harlowe’s premium build quality. It’s available to order now.

At the heart of the Harlowe Pro 300 Spectra is a 300W high-output RGBCW LED engine, which provides over 36,000 selectable colors and an expanded color temperature of 1700–10,000K, along with the ability to precisely control the beam’s hue, saturation, and intensity. A detachable focus lens provides a 3.5x boost, while Harlowe says that the Pro 300 Spectra can deliver “up to 5.4x stronger RGB power than other 300W lights, and even 3x higher than some 600W models.”

All the while, the light is designed to operate quietly (28dB at 1m) so as not to disrupt audio quality. A 360-degree rotatable head allows for vertical rotation and positioning at any angle, and the light can be controlled via a detachable control panel or NFC-enabled mobile app. A key feature for reliable professional use are dual power options, via AC mains or DC operation via two 99.36Wh Max Battery Packs. The Pro 300 Spectra also uses a universal Bowens mount, for ample third-party modifier support. The premium Creator Kit also comes with the Quick-Release Softbox and CF310 Carbon Fiber Light Stand.

The Standard Kit includes: the Pro 300W Spectra, Pro Barndoors Set, Power Supply, V-mount Clamp, D-Tap Cable (4.92ft), AC Cord (9.84ft), AC Cord (4.92ft), 2 x 99.36Wh Battery Pack, Dual V-Mount Battery Charger, and a Carrying Case. While the Creator Kit features all of that as well as the aforementioned softbox and lighting stand.

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Harlowe (formerly Hobolite) has announced a brace of LED lighting solutions, the Harlowe Max Air 40 and the Harlowe Pro 300 Spectra, both evolutions of existing ranges. The Max Air 40 is priced at $549 (approx £418/AU$839) and built to provide pro-grade lighting in a portable package. As always, it’s dressed in Harlowe’s distinctive retro styling and I’d expect it to live up to the brand’s reputation for premium build quality. The Harlowe Max Air 40 is available to order now.

The Harlowe Max Air 40 is a 40W portable LED light with a constant LED beam, making it suitable for both stills and moving images. Even with the included battery pack attached, it measures just 3.74x4.65x3.97in and weighs just 2.13lbs. It retains the original Max 40W’s bi-color COB LED engine and CRI/TLCI 96+ colour rating, while boasting a number of improvements.

Not only is the slimmed-down 54.72Wh battery pack 35% thinner, but the removable fixed-focus 23-degree lens is said to boost output by up to 9x over bare light. What’s more, existing Max 40W users can still make use of their compatible attachments.

The portable form factor will no doubt attract travelling content creators. To that end, the Max Air 40’s battery pack is dust and water resistant, boasting an IP65 rating. It also supports USB-C 65W PD, which means it can handily double as a power bank for phones, tablets, laptops, and primary lighting, on the go. And if you need to change batteries in low lighting, a built-in LED on the battery pack itself, helps visibility in the dark.

Videographers will be pleased to know that the device has silent cooling so as not to affect audio. And when it comes to operating the light, you can use the app + Bluetooth/NFC, or on-board controls. Inside the box you get the Harlowe Max Air 40, Max Air 54.72Wh Battery Pack, Fixed-focus Lens, Power Adapter 65W, Type-C charging cable, and a carrying case.

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You would be forgiven for thinking I took this shot of a flamingo in a photo studio with lights and a black background. However, for this shot of the flamingo in late winter sunshine at WWT Slimbridge, Gloucestershire, UK, I used a classic ‘low-key’ photography technique. 

It’s easier than you might think. First you need subjects to be a lighter colour and brightly lit by the sun, then position yourself so backgrounds behind the subjects are in deep shadow. With the correct exposure for the light levels on the bird, you can render the darker background to appear totally black in the shot.

It’s also easier to achieve this sort of low-key look with jet-black backgrounds when using a long lens so you can isolate subjects against the backdrop in dark shadow. Using a Canon EOS R5 full-frame mirrorless camera, I shot at around 400mm with a Canon RF 100-500mm f/4.5-7.1L IS USM super telephoto zoom lens.

In Manual exposure mode, I dialled in around one stop of underexposure, ending up with an exposure of 1/4000 sec at f/7.1 at ISO2000. The high ISO was to obtain a fast shutter speed to freeze the twitchy flamingos in motion for a super sharp result.

Check out the best lenses for bird photography

When I was a new photographer, I remember thinking that buying a new camera or a new lens would be the turning point that took my photos from average to good. But, looking back over the dozen or so years that I’ve spent behind the camera, the moment that boosted my photographs the most wasn’t buying new gear, it was learning photography lighting basics.

Light plays multiple roles. Lighting in photography isn’t just about having enough light to use a low ISO. Light commands attention on the subject and loses the distractions in the shadows. Light increases contrast. Light can either create flattering colors or wreak havoc on a photograph’s hues. Light can even make a photograph appear sharper.

I’m not saying that buying a better camera or upgrading beyond a kit lens doesn’t impact your photos. It does. Upgrading your camera can mean a higher resolution and better autofocus, while a new lens opens up possibilities for better bokeh and a greater variety of focal lengths. What I’m saying is that, if you are a beginner, learning photography lighting basics makes a bigger impact than new gear.

Learning photography lighting basics doesn’t even require buying anything, at least not at first, although picking up a book on photography lighting or an online class isn’t a bad idea. Beginners can start learning about photography lighting with free light sources, like the sun or a window, before moving on to more advanced lighting and purchasing flashes, strobes, and modifiers.

There are three key aspects to understand when learning light: direction, intensity, and quality.

Photography Lighting Basics: Direction

Start with direction. Grab your camera, a random household object, and find an empty patch of floor near a large window (during the daytime). Place the object near the window, then start photographing that item from all sides. What happens when the light is coming from the side of the subject? What happens when the subject is facing directly towards the light? Try photographing that object with the light directly behind it (spoiler alert, you’re going to get either a very dark subject or a very bright background, depending on your camera settings).

By changing the direction of the light hitting the subject, you change where the highlights, or the brightest parts of the image, and the shadows, or the darkest parts of the image, lie across the subject. This can be used to add drama, create depth, or even hide unflattering elements in the shadows.

Think of a portrait. Shadows under the eyes makes someone look tired, right? By understanding how direction changes the location of those shadows, you can avoid unflattering under-eye shadows.

Photography Lighting Basics: Intensity

Then, move on to intensity. Light intensity refers to how much light there is, or quantity. You can’t grab a remote and turn down the intensity of the sun (like you can once you move to flashes). But, you can get further away from a window, or take photos at noon and then take photos at sunset.

Place that object close to the window and take a photo. Next, move the object as far away from the window as you can get. The farther away you get from the window, the less light there is, and you’ll notice a difference in your photos.

Another thing to try is taking photos at noon, then taking photos just before sunset. The light is less intense at sunset; the quantity of light is lower. Beyond the quantity of light, shooting at sunset also changes the quality of light, which is our next lighting essential.

Photography Lighting Basics: Quality of light

Finally, build an understanding of the quality of light, which refers to how hard or soft a light source is. Hard light creates well-defined shadows that have a hard edge. Soft light creates shadows that gradually transition from light to dark.

On a sunny day, take that random object and go to a window on the opposite side of your house or apartment from where the sun is. You want a window that doesn’t create a patch of light on the floor. Take a photo near this window, with the light coming in on one side of the subject. Then, move to a window where the sun is directly streaming through, creating a square of light on the floor. Place the object in that square of light and take a photo, again from the side.

Now, compare the two photos. The photo from the window with direct sun streaming in should have well-defined shadows with a solid edge. The photo near the window with indirect sunlight should have shadows that fall off gradually and not have a hard edge.

You can experiment with hard and soft light outdoors, too. The sunlight on a sunny day at noon creates hard light. The sun on a cloudy day or closer to sunset creates softer light.

Learning lighting basics solves a number of photography problems, creating more flattering portraits and interesting shadows. Light will also enhance contrast and help reduce the need for a high ISO or a slow shutter speed, which can help your photos to appear sharper. Start with learning the basics using natural light, then ease into flash photography so you can create good light no matter what the sun is doing.

Yes, there are a number of benefits that come from upgrading your gear. But understanding light will help you get the most out of the gear that you already have – and when you do decide it's time to upgrade your gear, you’ll still have that lighting knowledge to hit the ground running.

When I look back on my early photographs as a beginner to the photographs that I take today, the biggest difference that I see is from learning light. Understanding how to best use natural light, then learning flash, then off-camera flash as my confidence with light increased, made the largest impact on my photography.

New to photography lighting?

Here are some more resources and tutorials on photography lighting:

• How to understand light in photography
• Natural light vs. Flash
• Learning with continuous lighting
• Learning off-camera flash with just one light
• Studio portrait lighting essentials
• Simple lighting technique cheat sheet

Godox has announced a new range of COB LED lights in its Litemons lineup, the LE200Bi, LE300Bi, and LE600Bi, designed to give creators a combination of punchy output, high color accuracy, and simplified setup.

What stands out immediately is the all-in-one design: unlike many high-powered LED lighting kits that rely on separate power bricks, the LE series integrates everything into the body of the light itself. For those of us who often shoot in tight spaces or need to move gear quickly, that kind of portability and reduced cable clutter is a welcome advantage.

The specs suggest these lights can deliver serious performance. At one meter with a reflector attached, the LE200Bi pushes 57,700 lux, while the LE300Bi reaches 58,900 lux, figures that put them into territory normally reserved for larger and more expensive fixtures.

Godox hasn’t yet published the full lux ratings for the LE600Bi, but as the top model in the lineup, it’s clearly designed to offer even more output, aimed at larger sets or productions where raw power is key.

All three lights boast a CRI and TLCI up to 98, which should mean reliable skin tones and faithful color across different setups. For anyone moving between livestreaming, short films, and stills photography, where accuracy and consistency are crucial.

Flexibility also looks to be a big part of the appeal. The lights offer adjustable color temperature and a suite of 11 built-in FX modes, ranging from TV flicker to candlelight. On paper at least, that makes them useful not just for straightforward key lighting, but also for adding atmosphere on set without extra gear.

Control options are another area where Godox has pushed forward. The LE series supports DMX and CRMX via TimoLink RX, along with Bluetooth through the Godox Light App. There’s even NFC and a Bluetooth reset button to make multi-light setups less of a headache. And like other Godox COB lights, these are built with a Bowens mount, keeping them compatible with a huge ecosystem of modifiers.

Above: A video of the new Godox Litemons LE series of COB lights

The fixtures are built into metal housings with quiet cooling systems, which suggests they’ll hold up for longer shoots without overheating or intrusive fan noise. For me, as I’m leaning further into video production, that reliability is as important as raw brightness.

Much like many Godox products, the pricing is pitched toward accessibility. The LE200Bi launches at $249 (intro price $219) and the LE300Bi at $299 (intro price $239), with the LE600Bi sitting above them as the flagship. Godox hasn’t confirmed its retail pricing yet, but it’s positioned as the heavy hitter of the series. UK and Australian pricing is also to be confirmed.

I haven’t had a chance to try them in person yet, but as someone who already relies on Godox lights for photography, this feels like an important addition to the lineup. The blend of power, portability, and pro-level control at this price point makes the LE series look like a smart option for those of us moving deeper into video while still needing reliable tools for photography.

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Analyzing changes in Google searches is often a key indicator of trending topics – and data suggests that natural light photography is surging in popularity. According to data from Google Trends, searches for “natural light photography” are the highest that they’ve been in the last decade.

Natural light photography is a term broadly applied to any photographs that are taken without artificial light, and can include anything from golden sunset photos to using window light indoors.

Google Trends data, as pointed out by photo print platform Popsa, suggests that searches for natural light photography are the highest that its been over the last decade, with searches up by 550 percent in the last month alone. While a peak in topics related to sunset photography would make sense in the summer, the second-highest peak over the past decade for the search term is from January of 2017.

Over the last decade, the search term has been most popular in the Philippines, Australia, New Zealand, the United States, and Singapore. Broken down to the last three months, the list of countries changes to the US, followed by Canada and the UK.

Natural light photography is often associated with warmer tones and soft light – but the quality of the light depends entirely on factors like weather conditions and the time of day. During golden hour, the hour before sunset, has natural light that is warm and soft, with gradual transitions in the shadows.

During the middle of the day on a sunny day, however, natural light becomes what is referred to as hard light, with a harsh drop-off from the light to the shadows. Mid-day natural light also tends to be more difficult to work with because, with the sun overhead, photographers are limited in adjusting the composition to get the sun to hit at the right angle.

Natural light doesn’t exclusively refer to the sun. Blue hour photography – which Pinterest data suggests is also trending this year – refers to the hour when the sun is below the horizon, but there’s still a limited amount of the sun’s rays left. After twilight, natural light becomes photographing the moon and the stars.

Natural light photography, however, isn’t without its mixed opinions. Some photographers equate the term “natural light photographer” to mean someone who doesn’t know how to use flash. That can be problematic in genres like wedding photography, as some venues have little to no natural light, and some wedding days have weather where the sun doesn’t make an appearance.

Of course, many fantastic natural light photographers know how to use artificial light but choose to work with natural light for its unique look. Other expert flash photographers know how to use gels and diffusion to make artificial light look like sunlight.

Personally, my own natural light photography got a huge boost when I finally mastered off-camera flash. Why? Because once I learned where to place the flash, I learned where to stand in order to get the best light from the sun. Now, I’m a flash photographer who sometimes chooses to use natural light.

One of my favorite photo sessions that I’ve done, I didn’t bring my artificial lighting at all – but this was largely because I had pre-scouted the location, scheduled the shoot during golden hour, and knew that I would be able to get beautiful natural light. (Plus, getting to the location required a one-mile hike, which makes carrying a studio light and stand incredibly unpleasant).

6 quick natural light photography tips

Learn to recognize “good” versus “bad” natural light. Taking excellent natural light photographs requires recognizing “good” versus “bad” light and how to use it. Soft light typically comes from a cloudy day or the sun being low in the sky. Hard light on a cloudless day with a high sun can look great – but it’s much harder to get this type of light to look good than it is to get soft light to look good.

Newbies, start in the shade. The easiest place for beginners to find beautiful natural light is in full shade, on an overcast day, or during golden hour.

Experiment with different natural lighting scenarios as you gain experience and confidence. Photograph one object from multiple angles in natural light. Which angles work the best? Try photographing the same thing at multiple times of the day. Which result do you love the best?

Use a warm diffusion filter to emphasize golden hour light. These filters create soft, warm light – which is exactly how I would describe golden hour light.

Shooting a portrait? Watch for shadows underneath the eyes. This tends to be unflattering and makes the subject look tired. If you spot under-eye shadows, adjust your angle, adjust the subject’s position related to the sun, or move to the shade.

Don’t be afraid to mix flash with natural light. I love natural light, but if I want to keep the sunset intact when photographing a portrait, I need either extreme photo editing – or a flash. Turning an on-camera flash to a low power and using a diffuser will help create catchlights in the subject’s eyes. Then, try evolving into a simple off-camera light setup. A one-light setup with a diffuser and the sun behind the subject is one of my favorite simple flash photography setups because it prevents the beauty of the natural light from being overblown into white highlights.

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Weigh the pros and cons of using natural light vs. flash. Get started with our lighting cheat sheets. Or, browse the best flash diffusers to create softer light.

Macro photography is all about details. The iridescent sheen of a beetle’s wing, the intricate veins of a leaf, the sparkle in a gemstone. But capturing that level of precision is not only about having the right macro lens; it’s about light.

SmallRig’s new RM 03 Macro Photography LED Light promises to deliver the perfect illumination for your close-up world, and honestly – it might just become your new favorite shooting companion when working out in the wilds.

This 30W light is particularly suited to macro in the outdoors and it resembles a nimble little creature that bends to your will. Thanks to its built-in metal spring arm, the RM 03 can flex and twist into position over 1,000 times without losing shape, giving you total control over your lighting angles.

Whether you’re wrapping it around a tree branch for an outdoor shoot or clamping it to your tripod, this light goes where you need it. With multiple mounting options included in the box, such as a ground stake, heavy-duty clamp, cold shoe mount and a 1/4".20 threaded hole for stand support.

In addition to multiple mounting options, you also get versatile light-shaping tools in the box. A diffuser for softer light quality, four-leaf barn doors for controlled direction, and even a spotlight attachment for that dramatic, focused beam.

The RM 03 also offers five colors of high-intensity LED light and five levels of brightness, so you can sculpt your subject exactly how you envision it.

And for those who love chasing details outdoors, the light is IP54 weatherproof. Rain, wind, dust, this light shrugs it all off. Pair that with a 140-minute runtime from the built-in battery (with USB-C charging, even while shooting) and you’ve got uninterrupted creativity in any environment.

In short, the SmallRig RM 03 Macro Photography LED Light is a lighting tool that adapts to your creativity, helping you capture plants, jewelry, insects or tiny textures that others overlook.

The SmallRig RM 03 Macro Photography LED Light is available to order now for $49.99 / £45.90 / AU $78.90.

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Orangemonkie has announced its biggest-ever portable photo studio: Foldio4. The Foldio range has been around for 10 years and provides creators, brands, and online sellers with a hassle-free, foldable photo studio. The seamless white backdrop and optimal lighting creates the ideal environment for product photography, enabling users to take professional-looking product shots to elevate their business profile. 

Foldio4 takes things to the max with a huge 39-inch shooting area, making it ideal for photographing larger items like bags, laptops and lifestyle scenes. The space is easily large enough to house Orangemonkie's Foldio360 Smart Turntable base, which allows you to easily create 360-degree interactive images.

Read more: the best light tents for photography

Part of what makes all Foldio models so special is their high-quality LED lighting design, that gives clear, even, and shadow-less illumination to the items within the studio. For Foldio4 there's a 4-channel system with independent control over the top, side and bottom lights, while the LEDs themselves have a high color rendering index score of >98 for exceptionally color-accurate illumination. Maximum brightness is 6500 lux, and the Foldio4 features a Halo Bar system for custom lighting angles. 

The two lighting bars positioned at the front corners of the studio sit on magnets, making them stable yet also effortless to set up. And when you're finished shooting, the magnetic construction of the Foldio4 allows you to fold it down to just 4 inches thick in seconds.

Foldio4 is currently in the fundraising stage, with the Kickstarter campaign having gone live on June 17th. Estimated delivery is planned for September 2025, with final the retail price being $499. Early Kickstarter backers can order a Foldio4 for a Super Early Bird Price starting at $179, and I can honestly say that's really tempting (providing you accept the financial risk with backing any crowd-funded campaign). 

I personally have an original Foldio and find it just as easy and effective as the marketing claims, having used it to shoot hundreds of product shots with excellent results.

See our Foldio3 review

Product photography is a competitive game. It takes more than just a good camera and lens to make your shots stand out. Lighting plays a huge role, and while pros might invest in fancy light tents or full lighting kits, including diffusers, softboxes, and modifiers, those setups can get seriously expensive.

But the good news is that you don't need to spend a fortune to create pro-level images. In this step-by-step DIY tutorial, you'll learn how to make your own honeycomb flash modifier – using just a flashgun or studio lighting kit and a few simple materials.

A honeycomb grid is one of those secret weapons that can instantly upgrade your lighting game. It helps you control where the light hits, so you can spotlight your subject with precision. Think of it like adding a subtle vignette effect in camera, drawing the viewer's eye right where you want it – on your product.

By narrowing the beam of light, a honeycomb grid creates contrast between your subject and the background. The result is a dramatic, focused look that adds depth and makes your images pop. Whether you're working on clean product shots or creating moody portraits, a honeycomb grid works wonders.

In this tutorial, you'll find everything you need to know to build your own honeycomb grid from scratch. No fancy tools required. Once it's built, you'll have a lighting tool that lets you shape, direct, and experiment with light.

Before and after

Tutorial

1. Control spot light

To create a camera flash grid that fits your device perfectly, you first need to determine the length of the straws. Keep in mind that the longer the straws, the narrower the spot of light will be. For this tutorial, we will be using straws that are 4cm long to achieve a noticeable effect.

2. Calculate dimensions

Next, you'll need to create a customized cardboard sleeve that can be attached to your flash device. For this, start by measuring the height (from the flash head down to the hinge), width, and depth. Then, add the length of the straws to the height measurement of your flash.

3. Draw a sleeve template

Mark the height of the flash on the cardboard, add the length of the straws, and then mark the width to create the first section. Add two sections to the left and right, starting with the flash depth, and mark the flash's width. Score the lines
and bend them to create clear sections.

4. Add a grid pattern

Begin gluing straws in the middle section of your template using liquid glue for the best results. Start with an entire row of straws, then continue adding straws on top until the height of the following section is the same as those to the left and right of the middle section. Let the glue dry.

5. Make it last

Now, carefully wrap the sleeve around your flash device, checking that it fits comfortably, then secure it with tape. For a more 'aesthetic' finish, you can also glue the upper parts together and wrap rubber bands around the sleeve. For maximum stability, let the glue dry overnight.

6. Understand the effect

Finally, attach your DIY honeycomb grid to the flash. Set your flash to TTL mode (auto flash) or use manual flash mode for greater control. Test various settings to experiment with the effects of the flash grid and how the power and exposure settings can influence your scene.

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If you are interested in other photography tutorials that lead you step-by-step through the shooting process, check out more in our series:

- Create cool shadow art photography without pro studio lighting
- Create botanical photo art with microscopic insights
- Ditch your tripod – try handheld HDR instead!
- I created custom camera bokeh by shaping my lens aperture

After writing about the release of Mark Mann’s new signature LED kit with Harlowe, I found myself revisiting a question I hadn’t asked in years: if I were just starting out in portrait photography today, what kind of lighting would I buy?

For most of my career, I’ve worked with strobes. I learned on flash kits, studied the techniques of photographers like Dan Winters and Annie Leibovitz, and built a mental map around shaping light in those terms. That language of modifiers, ratios and sync speeds became second nature.

Flash has long been the foundation of portraiture, offering precision, power and that unmistakable studio look. And for some of the greats, flash remains an integral tool, shaping everything from fashion to editorial portraiture. But times change.

The technology behind continuous lighting has advanced at an astonishing rate. What was once reserved for film sets and typically noisy, hot and cumbersome has evolved into powerful, compact, quiet, color-accurate LED systems that rival strobes in quality and control. And the biggest shift? When used in conjunction with mirrorless cameras, what you see is what you get.

Continuous lights have a practical side in today's world of content; being able to use the same lights for both photo and video work makes creative life far easier. One setup, one mood, one set of decisions that can carry across formats. I often shoot both stills and motion on the same job, and constant light gives me the flexibility to move seamlessly between the two.

But more than that, continuous lighting changes the dynamic in the room. It enables the subject to get comfortable and remain that way. There’s no jarring pop, no momentary break in connection, no reset between shots that comes with flash. The atmosphere remains uninterrupted. And for me, that’s where the most honest portraits can be found: in the quiet moments and unscripted expressions.

Of course, flash still has its strengths – and I still often use strobes such as the Godox AD600 Pro II for shoots on location. It’s powerful, portable, and still the go-to for many outdoor or high-speed scenarios. But for controlled environments, especially studio portraits, continuous light has become not just a viable option but an inspiring one.

Even legacy brands like Elinchrom and Profoto, once synonymous with strobes, are now offering continuous and hybrid lighting tools. Elinchrom’s LED 100C bridges the gap, while Profoto has introduced new cinema lights designed specifically with motion and modern workflows in mind.

In addition, video-first brands like Aputure and Nanlite are now producing modifiers and fixtures tailored for portrait photographers who want softness, precision, and control.

For those stepping into photography today, there’s never been a better time to choose constant light. It’s powerful, flexible, and increasingly accessible – and if I were starting over, continuous lights would be my choice.

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Make your mind up for yourself by checking out our guides to the best LED lights and the best strobe lights.

Harlowe has built a reputation for compact innovation. Known primarily for its COB LED lights that manage to blend both bright and powerful performance with a seemingly impossible small form factor.

Harlowe builds gear that seems to anticipate the realities of working in the field, addressing the struggles of limited space, unpredictable conditions and the need for tools that pull more than their weight.

When I saw the announcement video for the Harlowe Rocket Carbon Fiber Light Stand, its new all-purpose stand, I didn’t expect to feel much. It's a light stand, after all. But by the end of the clip, I was mentally clearing space in my kit.

ABOVE: Harlowe Rocket announcement video

The Rocket looks like something more than the sum of its parts. It’s not just a light stand, it’s a modular tripod, a monopod, a V-mount rig and a camera support. It’s compact and sleek, yet seems to carry the brawn of a C-stand without the bulk. That alone makes it stand out.

At the heart is a clever three-in-one quick-release system that enables you to switch between a camera connector, light connector and V-mount ballhead; no tools required and no screwing around (literally).

The one-step height adjustment and pedal-release base speak to a workflow that prioritizes speed and efficiency, and the double quick-release mechanism means you can shift setups without losing momentum.

The Rocket even includes two interchangeable stand feet; one is designed for lights and the other for cameras, adding to its adaptability.

Construction-wise, the carbon fiber build keeps weight down (the main column is just 2.27 lbs / 1.03 kg) without compromising strength. The full kit includes everything from the connectors and feet to set screws, wrench and a carry bag. It’s the kind of product where every component appears to serve a function.

That said, there’s a potential catch – the price. At $879 (roughly £695 / AU$1,340), the Rocket isn’t cheap. For that amount, you could easily pick up a decent tripod and a couple of light stands – but they wouldn’t offer this level of versatility or polish.

The Rocket feels like a product for people who know what slows them down on set and are ready to invest in something that doesn’t. I haven’t had hands-on time with it yet, but from what I’ve seen it looks like a rare example of gear that genuinely earns its 'multi-purpose' label – and possibly even its price tag.

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You may also like our guide to the best light stands and the best photography lighting kits.

Profoto, a manufacturer synonymous with high-performance lighting, has unveiled its latest addition to the world of light shaping – the Spot Small.

Compact, precise, and creatively versatile, this new light modifier is designed for professional photographers who demand complete control over their studio lighting kit, whether in the studio or on location.

The Profoto Spot Small uses a high-quality 115 mm optical lens that delivers a focused, artifact-free beam.

ABOVE: Watch the Profoto Spot Small in action

The Spot Small is ideal for photographers working in fashion, portraiture, product and fine art photography, as this spotlight is all about shaping light with clarity and intent.

Its small form factor naturally lends itself to a harder quality of light but, with the added precision of beam control, it's easy to finesse subtlety or intensity depending on how it's used.

Profoto has built the Spot Small with integrated metal leaves for cutting and shaping light, along with support for optional accessories like an adjustable Iris, which alters the beam size, and a Gobo Holder.

The optional Gobo Holder opens the door for everything from tight shafts of light to projected patterns and textures. In addition, the magnetic front ring is compatible with Profoto’s Clic light shaping tools, such as gels and grids, making it an incredibly versatile piece of kit.

Designed with professional shooting in mind, robust vented housing is designed for 360° cooling, made to perform consistently even during longer shoots. And thanks to its compatibility with both flat-fronted and protruded flash heads, the Spot Small integrates seamlessly into existing Profoto setups.

The Profoto Spot Small is available to pre-order now for $1,695 / £1,595 (Australian pricing to be confirmed).

Ultimately, the Spot Small looks to elevate the simple spotlight into a tool for defining detail, shaping mood, and enhancing creative expression with lighting precision.

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Check out our guides to the best photography lighting kits and the best light modifiers.

If you don’t already know 3 Legged Thing, I’d suggest you get acquainted. It’s a British-based company with real design flair and meticulous attention to detail, making some of the best tripods for photographers, the best travel tripods and the best tripods for videographers on the market. The heavy-duty 3 Legged Thing Winston 2.0 tripod kit is my best ever 3 legged friend. More recently, the company has started exploring other avenues, releasing excellent yet highly cost-effective supports like the Camera Desk Mount System, camera-specific and universal L-brackets, and handy Wrapz to keep your precious kit safe and snug. They’ve now turned their attention to making one of the best light stands and, true to form, have come up with something puts a new twist on traditional fare.

3 Legged Thing Luna: Specifications

3 Legged Thing Luna: Price

What price a light stand? They start pretty cheap and you can get a pair of Amazon Basics Aluminum Light Stands for around $35 / £36. For something more heavy-duty and nicely finished, the Elinchrom Lighting Stand costs $50 / £54 each, and the Manfrotto 5001B-1 Nano Light Stand comes in at $89 / £69. That makes the 3 Legged Thing Luna look pretty pricey at $150 / £130 but, unlike all of the other light stands I’ve mentioned, it’s carbon fiber rather than aluminum and is more than a one-trick pony. I reckon it’s actually very good value.

3 Legged Thing Luna: Design & Handling

Think of a high-quality carbon fiber tripod leg and that’s what’s at the core of the Luna light stand. I can’t say I’m surprised because 3 Legged Thing is always a company that likes to ‘think different’ and it has a whole lot of expertise when it comes to tripods. So, here we’ve got something very similar to a 4-sectrion carbon tripod leg serving as the central column of this light stand, but inverted so that the widest section is at the bottom rather than the top.

The sections of each telescoping carbon column section measure 25.5mm, 22mm, 18.5mm and 15.5mm, according to my digital vernier calipers. That’s actually a little chunkier than the leg sections of the 3 Legged Thing Punks Corey 2.0 travel tripod, which has a maximum load rating of 14kg / 30lb. With its single column, the Luna light stand has a maximum payload rating of 5kg / 11lg, which should certainly suffice for the vast majority of studio flash heads, LED light panels and other options.

To extend and lock the column sections, the Luna uses 3 Legged Thing’s time-honored twist-action clamps. That definitely works for me, as they need minimal rotation to free them off and lock them again. The bottom clamp is for releasing and locking the three spreading legs that form the base of the stand. The upper three clamps are for the extending column sections. It’s possible to grab all of the clamps in one hand and loosen or tighten them in one gesture, when the column is retracted.

Helping to give a sturdy footing, the diameter of the carbon tubing for the 3-section spreader is 19mm and the legs have a length of 54cm / 21.5” each. This gives a wide maximum radius that makes the stand less likely to topple over, even when using heavier lighting equipment. I like that the legs fold upwards over the center column to reduce the stowage size. As it turns out, the stand folds down to just 56cm / 22.1" in length, but achieves a maximum operating height of 200cm / 79". That’s not quite as generous as in many other lights stands. For example, the Elinchrom Lighting Stand extends to 235cm / 92.5” and even the Amazon Basics Aluminum Light Stands extend to 213cm / 84”.

Down at the bottom, there’s what appears to be a neat set of rubber feet for a grippy connection to smooth floors. There’s more than meets the eye, however, as the rubber pads pull off to reveal metal spikes, more ideal for use on loose ground and soft surfaces.

Adding a whole chunk of versatility, a really neat trick is that you can undo a locking screw at the bottom of the center column and detach it completely from the stand. You can then use it as a freestanding boom, for whatever takes your fancy. Options include a microphone, an LED lamp for illuminating inaccessible places, an action camera, or even using the boom as a selfie stick.

Another neat trick at the end of the pole, or at the top of the stand if you prefer, is the mounting connection. Catering to just about any and every need, it works as a standard 5/8” spigot for attaching studio flash heads and other lamps with conventional mounts. There’s also a 3/8” threaded protrusion for attaching the likes of lamps or even tripod ball heads or 3-way heads. The bit I really like is that the 3/8” thread is spring-loaded, so you can press it down to reveal a 1/4” thread, suiting a wide range of cameras, flashgun tabletop stands and other accessories that use the smaller screw thread. Long story short, you can mount pretty much anything and everything on this stand (or boom).

3 Legged Thing Luna: Performance

Cheap light stands can often feel flimsy. At their maximum operating height, it can seem like you’re really pushing your luck when mounting the likes of a flash head and softbox on them, or a large LED panel with heavyweight batteries attached to the back. It’s almost like you’re just waiting for the stand to topple over and for your expensive lights to come crashing to the ground. I’m really pleased with the 3 Legged Thing Luna, in that it feels rock-solid and super-stable even at its maximum operating height. That’s enabled not only by the strong carbon fiber tubing and magnesium alloy components, but also by the large radius to which the three leg sections can extend.

The compact carrying length is very welcome, and the stand comes complete with a lightweight drawstring bag. Ideally, I’d have liked a little extra maximum operating height but it should be just about sufficient for lighting tall portrait subjects when they’re standing, from a slightly downward angle. For reference, here’s a snapshot of me next to the stand.

Not just a light stand, the Luna works really well as a boom arm, with a quick and easy conversion between stand and boom. That adds great versatility for content creators and makes the Luna a really handy bit of kit.

The spigot and alternative thread sizes enable fitment of a wide range of lights and other accessories, as shown above and below.

3 Legged Thing Luna: Verdict

I’ve never been able to get excited about a light stand, until now. I really like the sumptuous carbon fiber and magnesium alloy construction of the Luna. I also like that it folds down nice and small for carrying around, and that it reaches a decent (if not overly generous) maximum operating height. Better still, I love its versatility, and that it effortlessly converts into a boom. It works a treat not just for lights, but also for supporting a mic, camera, action camera and more besides. If 3 Legged Thing made an optional adapter for using it as a guitar stand, my joy would be complete ;)

Alternatives

Elinchrom has just released a new continuous LED light, and I think it's a must-have for photographers who are starting to shoot video content.

I've long been a fan of Elinchrom, having used its strobes throughout my portrait and commercial photography career. But there’s always been a gap in their lineup – a continuous light.

Continuous lighting is typically associated with videographers and filmmakers, providing a constant, consistent light source instead of the brief flash of a strobe. But with the rise of social media, photography has changed forever. Photographers who once focused solely on still images are now adapting to a more hybrid workflow.

Whether it’s to meet the demands of commercial clients who now expect short-form video alongside stills or to create social media content to remain visible, photographers have, in many ways, been pulled into video whether they like it or not. This transition is made far easier with products designed for hybrid shooting, and the new Elinchrom LED 100 C does exactly that.

Elinchrom has a long history of innovating in the world of photography lighting, and the LED 100 C is a clear example of that. It’s designed with photographers in mind, making it a seamless addition for those looking to integrate video into their practice.

Mirrorless cameras and continuous lighting go hand in hand, making photography even more intuitive, and dare I say, easy. With a constant light source, you can see exactly how the light interacts with your subject in real time without the need to take a test shot and chimp the screen. You can dial in your settings, know precisely what you're getting, and when it’s time to switch to video, simply hit record; keeping the settings and lighting exactly the same.

This ability to move effortlessly between stills and video makes hybrid shooting faster and more dynamic. For portrait photographers like myself, it means I can capture both traditional portraits and moving portraits in a single session, adding an extra layer of storytelling to my work.

While the LED 100 C is fantastic for video, it also works well as a fill light, providing additional control over the lighting environment; and thanks to its ability to communicate with Elinchrom strobes via the Elinchrom app, blending flash and continuous lighting has never been easier.

One of the biggest drawbacks of many LED lights, particularly cumbersome LED light panels, is their lack of flexibility when it comes to shaping light. This is where the LED 100 C shines. It seamlessly integrates with Elinchrom’s extensive range of light modifiers, enabling photographers to sculpt and diffuse the light as they would with traditional strobes. The result? A beautifully even spread of light with edge-to-edge diffusion.

Having used the LED 100 C for only an hour, I can already tell it’s going to be a staple in my kit. It opens up more creative possibilities for short-form video content while maintaining the high-quality lighting Elinchrom is known for.

The Elinchrom LED 100 C represents the start of a new and exciting journey into continuous lighting for Elinchrom, with more powerful models penciled in for the future. The reason for the delay in constant lighting is that Elinchrom wanted to do it right and was able to shape light with the same quality as its strobes. It feels like Elinchrom has hit the nail on the head with this one, and for the price of just £499, there isn't any other light like it on the market.

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Check out our guide to the best photography lighting kits, and why Elinchrom is now my go-to lighting brand.

Viltrox is a brand we've come to know for its well-priced yet high-performing lenses, but it also produces a wide range of photographic lighting products. The latest of which is the newly-launched K90 30W RGB Fill Light, which joins Viltrox's shorter K21 an K60 models.

This 97cm-long light stick is ideal for background, fill, and accent lighting, whether that be for stills or video. The light contains 448 high-quality LEDs, comprised equally of RGB, warm white, and cool white diodes. This not only gives 2300 lumens of luminous flux and 2550 lux illuminance at full power; it also enables a full RGB color range, 2500K–8500K color temperature range, plus over 26 customizable lighting effects for extra versatility.

Color accuracy should also be respectable, with the K90 boasting a color rendering index (CRI) of 95 and a Television Lighting Consistency Index (TLCI) of 97. The light output is designed to be soft, meaning additional diffusion from a softbox isn't essential. Power comes from a built-in researchable battery capable of providing around 70 minutes of run time, charged via a USB-C connection that supports various quick charge standards. The light can also be used while it's charging.

The K90 can be remotely controlled via Bluetooth using the Viltrox Link app, allowing easy adjustment of light settings and effects, as well as control of a single light or groups of multiple lights. There's even a pixel function which means a single light can act as a 'pixel' when used in a group, unlocking exciting creative possibilities. Functions can also be adjusted via physical buttons and an info display on the light itself.

The standard K90 package contains a pair of K90 light tubes, along with four magnetic clamps for secure attachment (a 1/4-inch threaded hole on both sides can also be used to attach the K90 to a stand/support). Each light weighs just 870g and is supplied with a shockproof hard-shell protective case for storage and protection.

The Viltrox K90 30W RGB Fill Light is available to buy now from Amazon, priced at $229.99

Lighting giant Westcott has announced two new strobes – and hiding among the list of features like updated battery life, fast recycle times and integrated OLED touchscreens is a new feature that can trigger up to six different lighting patterns in seconds. The Westcott FJ800 is a new 800W on-location strobe, while the FJ400 II updates the brand’s earlier 400W portable strobe with new features.

Both new strobes include a feature that makes it possible to capture multiple lighting patterns without adjusting lights between shots. Creative Mask mode gives photographers the ability to program the lights to go off at different times, effectively enabling artists to use burst mode and get up to six different lighting effects in seconds.

Using the lights’ touchscreens, photographers select how many different frames to capture, then choose which lights to fire on which frame. For example, photographers with two lights can program the first light to go off in the first shot, the second light to go off in the second shot, and both lights to go off in the third shot. The lights will then automatically cycle through the preset pattern, producing those three different lighting patterns in a row without manually adjusting the settings each time.

ABOVE: See the new Westcott strobes in action

While the Creative Mask mode is first coming to the two newly launched lights, Westcott says that it is planning to bring the feature to all FJ-series wireless flashes using the Wescott StudioLink smartphone app.

The new mode builds on the brand’s earlier mask mode, designed to help isolate a subject for easier composting later. The lights also include the brand's Freeze Mode, which shortens the flash duration to freeze fast-moving subjects, as well as HSS and TTL support.

The Westcott FJ800 adds an 800W light to the series, bringing more power than earlier models like the FJ400 II. It comes at the expense of power and weight, however, with the 7.5 pound FJ800 rated for 250 full flashes per charge and the 5.3 pound FJ400 II rated for up to 550.

Both lights offer the same 0.1 to 0.9 second recycling time, a 9-stop range, and a 30W bicolor LED modeling lamp. Built-in touchscreens offer quick access to the lights' different settings and features.

Each light includes a magnetic reflector and gel set, plus an interchangeable battery, power adapter, USB cable, and case to put it all in.

Both lights are available now from Westcott as well as some retailers including B&H, with the FJ800 listing for $999.90 / £832.00 / AU$1,636 and the FJ400 II for $599.90 / £500.00 / AU$982.

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I opened an office on the bad side of town and investigated the dark stylings of classic film noir. Double-crosses, deep-rooted cynicism, tangled plots and flashbacks are all classic traits of American crime melodrama from the 1940s and ‘50s. However, it’s the unflattering camera angles, deep shadows and dramatic lighting that differentiate film noir from just another detective story.

Bringing this aesthetic to your portraits is easier than you think and can be achieved without the best photography lighting kits. In fact, you can operate without any specialist lighting equipment at all. The first stage is setting up the subject, whether that’s with vintage clothing or not. There’s a range of expressions that can be brought to the table, from the cynical detective to the manipulative or terrified client who has a secret agenda. So, depending on which character from this melodrama you’re photographing, it should determine how they look or appear.

The final step is to use the best photo editing software or best free photo editing software to convert your image to black and white. I used Adobe Photoshop to do this myself.

So, grab your fedora, overcoat and camera, and let's capture a moody film noir portrait...

Capture harsh film noir lighting

Usually, portrait photographers will opt for soft, flattering lighting, but I'm going to break the rules. The lighting needs to be unfiltered and harsh, so no softboxes are required here. The best flashgun or strobe, or the best LED light panels will afford you better control over your lighting, but if you’re operating on a budget, just a table lamp with no shade, placed below the eye level of the subject will do.

This creates ugly shadows on the face, suggesting menace or danger, depending on the expression of the subject. The lower the light source, the higher the shadows in the background. The closer the background is, the more defined and dramatic the shadows will be. It’s worth capturing a range of expressions and moving the light around to see what different kinds of looks you can get.

Convert the photo to black and white in post-production

1. Black-and-white conversion

Once you’ve got your photo the next step is photo editing. There are some interesting presets in Adobe Lightroom, but it’s the Black & White filter in Photoshop that I’m using here to control the conversion. So, go to Image Adjustments>Black & White. Select the Green filter preset – the Blue is too dark and Red or Yellow give very bright skin tones. Now, tweak this by reducing the Red channel. For women, red lipstick was common and rendered quite dark on the film stocks of the time so ensure this is the case here. If the face is too dark, increase the Yellow channel.

2. Enhance and tweak

Depending on how punchy the black and white conversion was you might need to tweak things with an S-shaped Curves adjustment. Then use the Elliptical Marquee tool to select the central area. Feather this by 150 pixels – more if your photo is very high resolution, then invert the selection. Now add a Color Fill adjustment layer and reduce the opacity to create a vignetting effect.

3. Make some noise

Use the Dodge and Burn tools to selectively lighten or darken parts of the image that need tweaks then flatten all the layers and go to Filter>Noise>Add Noise. Add as much as 10% for a really gritty effect, remembering to tick the Monochromatic box to avoid adding color. Other touches you might want to consider are vintage frames or a grungy overlap just to add some more character.

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If you want to shoot film noir images then a portrait lens is a must. Depending on your system, take a look at the best Nikon portrait lenses, best canon portrait lenses, and the best lens for portraits. If you'd like to learn more about portrait photography, check out 14 tips for getting your best-ever people shots.

When it comes to shooting frames with a creative touch, extending the exposure time opens up a world of possibilities for different ways to give your images a unique twist. By strategically employing a light source and incorporating it into the scene, we can produce captivating, distinctive light trails that not only add a new aesthetic dimension to the frame but also highlight the subject.

While many photographic techniques are straightforward, this technique not only requires you to balance the exposure settings but also to develop a feeling for the shutter speed and the light and its movement. The speed of the movements and accuracy are key to making the object stand out so it is important to become accustomed to the impact of shutter speed and light movement. You can try different settings and speeds until you get a feeling for this technique’s impact.

All you need for this tutorial is a still subject and a light source, such as a small LED light or even your smartphone’s torch. Objects with a reflective surface like glass offer a bigger potential as the reflections will add a special touch. You can also use the light source to light through them to introduce extra depth. 

While experimenting with this technique is enjoyable, it’s essential to remain focused on the objective, which is to unleash creativity while emphasizing the subject.

Before and after

Shooting steps

1. Set the scene

To achieve the best results with your light trails, place the object against a dark or contrasting background. Position your selected object a few centimeters in front of the background to allow you to paint trails around it.

2. Keep hands free

When working alone you must be able to move the light source. Ensure that your camera is securely attached to a tripod and perfectly aligned. Pay close attention to the spirit level of your tripod and activate the in-camera grid for precision.

3. Set the values

As we are working with long exposures, shoot in M mode. Dial in your settings and choose a closed aperture of f/11 or higher to keep the object sharp. For starters, select a shutter speed of about 15 seconds and choose a low ISO value.

4. Avoid vibrations

To avoid camera shake, use the self-timer option instead of pressing the shutter button. Also, deactivate the Silent Shooting option, so that you can clearly hear when the shutter clicks and know when to stop moving the light source.

5. Make it dark

To ensure clear and vibrant light trails, it’s essential to work in a dark environment. This allows the camera to only capture the light you are introducing. Before switching off any additional lights, make sure that the camera is focused on the subject.

6. Trust the process

Press the shutter, get in position and smoothly move the light around the object or shine the light through the object to enhance the impact. Take some test shots and analyze the results to get a feel for the exposure and light movement needed.

More photo tutorials 

• Ditch your tripod – try handheld HDR instead!
• Freeze the motion in your images with this step-by-step tutorial
• Long exposure flash photography can give you mind blowing results
• Street photography: how to remove distracting elements with long exposures

You may well have heard of the term ‘golden hour’ photography, sometimes called ‘magic hour’, and are probably aware that it refers to the time of day when the light from the low sun imbues images with a beautiful golden quality.

Golden hour photography is perfect for scenic landscape shots bathed in this wonderful golden glow. But what actually causes it, and when does it happen?

Color temperature varies throughout the day, with daylight typically 2000K (kelvin) at sunrise, and reaching around 3500K shortly afterward – this is the golden hour – before continuing to rise until it reaches the 5500K mark at midday (by this I don't necessarily mean noon, but when the sun is at its highest point in the sky).

The process reverses in the afternoon, with the color temperature gradually reducing in kelvin and once again hitting 3500K shortly before sunset. The color temperature of daylight is also affected by the latitude, season and weather.

The reason that daylight's color temperature changes so much throughout the day is due to angle of the sun. When the sun is lower in the sky, and close to the horizon, its rays have to penetrate more of the Earth’s atmosphere before reaching the viewer.

This diffuses the direct light, reducing its intensity, while a greater proportion of illumination comes from indirect light, reflected from the sky. In addition, light from the bluer end of the spectrum is scattered, while light from the red end is less affected by the atmosphere, and so the light appears more orangy-reddish.

But that's not the only reason that golden hour photography is so sought after. The lower angle of light elongates shadows, which highlight the form of the landscape in a way that you don't see during the harsh light of day.

There's another thing, too: while golden hour photography refers to the period of daylight just after sunrise or just before sunset, the ‘hour’ part is something of a misnomer. The length of the golden hour actually depends on where and when in the world you are shooting.

The closer you are to the equator, the shorter the ‘hour’ is. And conversely, at extreme northerly and southerly latitudes, the hour can last well over an hour. On the equator, you might only have 15 minutes or so of golden light, while within the Arctic Circle, the golden hour can be for as long as there is light in the sky.

It's seasonal, too. The shorter the day the longer the golden hour, so in the winter months you have more golden light for longer – as well as the bonus that you don't have to get up at stupid o'clock to witness it.

Finally, no matter what time of year or where you are on the globe, you need the weather to play ball. A thick blanket of white or grey clouds means that you won't get any color in the sky – or any land beneath it.

But that doesn't mean that you should stay in bed if the forecast isn't great – broken clouds can result in moody skies with raking sunlight – resulting in the most attractive and alluring golden hour photography imaginable!

You might be interested in the best cameras for landscape photography, or the best lenses for landscapes.

The Godox AD600Pro II is an off-camera flash aimed at photographers who want the quality and power of studio lighting with the portability of a Speedlight. Situated between the best flashguns and the best studio lighting kits, the Godox AD600Pro II provides users with a versatile light that is just as at home in the studio as it is out in the field.

For the best part of a decade, Godox, or as it's alternatively known in some markets – Flashpoint – has been delivering high-performance lighting options without the premium price tag, and with each new offering, it pushes the boundaries further. Its lower price has provided a fantastic entry point for new photographers starting their journey with off-camera flash, and this light continues that sentiment.

The Godox AD600Pro II builds on the success of the Mark I, a strobe that I have personally had a great experience using, building a successful portrait and fashion photography practice on the back of it. Starting out almost a decade ago, I used the AD600Pro to cut my teeth in the industry, using it to experiment with lighting techniques both in the studio and on location. It helped elevate my images – its light quality, versatility, and portability being its most stand-out features, and the new model continues in this same vein with a few added extras. 

The AD600Pro II sits second to the top of Godox's AD lineup of strobes, just behind the AD1200 Pro. The lineup includes the Godox AD100 Pro, AD200 Pro, AD300 Pro, and AD400 Pro, each named after the amount of output (Ws) each light provides, and each ideal for different scenarios.

The AD600 Pro II is aimed at photographers looking for a powerful lighting option either in the studio or on location. 600Ws is more than enough to overpower the brightest summer day sun and provides enough power to be a mainstay in a studio. I have used this light as part of a portable photography studio, often taking two with a backdrop and some modifiers to photograph headshots, fashion campaigns, and environmental portraits. 

Being very familiar with the original AD600 Pro, I was very keen to test out this light with the hope of some modern design elements that can help compete with leading lighting brands Profoto and Elinchrom. 

Godox AD600Pro II: Specifications

Godox AD600Pro II: Price & Availability

Godox lights are extremely good value for money, offering similar output to some of the best strobes on the market at a fraction of the price and the AD600 Pro II is no different. 

Available now to preorder the Godox AD600 Pro II / Flashpoint XPLOR 600PRO II will release in December 2024, and be available for $899 / £749 / AU $1400. 

For a portable studio light with this output and features it comes in at an extremely attractive price, and in my opinion, makes it one of the best value-for-money studio strobes on the market. 

The low price point does not equal low quality however, as you will see in this review the light quality and power output hold up among its more expensive competitors.

Compared to the Elinchrom FIVE, which has an output of 500Ws, it is almost half the price. Granted you aren't getting the sleek Elinchrom design and user experience, but for half the price, you'd be willing to sacrifice a few design perks. 

Godox AD600 Pro II: Design & Handling

The Godox AD600Pro II is almost identical to the Godox AD600Pro, in size, weight, layout, and construction. Weighing in at around 3kg, it isn't the most lightweight strobe on the market, but when you factor in the output power and the price, it makes up for being slightly heavier. 

The battery is replaceable and slots onto the back of the light with ease. The new smart charging from Godox makes for a fast recharge time which is easily monitored with an on-battery display. A full charge will enable approximately 370 shots on full power, more than enough for a day on set. However, if you do require more power, a separate AC adapter attachment can enable the AD600 Pro II to use a stable AC power source – vital for using the AD600 Pro II primarily for studio work. 

Godox has changed the LCD screen, adding color and a more intuitive stripped-back menu system. With fewer buttons than its predecessor, it is easy to navigate the menus and alter settings such as mode types, modeling lamp modes, and connection settings. 

After using some of the recent mono-lights from Elinchrom and Profoto, it was slightly disappointing not to get a touch screen. This is most likely due to the lower price tag, but perhaps Godox has missed a trick here as it does have touchscreen tech on its Lux Master light. 

Having mentioned the competitors, Godox's design does feel a little behind the times regarding build quality and aesthetics. Taking the Elinchrom THREE as an example, although it has a smaller wattage light, the design is much more sleek and modern, making the Godox AD600Pro II seem a tad on the clunky side – but with the low price point, cuts have to be made somewhere.

Godox AD600Pro II: Photo Performance

Setting up the Godox AD600Pro II was intuitive and straightforward, and once the battery was attached it was a case of turning it on and rotating the dial to unlock the menu. 

A new addition to the Godox AD600Pro II is the 'One-Tap Sync' feature that instantly connects the light with the new Godox X3 Trigger. Unfortunately, I did not have an X3 trigger available to test out this feature, however, although not quite 'one tap', connecting to the XPro II trigger was simple. I chose the corresponding group and channel and the light was good to go. 

I did however run into a small issue that I put down to not having the X3 trigger. When using the light with the Godox XPro II trigger I could only utilize TTL and Multi modes. Nothing I did seem to enable Manual mode, the mode I am most familiar with. I instead opted for TTL which allowed me to fine-tune the exposure with compensation. 

I set up the AD600 Pro II with an 80cm Godox Octabox (pictured below) on a C-stand and enlisted the help of my young daughter to get some sample images. It must be stated that sample images taken with strobes like this have more to do with understanding lighting rather than it being down to a specific light. The sample images included in this review could have been taken as easily with a smaller wattage light. 

Having set up a makeshift studio in my home in South Wales, UK, there was stereotypically very little natural light available. This meant utilizing the modeling lamp, which has been upgraded in this new model. 

The 40W Bi-color Modeling light was a lifesaver and gave me more than enough light to catch focus in the dark room, and the ability to change the color temperature gave me a better idea of how the light would affect the scene. 

As I started shooting I was extremely impressed with the recycle time, which is a noticeable improvement on the earlier model –  a much-needed feature when photographing a young child that didn't want to keep still!

The results were exactly what I expected from the AD600 line and produced consistent color / tone rendering when used in combination with my Fujifilm GFX 50S II. 

Godox AD600Pro II: Sample Images

These images were taken in my makeshift home studio against a painted canvas backdrop. With the help of my daughter, we captured some one-light studio shots with the Godox AD600 Pro II placed to the camera's right, on top of a C-stand angled at approximately 45 degrees.

I used a Godox Octabox to feather a soft light onto the subject's face using the shadows to create mood. The light produced the dramatic lighting I was after and showcased further its versatility.

Godox AD600Pro II: Verdict

Having used the Godox AD600 Pro for many years, I was excited to get my hands on the updated model. After 6 years, it was due for an upgrade, and with Godox developing new LED continuous lighting and introducing new tech into its smaller flashes I thought we might see an entirely new light. Instead, it's very difficult to distinguish the differences between the AD600 Pro and AD600 Pro II, especially without using the X3 trigger. 

I understand the 'if it's not broken don't fix it' approach, and despite the lack of a new design, the AD600 Pro II is very capable of creating beautiful light, and goes beyond being an enthusiast's tool to professional equipment. 

One noticeable feature is the LED modeling light. This has improved significantly on its predecessor and enabled me to capture focus when using the lights in a dark room. In addition, the recycling time has also improved, with only one missed shot throughout my time using the light. 

It is very hard to pick flaws in a product when the final result still enables you to capture your vision and the price point of this light compared to its alternatives provides it a lot of leniency – I would absolutely use the AD600 Pro II on future shoots. 

This being said, I believe to get the full potential from the light, it needs to be used in combination with the new Godox X3 trigger – now on the top of my shopping list!

Alternatives

If you’re truly exploring portrait photography, then at some point you’ll start to consider versatility. Natural light is amazing, be it backlight sun or the soft light of an overcast day. Even in place artificial light, like street lights or neon signs can supply the colour and tone needed to make your portrait. 

But what if you want to shoot at night when the lighting isn’t so good? What if you can’t visualize what’s happening with flash, be it a flashgun or a studio strobe? Well I’ve good news for you. There is a whole range of continuous lights from many manufacturers that use the same modifiers as studio lights. You can get that look, but what you see is what you get in camera. For LED lighting, the Godox SL60W is tried and tested and long in the tooth, but still keeps on going. It takes Bowens fit modifiers and even looks like a studio light. There are plenty of others like Apurture or Hobolight. 

Now, simply pointing the light isn’t good enough. Victoria Secrets photographer Russell James once said the secret to his work was the use of classic lighting. So let’s look at the classic lighting patterns that you can use to revolutionise your use of light. 

These photos are unedited to let you see the light and are shot using a beauty dish so the edges of the shadows are obvious. 

1: Butterfly lighting

For best effect, this lighting set-up needs a boom arm, but Neweer has a stand that lets the spigot point out perpendicular to the start, so you can be directly under the light. The light is situated directly between the subject and the camera. The nose shadow needs to be roughly halfway between the nose and the lips. The name comes from the shadow looking like a butterfly in flight head on. It’s also referred to as Paramount Lighting. 

2: Loop Lighting

If you move the light to either side at around the same height, you get a more pronounced nose shadow on the cheek. The cheek opposite the light starts to fall into shadow. The hallmark of this pattern is that the two shadows don’t meet. 

3: Rembrandt Lighting

This is my personal favorite. The light is over more and the nose and cheek shadows meet, creating a triangle of light below the eye. The light can be moved higher for a deeper triangle, but be careful to retain a catchlight in the eye. 

4: Split Lighting

When you move the light in to come from the side, it leaves one side completely in shadow ‘spliting’ the face in half. It’s not as flattering on women, but was famously used on the album cover of Meet The Beatles. This is often combined with a light from the back (called a kicker or rim light) in movie posters. 

5: Broad Lighting

The patterns so far have had the face straight on, but often the face is at an angle, so the placement of the light relative to the camera can dramatically alter the look of the photo. These angles break down into two types, Broad and Short lighting. 

Broad Lighting has the light on the nearest side of the face. Short Lighting has it on the side that’s further away. With Broad Lighting, there’s very little shadow on the face, and all details are visible. True to its name, it can indeed ‘broaden’ the face and shouldn’t be used on heavier-set people. 

6: Short Lighting

Short Lighting is both flattering and dramatic. People have built careers on short lighting. Combined with the lighting patterns above, you get a much larger range of options. A short-lit Rembrandt pattern is one of the most dramatic looks you can get and should be a staple in your portrait arsenal. 

Go practice these looks and become familiar with them. Start looking at fashion ads and celebrity portraits. You’ll see these everywhere. Use them in your work and you too will be a lighting expert. 

• Photography cheat sheet: Lighting setups for professional portraits
• Photography cheat sheet: Portrait lighting techniques

Black-and-white photography is, technically, the oldest genre in the field, dating back to the inception of early photographic technology in the 19th Century. However, despite the advances in color film processing, the practice of eliminating colors has remained popular as a style choice, offering plenty of opportunities to experiment. 

With the advantages of digital cameras, particularly the advent of dedicated cameras for black-and-white photography, monochrome shooters have adapted new techniques and ways of processing images – yet working solely with greyscale tonality remains a complex task. Black-and-white photographs have a timeless quality and offer a unique perspective on reality. Being limited to shades of grey only shifts the focus to the subject, and certain characteristics in the scene become more prominent. 

I had a conversation with monochrome expert, Mostafa Nodeh, about his photography. His black-and-white work is exceptional, showcasing a preference for simplicity and deliberate avoidance of distractions, thus allowing for clear and impactful messaging.

Interview

In addition to the best cameras for black and white photography in the digital realm,  the best film cameras enable you to get truly back to basics with your mono photography.

Canon USA has launched its new podcast, Canon Unscripted, and it's off to a strong start in the company of renowned portrait photographer Peter Hurley – who shares some fascinating insight on his early career, including his struggles with the technical side of photography.

Filmed for YouTube, Hurley and technical specialist for Canon, Mason Higa, can be seen sitting almost uncomfortably close, in leather armchairs against a blank background, with a splash of color from the red circular rugs on the floor.   

Hurley is a Canon Explorer of Light, a program created in 1995 by Canon to celebrate the work of outstanding photographers. After stints as a professional sailor training for the Olympic Games, he turned his hand to modeling. Following a fairly successful career, modeling for brands like Abercrombie and Fitch, Hurley decided to get behind the camera himself. 

After nearly two decades, he is now considered one of the greatest portrait photographers in the industry. The pair discussed everything from how to get a subject to relax, to a fascinating moment when Hurley reveals that an assistant taught him how to light shoots properly.  

"I think light is one of the hardest things for me," he says. "Light just didn’t click for me overnight, it took a long long time to really understand it."

Above: Watch the full podcast

Hurley recalls working on the TV show The Apprentice and having an assistant light the shoot for an ad campaign.

"It just looked awesome and I was like, this is perfect – I just pressed the button but he did everything. So after I was like, look, I can’t go on like this – can you come over and teach me some stuff. So he came over and we went through all these lighting scenarios, and then he left – and then I tried to recreate them and I failed miserably."

Hurley goes on to describe how he was "too cheap" to fly this assistant on his next big assignment in California.

"I spent the whole morning trying to light this, and it was a simple white site – I could do this in my sleep now – but I couldn’t figure it out then.

"I think that just photographers out there, they get lost on the technical aspects, and it just has to sink in differently for everybody. Everybody’s brain is different, so mine was all trial and error."

So there you go – if you're someone who struggles with flashguns and studio lighting, don't worry! If Peter Hurley can become Peter Hurley after such a difficult start, there's hope for everyone.

Love Canon? We've put together a guide to the best Canon cameras on the market. We've also got a guide to the best Canon lenses, and the best cameras for portrait photography. 

Photography is an art that’s also dependent on science, so it’s a curious mixture. Photography would be simpler if you could measure everything and explain everything we love about photographic images, but this is where ‘art’ starts to change the rules. The artistic looks we like this year aren’t the same as those we liked last year, and next year it will be different again.

Some of the best photo editing software doesn't just stick to scientific enhancement, but embraces wild and experimental creative treatments you might never have thought of yourself.

Technical explanations of how images are formed don’t explain why we like some things and not others, especially when we all like different things. You can upgrade to the best full frame camera or best medium format camera to achieve higher levels of technical quality, but it's not going to 'improve your photography' in the broader sense. You'll be taking the same pictures but you can blow them up larger. 

It gets worse. Some photographic technicalities are easy to measure, such as resolution, dynamic range, and noise. But many more are near-impossible to measure or explain in any scientifically repeatable way.

Now if you have a scientific background, like me, you’re not going to be very happy with that. You’re going to want proof that color science actually exists, what lens ‘drawing’ even means, what the standards are for ‘good’ and ‘bad’ bokeh, and whether old CCD sensors do have a magically different color rendering to modern CMOS sensors (a theory doing the rounds on YouTube right now).

But in the words of the Rolling Stones, “You can’t always get what you want, but if you try sometimes, well, you just might find, you get what you need.”

When I started out in photography, I wanted everything to be scientifically measurable and provable. But that’s not what I got. What I got was a dawning realization that I had a creative side that actually enjoyed the randomness, unpredictability, and complexity of visual images and how we feel about them.

Science vs magic?

The science still matters. I don’t believe in magic. One day we will perhaps be able to pin down, analyze and measure every quality of a photographic image. But I have a feeling that this will require such a large body of interlocking and interconnected concepts that no-one could ever apply this analysis in the split-second it takes to choose and frame an image. 

If there is any magic in photography, it’s in the way the creative human mind can see and understand the components and meaning of a scene in the blink of an eye. 

And while the color science of light capture and analog-digital processing is a real thing, when you start mixing in film simulations, profiles LUTs and presets it can turn into a strange kind of alchemy that’s somewhere between science and art.

Sci-fi author Arthur C. Clarke once observed that “Any sufficiently advanced technology is indistinguishable from magic.” Photography isn’t magic, but it can sometimes feel like it.

More opinion pieces by Rod Lawton:

• Sometimes it takes a new camera to make you realize how good your old one was
• Manual focus lenses helped me rediscover the magic of depth of field
• I'm sorry, but I just can't take the Canon RF 24-105mm f/2.8L IS USM seriously
• I love DSLRs but mirrorless cameras are so much better at manual focus
  

Hobolite is a manufacturer of some of the best lighting systems on the market, most notably its range of retro-style COB lights. It has been pushing the boundaries of photography and video lighting, bringing the form factor down but keeping the light intensity up. 

The latest innovation is the Hobolite Iris, a tiny portable 5W continuous bicolor LED light that continues the company's retro aesthetic and has an added lens for enhanced versatility. The lens enables the use of optical modifiers and colored gels, developed to "spark creativity and joy in the art of visual storytelling". 

Dedicated lenses attached to lights are not a common thing – in fact, off the top of my head, I can't think of any others like it on the market that do not need an additional snoot. Not only does the lens act as a gel and modifier holder, but the user can change the aperture to throw more or less light from the lens. This provides more control when lighting a scene or subject. 

The Iris looks retro, sleek, and above all is incredibly small, measuring just 3.4 x 2.0 x 1.2 inches! This makes it very portable, and the added IP54-rated aluminum body and vegan leatherette make it ideal for indoor and outdoor use. The built-in battery further enhances the portability and is rechargeable via USB-C. 

Not only does it look the part but it plays it, too, incorporating a temperature range from 2700K to 6500K and high CRI and TLCI ratings of 96+, ensuring that colors are rendered true to life. 

But where this light shines (pun intended) is with the optical modifiers and magnetic accessory system, which enables users to get creative and manipulate the light in various ways. The modifiers include a Frosted Dome, Magic Lens, an adjustable lens and a Fresnel Lens. 

The magic lens is essentially a domed prism, adjustable to throw different pattern lighting effects on the scene. Hobolite has a full breakdown of the modifiers and the effects on its website, and you can see an example below: 

"As creators, our journey begins within ourselves – embracing our vision, our voice," says Hobolite founder and CEO, Helena Bian. 

"With the new Hobolite Iris, we empower creators to explore the magic of light and its impact on the creative process. By aligning the aperture of our lens with the iris of our artistic vision, we paint with the integrity of our own inner light."

The light comes in two kit options. First is a standard kit that contains the Iris light, Adjustable Lens, Frosted Dome, a USB cable, a V-Mount Plate, and a protective pouch, costing $99 / £99 (Australian pricing to be confirmed).

The second option is the Iris Creator Kit, which comprises all the elements featured in the standard kit and also features an aperture ring, gel filters, Magic Lens and Fresnel Lens, costing $199 / £199 (Australian pricing to be confirmed).

The light is available to preorder now, for scheduled release on May 24 2024. 

You may also be interested in our guides for the best lighting kits, the best LED panels, and the best lighting for video. 

Sunsets are probably one of the most popular natural phenomena to photograph. Most people are awake for them, they occur daily (even if they’re not always super impressive) and they can completely transform a landscape with dazzling hues of pink, orange, blue, yellow and purple. But I’ve recently made a rather peculiar promise to myself – to never take a boring sunset photo again.

I love a sunset as much as anyone, but for me, even really good photos never quite portray their magic. I was sat on a beach in Koh Tao trying to capture the sun setting over the horizon and I found myself looking at the photos completely uninspired. To me, photography is meant to elicit some kind of emotion or remind you of the finer details of that particular moment. So if I’m capturing a sunset that could be taken on any beach in the world where (so long as the sun sets beyond the horizon) I’m not meeting either of my photography criteria.

That’s not to say I’ve stopped taking sunset photos entirely, I’m just deadset on putting a lot more effort into the framing and composition. Instead of taking a sunset shot at the shoreline, I’ll take it from much further back where I can frame it with greenery and include people or boats to add some interest. I look for leading lines that draw your eyes to the focal point or birds that are creating an interesting shape in the sky. Since I’ve started really thinking about it, I’ve fallen in love with taking photos of sunsets all over again. By challenging myself to think outside the box, move around, change my shooting height and experiment with depth of field, I’ve managed to take some sunset shots I’m not only proud of but that I can instantly identify as being a specific beach.

There are a few other things you can do to up your game when it comes to shooting sunsets. If you can afford to, it’s well worth investing in a filter holder kit and a set of graduated filters. Picking one of the best graduated ND filters you can apply a gradual ND filter to either the top or bottom of the image while lining it up with the horizon so you can perfectly expose the highlights without crushing the shadows. Shooting in RAW will also enable you to darken the highlights and bring out the shadows so you can keep the details in the image while the colours of the sky are as true to life as possible. Adding a slight colour grade with warm pink tones in Lightroom, Photoshop, or your chosen photo editing software will make your sunset photos pop – just make sure you don’t go too crazy you don’t want your sunset looking fake!

Although I don’t see nearly half as many (or probably a quarter as many come to think of it), I actually much prefer shooting sunrise. There’s something exciting about capturing the start of a new day yet to unravel, rather than saying goodbye to another one. No matter whether you’re an early bird or a sunset worshipper, you can use these tips to start taking much more impressive sunset photos that will make you more confident in your photography and perhaps even earn themselves a place on your wall. 

Read about what I shouldn't have taken with me.

In the modern age, professional creatives often span many genres with most having multi-hyphenated job titles. An example of this is the existing Canon Explorer of Light Jimmy Chin who was added as a photographer but has since become an Academy Award-winning filmmaker. 

Recognizing this, Canon USA has opened up its esteemed group of Explorer of Light programs beyond just stills photography to include filmmakers, adding 6 new creators to its lineup. 

Canon's 'Explorers of Light' program was created in 1995 and for around two decades has celebrated the work of outstanding Canon photographers. The explorers act as ambassadors for Canon's impressive lineup of mirrorless cameras and printers in addition to using their platform to educate photography enthusiasts. 

On top of creating some of the best mirrorless cameras on the market however, Canon also has an exceptional lineup of cameras for video, and opening up the Explorers of Light to include video-focused creators, will provide greater insights and education on how to capture motion. 

Senior vice president and general manager of Canon USA, Brian Mahar said, “For 30 years, the Explorers of Light program has been a platform for education and inspiration. Today, we are proud to widen the aperture on the craft of visual storytelling by welcoming a group of filmmakers known for their boundary-breaking cinematography and commitment to mentorship. Each of our newest members will add incredible value to the program and to the filmmaking community at large.” 

Canon’s newest Explorers of Light include cinematographers Christine Ng, Claudia Raschke, David Klein, ASC, and Shana Hagan, ASC, as well as directors Matthew Heineman and Rudy Valdez. 

Each new member is a specialist in capturing video, and all have equally impressive resumes, bringing their experience to the larger filmmaking community will be hugely inspiring. 

Taking Cinematographer David Klein as an example, he has over three decades of filmmaking experience, most recently, he has been at the forefront of virtual production shooting cutting-edge episodes of The Mandalorian and The Book of Boba Fett for Disney+. 

Speaking on what it means to be a Canon Explorer of Light Klein says, “Exploring light is quite literally what I do. On set and in pre-production, we’re always exploring new and unique ways to use light to tell stories differently. Canon is constantly pushing the envelope to deliver new ways to tell stories with tried and true tech, and it’s an honor to be named an Explorer of Light.”

Canon USA has more information about its Explorers of Light program  on its site.

See our guides for more information on the best camcorders, the best camera for filmmaking, and the best cinema cameras. 

Zhiyun manufactures some of the best gimbals and LED lighting in the photo and video industry, and this year it has stepped up its COB lighting game. 

Just last week it announced an entirely new range of LED COB lights, named the B-series, that cater to enthusiasts up to professionals, with a power output range of 100-500W. Today, it has announced the Zhiyun Molus G300 – a new 300W COB light aimed at professional photographers and filmmakers. 

First debuted at NAB 2024, the Molus G300 turned heads for its compact and durable form yet powerful lighting features. The Zhiyun G Series of LED lights are developed with professionals in mind and are jam-packed with features that make lighting a set a breeze, providing what Zhiyun says is "the perfect combination of form and function". 

For the Molus G300, Zhiyun has introduced an upgraded control system designed specifically for filmmakers. It features a separate controller (below) attached via a 7.5 meter-long cable, enabling flexible lighting control from a distance. The controller has cushions, a USB port for future firmware updates, and a responsive display for precise adjustments, "ensuring a seamless and limitless professional lighting setup".

Although presented as a 300W model, the G300 can be pushed beyond that with the capability to produce a ramped-up 500W (20300 Lux) of power. This is possible due to the 'Max Extreme Mode', which pushes the tiny light to its absolute limit and makes it even more versatile. 

With high power output, and certainly with Max Extreme Mode engaged, cooling plays a major part in the light's operation and functionality. Zhiyun has developed a state-of-the-art cooling system named DynaVort Cooling System MKII: "This precision-engineered system delivers exceptional heat dissipation in a compact form, ensuring a perfect lighting experience""

The small form factor is one of the main draws of new COB lighting systems, and the G300 is no different. Measuring just 148 x 259 x 84mm it takes up little space on set, enabling more room for multi-lighting setups. 

Despite the small size, it can achieve a peak brightness of 15500 Lux. Color temperature is also designed for the working professional, as it boasts an ultra-wide color temperature adjustment from 2700K to 6500K and exceptional color rendering for true-to-life lighting details in every shot.

Other notable features include a Bowens mount, video lighting effects, wireless control via the ZY Vega app, and a tiltable and rotational head. 

The Zhiyun Molus G300 is available now at an impressive price of $599 / £599 (Australian pricing to be confirmed). 

See our guides for more information on the best lights for video, the best studio lighting kit, and the best light for YouTube. 

Showcased at NAB 2024, the new series of LED lights is called the Zhiyun Molus B-Series and will become a separate and completely new lineup from its existing LED series. The new B-Series currently consists of four compact LED fixtures at varying output levels, designed for exceptional performance at an affordable price point. 

The new COB LED lights range from 100-500W and are named B100, B200, B300, B400, and B500 representing the output. The varying levels of output mean that the series provides all you need, from small initial shoots to larger-scale productions. Although these lights have a compact form they boast some impressive features that are staples in some of the best video and photography lights. 

The CCT (Correlated Color Temperature) ranges from 2700-6500K and excels in color rendering, ensuring professional-grade color fidelity for any scene. Intuitive step-less dials and an accompanying controller make changing the color temperature and brightness quick and efficient.

Further control can be had via the ZY Vega App, Zhiyun's lighting app which makes precision control even easier and more efficient. The app enables the control of multiple lights in a setup, controlling brightness, color temperature, and more.

The lights are powered via an AC mains cable and have an inbuilt power supply meaning that they can be easily transported and set up with less fuss. With an inbuilt power supply usually comes heat, therefore Zhiyun has added an all-new industrial design that features a dual cooling structure inspired by vortex, seamlessly integrating the cooling system with the light to be more compact.

Zhiyun states, "The B series redefines thermal efficiency with its MK V-type DynaVort Cooling System, featuring two pressure sensors to eliminate turbulence and optimize airflow, offering significantly improved heat dissipation efficiency within a smaller volume."

The Zhiyun B-Series comes fitted with a Bowen's mount meaning mixing and matching accessories is effortless. Zhiyun offers several great light modifiers however the universal Bowens mount means that other options are also encouraged – so no need to replace your existing favorites.

Other notable features include Live Mode, which enables the user to power all lights simultaneously, and Lighting Effects which include flames, TV, lighting, plus many more that can take your video work to the next level.

The Zhiyun B-Series lights are available for pre-order now and are scheduled to start shipping in May. The price points will be: Zhiyun LED Molus B100 Cob Light at $230 / £230; The Zhiyun LED Molus B200 Cob Light – $360 / £360. The Zhiyun LED Molus B300 Cob Light at $540 / £540. The Zhiyun LED Molus B500 Cob Light at $720 / £720. (Australian pricing is to be confirmed).

See our guides for more information on the best lights for vlogging, the best-LED light panels, and the best flashguns. 

COB lights are a great option if you want a small and versatile lighting kit and Zhiyun has just announced two that can fit in your pocket. 

The new Zhiyun Molus X60 and X60-RGB portable COB lights are ideal for both photographers and videographers who require a minimal lighting blueprint. COB lighting has become a trendy option among videographers and content creators due to its often compact size but constant and significant brightness and the new X60 models are just a fraction larger than a credit card with a 60W power output.  

• See our guide on the best video lights

What is COB lighting?

COB is an acronym for Chip On Board and means that the bare and often stacked LED chips are in direct contact with the substrate and circuit board. This enables a large and even spread of light over a large area and offers benefits such as faster cooling, energy efficiency, brightness, and compact design. 

The Zhiyun Molus X60 and X60-RGB take advantage of that last benefit by measuring 100 x 71 x 56mm and weighing just 313g (319g for the X60-RGB). Despite their minimal weight, the lights are constructed from a rugged all-metal design, which is also sleek and modern. 

The two model options offer something a little different depending on your intended usage. The standard X60 offers 'flicker-free dual color temperatures (2700K-6500K) and high color rendering accuracy (CRI≥95, TLCI≥97)', while the X60-RGB offers pure white light and vibrant colored light, that is precisely adjustable across the RGB spectrum. 

The lights interface takes its lead from other Zhiyun lighting, and offers the user a simple dual dial control, one for the lighting temperature and one for the intensity/ brightness, which enables instant and intuitive adjustment. 

For even further ease of use, the X60 series offers 50 minutes of battery life, with further power options via a USB PD connection. In addition, the combination of the COB design and Zhiyun's DynaVort Cooling System ensures users never have to worry about overheating. 

Other notable features include compatibility with Zhiyun's ZY Vega app for wireless color and brightness control, 100W PD fast charge support, six creative RGB lighting moods and nine lighting effects, and compatibility with Zhiyun's ecosystem of lighting modifiers and accessories. 

We have seen recent releases of small portable lights such as the Hobolite Mini and the SmallRig RC 60B, and larger (slightly) COB lights from Zhiyun. They have become extremely popular with streamers and content creators who require versatile lighting options in a small package. Although I will reserve all reviews until after testing, I think the new X60 models could be placed among the best lights for YouTube videos. 

The Zhiyun Molus X60 and X60-RGB will be available in three different kits. The Standard Kit includes a lamp, an AC adapter, a Zhiyun mini reflector, and a dome. The Combo Kit includes everything in the Standard Kit plus a battery power grip, USB-C cable, and carrying case. Lastly, the Pro Kit includes everything in the Combo Kit plus a Zhiyun softbox and an extra battery power grip.

The new Zhiyun Molus X60 and X60-RGB will be available soon at the price of Molus X60 Standard $265 / £209.99 / €239.99 | Molus X60 Combo $355 / £279.99 / €319.99 | Molus X60 Pro $430 / £339.99 / €389.99 | Molus X60 RGB Standard $342 / £269.99 / €299.99 | Molus X60 RGB Combo $430 / £339.99 / €389.99 | Molus X60 RGB Pro $520 / £409.99 / €469.99. (US prices were estimated via conversion from the UK price).

For more information on lighting, we have helpful guides on the best-LED light panels, the best lighting studio kits, and the best lights for Zoom calls.  

Macro photography shows the small and often unseen wonders of our world but for Panagiotis Dalagiorgos, it goes even further. “It is a means of expressing my feelings and pushes me to be creative in my compositions. My subjects are usually not that easy for humans to relate to, so I have to think outside the ordinary to evoke some feelings in the viewer.” 

During our conversation, Panagiotis shared with me the creative process behind the image and the techniques he employed to capture its stunning detail and vivid colors. 

1. Macro details

“To achieve this shot, I had to experiment a little before I got it right,” Panagiotis explains. “I didn’t want to sacrifice too much of the contrast and details.” 

He applied a technique known as focus-stacking, which involves capturing multiple images with various focus points and merging them during post-processing. “At this magnification, f/2.8 covers a minimal part of the subject,” he says. By using this method, Panagiotis has presented a comprehensive view of the subject matter, highlighting every detail with precision.

2. Illuminating backlight 

“I used natural lighting to illuminate my subject and took advantage of the golden hour for the colours. I used the smaller branches to create a sense of depth in my frame,” Panagiotis explains. To underline this effect, he cropped them fairly tightly, so that the branch the mantis is on stands out. 

But this was not his only goal. “I wanted to create some flaring in my lens for a more dreamy effect,” he says. “I was inspired by the story of King Midas, who turned everything he touched into gold. But in my story, he was dreaming of a golden world over which he ruled. So I wanted to evoke a feeling of solitude in this golden world for the viewer.”

3. Shallow DOF

By working with an extreme open aperture of f/2.8, Panagiotis created a shallow depth of field. “That helped me to isolate the subject from its surroundings, contributing to the sense of depth in the frame,” he explains. “It also worked better with the flaring effect.” 

When working with low f-stop values, the focus area within the frame becomes much narrower. Therefore, it is advisable to view the image by zooming in at 100 percent on the screen to ensure that the intended elements remain sharp.

4. Rule of thirds

To create a powerful composition, Panagiotis placed the subject on the right of the frame and applied the rule of thirds. “By placing the subject there, it faces towards the left of the frame. Smaller branches indicate that there could be further elements outside the frame that the mantis is looking towards,” he explains.

Tech details

Camera: Sony A7

Lens: Laowa 60mm f/2.8 macro

Aperture: f/2.8

Shutter speed: 1/640 sec 

ISO: 100

Other articles in the Why Shots Work series

• Urban street photographer reveals his candid capture secrets
• Photographer tells story of getting up close and personal with a python
• Discover four key elements that make this stunning photo a success
• The 4 photographic decisions that take this motorsport shot to the next level
• Photographer tells story of his amazing shot of wallabies fighting on the beach

Nikon has released a series of talks from its ambassadors that were filmed live at this year's WPPI show. Nikon will also present a great lineup of speakers at The Photography and Video Show, later this week, and it may give you an insight into the talks that can be seen at the NEC in Birmingham.

Among the WPPI speakers whose talks have been released on the official Nikon USA YouTube channel is renowned portrait photographer Joe McNally. His presentation, Managing Light, focuses on the importance that lighting plays in photography, and how photographers ought to learn how to control both natural and artificial illumination to get the best out of their work. 

Whether you are using the best lighting kits on the market, natural light, or the best-LED light panels, learning the nature of light and how to control it is key and remains constant across all forms. You can watch Joe's talk below:

His opening line is an obvious yet eye-opening reminder of how we as photographers capture our art. "As photographers, light is the pen with which we draw the world we see." 

The very word photography comes from the Latin 'to write with light', so having the ability to control light is vital in capturing what you intend, especially in the world of portraiture and commercial photography in which McNally is renowned. The ability to have an idea and recreate it as you imagined is made much more comfortable when you know how to use light to 'paint' it.

His talk also highlights the necessity of using light to enhance the subject that you are capturing, tailoring the shape and quality of the light to suit the subject. An example he gives is when he took a portrait of a martial artist, and how using sharper and more angular light, echoing the subject, gave a more harmonious image.

Supplemental lighting can enable adaptability in various shooting environments where sufficient natural light isn't available. An example given by McNally was when working on an assignment for National Geographic, he had to light an entire large building that didn't have power. 

He needed an entire truck generator to power all of the lights and was only able to get permission for the truck to enter the site with a 'donation' to the site foreman: "$1,000, shake his hand, it goes in his pocket, he says bring your generator truck on the island it's okay by me, and that's how it works." A great anecdote that shows the extent of getting the perfect shot!

Throughout his talk, McNally provides example photographs with insights into how he shot them, what lights were used, and where he positioned them. And he doesn't just use the best kit on the market to do it; many of the shots were taken with a speed light and not an off-camera studio strobe, as one might imagine. He says that he likes to use speed lights as they offer more portability and are small enough to hide within the frame if needed.

McNally has previously been one of Nikon's featured speakers at The Photography & Video Show, and Nikon is bringing a stellar speaker lineup to this weekend's event where more fantastic nuggets of information, demonstrations, and tutorials will be shared. More information on the speaker lineup and where to get your tickets can be found on the official website.

On top of providing several helpful guest talks, Nikon has been developing some of the best camera equipment on the market including the best Nikon cameras, the best Z lenses, and the best Nikon flashguns. 

The Elinchrom THREE is an off-camera flash aimed at photographers who work in various locations and are often on the move. Located somewhere between the best flashguns and the best photography lighting kits, the Elinchrom THREE offers the best of both worlds, with studio power and quality in a compact and lightweight body that can be easily transported. 

When it comes to studio lighting and light shaping modifiers, Elinchrom is among the best in the business, and the release of the battery-powered Elinchrom ONE, THREE, and FIVE has enabled photographers to take the power of the studio anywhere. The THREE is the middle sibling of the range in both cost, power output, and size, but all of which offer the same great design, light quality, and user experience.

The Elinchrom THREE was released in October 2023 and has been marketed towards photographers on the move, with a special focus on wedding photography. This makes sense as the THREE offers a little extra than a Speedlight, and its tiny form factor makes it easy to carry around. The battery is integrated into the unit which allows for the smaller size, but this also means that it can work with external power banks via USB-C, enabling shooting from morning to first dance.

Although weddings may be a slice of the target market, it is certainly not the only scenario in which the THREE can be utilized. As you can see further on in the review, I used it on location for an environmental portrait, and in a studio making it extremely versatile. I also have no reason to believe that this wouldn't be a fantastic option for fashion shoots on location, with the powerful HSS and fast recycle times. 

This review came at the perfect time for me as I am in the market for a new portable off-camera flash that could be easily taken with me as an option if the location lacked enough light. Of late I have been working on assignments capturing environmental portraits and detail shots, often in environments that offer less than optimal natural light - so I was eager to test it out to see if it would become a new staple in my everyday workflow.

Elinchrom THREE: Specifications

Elinchrom THREE: Price & Availability

The Elinchrom THREE kit is on the market for $999.99 / £979.00 which includes the light, diffusion dome, tilt-head, carry bag, and Elinchrom bayonet adapter. I feel that this is a great price for a light of this caliber. It sits in between the Elinchrom ONE and FIVE in both price and power output, and out of the three I feel is the best value for money. Its nearest competitor is most likely the Profoto B10X which offers more power but is more than double the price. 

The Elinchrom THREE was released in October 2023. The light feels modern and future-proofed for HSS and TTL, and will have no issue keeping up with the faster shooting speeds on offer from the best mirrorless cameras.  

Elinchrom THREE: Design & Handling

The Elinchrom THREE is sleek and stylish and offers great design in build quality and performance output. The first thing I noticed was its compact size, measuring just 25.3 x 16.5 x 10.5 cm, around the same size as a 70-200mm telephoto lens. It was incredibly lightweight and could easily fit into my camera bag, or in the carry bag that comes with the light kit. 

The light is the first that I have used with an integrated Li-Ion battery, making it even easier to transport. The battery is charged via the USB-C port located on the underside of the light body which enables charging whilst in use, and compatibility with external power banks, for extra shooting capacity. A full battery charge enables 525 flashes at full power, and up to 11,250 flashes at minimum power. 

The menu system is incredibly easy to use, with an intuitive touch screen to adjust settings with ease. Elinchrom has stripped settings back to the very basics, which makes navigating and changing settings so much easier.

I am not usually a fan of touchscreen controls and have it turned off on my camera, but using it on the THREE sped up my workflow. It enabled the changing of settings very quickly with just the drag of a finger, which is often needed when working in a fast-paced shooting environment. There are also physical buttons that are positioned at the rear of the light which are just as intuitive, although I found the speed of the touch screen worked better for me. 

The bulb itself is designed around an unconcealed flash tube for optimal light spread, the Elinchrom THREE ensures you experience beautiful light quality even with light shapers/modifiers from other brands. The THREE comes with a diffused dome which softens the light further whilst still offering great light spread. 

For my shoots, I also used the Elinchrom Rotalux Deep Octabox 70cm which is easily attached to the provided adapter and offers a beautifully soft light quality for portraiture. A 7-8 mm umbrella mount is included in the removable metal tilt head, making the THREE even easier to pack.  

I was extremely impressed with the build quality of both the light and the accessories, and I felt completely comfortable that they could be used in all shooting environments. Not having to worry about the kit was a substantial weight off of my shoulders, enabling the focus to be on the photography. 

Elinchrom THREE: Photo Performance

As soon as I found out I was to test and review the Elinchrom THREE, I knew I wanted to put it through its paces with a real-world test as though working with a paying client. Elinchrom has a stellar reputation for off-camera flashes and I was excited to push it to the limits, but it turned out to not have any. Being lightweight and compact I knew I wanted to shoot in multiple environments, both in the studio and on location - it handled both with ease, instantly highlighting its versatility as a major asset. 

Set up was instantaneous with the flash unit and the transmitter connecting in a matter of seconds. From there it was a matter of positioning the light to best compliment the subject and scene. This is a major factor to love about the THREE, as it allowed me to focus on what I was shooting, rather than worrying about the light connection. The ease of use further enhanced this, and changing settings via either the transmitter or the unit's touch screen was intuitive and easy.  

Shooting using off-camera flash often results in misfires and therefore missed shots, with the THREE I had zero during any of my shoots. I could rely on the flash to go when I pressed the shutter and recycle in time for my next shot, what else can you ask for? 

Another noticeable highlight for me was the bright bi-color LED modeling lamp, pictured in use below. My location shoot was in a dimly lit workshop, with no natural light. The modeling light was a lifesaver, providing bright light on my subject to enable my Fujifilm GFX 50S II to catch focus, resulting in sharp images. 

The quality of light that the THREE produced was very pleasing and complimented my subjects well. The use of the Elinchrom Rotalux Deep Octabox 70cm enhanced this further, by creating a soft diffused light. 

The one thing that I haven't touched on is the transmitter. I used both the Elinchrom Transmitter Plus and the Elinchrom Transmitter Pro, both of which worked flawlessly with the THREE. However, an important note to consider is that HSS is only compatible with the Elinchrom Transmitter Pro, so you might need to check you have the right transmitter for your needs. 

Elinchrom THREE: Sample Images

These images were taken in my makeshift home studio against a painted canvas backdrop. With the help of my daughter, we captured some one-light studio shots with the THREE placed to the camera's right, on top of a C stand angled at about 45 degrees. 

I used the THREE to feather a soft light onto the subject's face using the shadows to create mood. The THREE produced the dramatic lighting I was after and showcased further its versatility. 

Elinchrom THREE: Verdict

I shoot a lot with flash, but this may be the best and most versatile portable off-camera flash I have ever used, and that says something. I put this light through shooting in several different scenarios and it handled each one with ease, providing me with confidence that it was going to perform as expected. It produced an amazing quality of light resulting in perfectly exposed images, and the ability to use additional Elinchrom Light Shapers with the adapter enabled further versatility. 

I see this light being perfect for anyone who wants to take their first steps with an off-camera flash and take a step up from the traditional speedlight. I plan to incorporate one or two in my location camera kit, for portraiture, fashion, and documentary work in the future due to the quality it produces and the reliance on it doing what I need it to.

Overall this is a fantastic tool to enhance both studio and location photography! 

Alternatives

In the period preceding the invention of photography, visualizing botanical subjects carried a huge significance. Detailed drawings of various plants allowed people from all cultures to identify plants that were useful for healing purposes and those that were toxic plants and communicate the differences without a common language. 

This was crucial during the time of explorers, such as Christopher Columbus, as they ventured to foreign lands. These drawings served as the basis for pharmacists to develop and teach medical techniques and craft the necessary medication for people worldwide, ultimately saving millions of lives in the fight against fevers and pandemics.

Plants have been a recurring symbol in both painting and photography. In the 17th century, for example, artists used plants extensively in still-life paintings to convey profound symbolic meanings to their audience. In photography, plants have been a source of inspiration and exploration, often used to create striking contrasts with the human body or other organic forms.

Photographing plants with backlighting is a fascinating subject, as it allows you to capture the intricate veins and distinct characteristics of each species with vivid hues and structures. It is possible to use this technique outdoors when the strong mid-day sun filters through the leaves, or indoors. Shooting indoors comes with some benefits, including full lighting control for exquisite plant compositions.

Set up

1. Manual camera - Any mirrorless or DSLR camera is suitable for this botanical photographic project, as they will all offer manual exposure and manual focus

2. Zoom lens - A great, versatile lens choice that allows easy framing adjustment without tripod changes

3. Tripod - Allows you to have your hands free to adjust the position of subject, camera, and exposure settings

4. LED light source - This neutral and strong backlight makes details
in the subject’s texture and structures visible

5. Boxes - Ideal for lifting the glass top and placing an LED light underneath, other items can also be used

6. Clear panel - To let the backlight through and keep the leaf in place, use a picture frame glass or a clear sheet of plastic

Shooting steps

1. Create backlight

Arrange two boxes or items of equal height on either side of the table. For optimum illumination, place an LED light source in the centre between them. To complete the setup, simply place the glass or plastic panel on top of the boxes.

2. Position your camera

Securely attach your camera to the tripod, ensuring that the tripod’s legs are adjusted to your desired height and that the camera is level. Adjust the camera’s angle so that it faces downward, allowing for a better view of the leaf’s surface.

3. Switch to M F

For complete control over the exposure settings, shoot in manual mode. Choose a low ISO value, for example, 100, and a crisp aperture of approx. f/9. We are using a tripod so can counteract the low light by working with longer shutter speeds.

4. Deactivate AF 

For the best results, focus manually on the leaf’s structure. To facilitate focusing, navigate to your camera menu and select the Focus Peaking setting option. Choose a bright colour, such as red, to bring attention to the sharp details and ensure a clear image.

5. Select self-timer

When using exposure times of 1/60sec or above, it is recommended to activate the self-timer function in your camera menu. This is especially important for projects where sharpness is a priority, as it minimises camera movement.

6. Create multiple frames

To highlight the structures, take multiple pictures with different focus points so we can combine them later. Control the focus area by selecting the Flexible Spot setting. Start by manually focusing on all areas of the leaf, then capture the shot.

Pro tip

Experiment with layers

Reveal new shapes and patterns by layering the translucent leaves

For a more creative approach, experiment with different types of leaves, fresh and dried, and diversify the subject matter. Dried leaves undergo significant changes in their structure, making them more interesting to work with. However, they are more breakable than fresh leaves, which can add to the visual appeal, especially when layering different subjects to create transparent combinations. 

When working with natural, outdoor dried leaves, their form changes and shadows may appear, adding to the composition’s overall structure. Another method is to dry flowers by placing them under heavy books, ensuring that they stay flat. 

Editing steps

1. Prepare stacking

To merge multiple images in Photoshop, navigate to the File section and select the Scripts option. Then, choose the Load Files into Stack function and select all necessary files. Even if you are using a tripod, remember to tick the Automatically Align box to correct any discrepancies. 

2. Enable merge

Select all layers and navigate to the Edit option. Here choose the Auto-Blend Layers function. A dialogue box will appear where you should select the Stack Images option. To achieve the best results, make sure to enable the Seamless Tones and Colors option.

3. Flatten image

The software program merges the sharpest components of the subject in each image. The visibility of each layer can be toggled to reveal the selected image parts. To work on further adjustments, select the Flatten Image function to work with only one file and copy the original layer.

4. Clear background

If the light source is larger than the subject, open Select to find Select and Mask. To save time with masking, use the Select Subject function. Refine the mask with brush tools. Inverse the selection, add a layer mask and eliminate elements with colouring, healing or stamp tools.

5. Fine-tune structures

Enhance the contrast via an Adjustment Curve Layer and optimise colours with a Color Balance layer. Remember to avoid extremes in the settings to achieve a realistic outcome. To enhance the structures and outlines of the leaf, use the Dodge and Burn tools.

6. Try different crops

The crop feature assists in transforming the visual representation. Displaying the leaf in its entirety adds clarity and provides the viewer with a better classification. However, cropping nearer to the veins and structures of the leaf shifts the emphasis to those particular features.

Before/After

• Create cool shadow art photography without pro studio lighting
• Food photo shoot: Learn how to master natural light
• Ditch your tripod – try handheld HDR instead!
• Long exposure flash photography can give you mind-blowing results
• How to remove distracting elements with long exposures

Whenever you’re taking photographs, the light at the beginning and the end of the day is some of the best to work with. To get the most out of it, you might think you have to go out and shoot stunning vistas, but this simply isn’t the case. In this project, we’re going to show you how to shoot during the golden hour in the comfort of your own home – and create some incredible and different fine-art results in the process. 

If you’re not lucky enough to get good light through your windows at the start or end of the day, have a search close to home and select another location nearby. For example, the yard or the workshop could also be viable, as you don’t need much to make it work – just some natural light, a plain background and a subject to frame. For this project, we used flowers as our main subject, but your main subject could be anything. You should just aim to pick something that creates interesting shadows, so form and structure are important aspects to consider. 

When it comes to kit, we opted to shoot with a 50mm prime lens, but you could always use a wide-angle lens or a long lens. Experiment and find the right optic that matches your style of shooting.

Step by step: Shoot a dramatic still-life

Get set up

For this project, you can either choose to shoot handheld or use a tripod. If you want to slow down and build your composition, a tripod is a great aid; however, in terms of the camera settings, a tripod isn’t necessary. Because of the light, your shutter speed setting should be reading relatively fast, but open your aperture to a wider setting too. For our image, our aperture was set at f/2.8 and the ISO at 400.

Underexpose by a stop

You don’t want your highlights to be overexposed, so take your meter readings from the lighter part of your image, not the shadowed areas. Here, we put our camera into Aperture Priority mode, then dialled in -1 stop of exposure compensation to make sure we were exposing for the main subject and for the lighter parts of the image. 

Be experimental

To make the most of the scene and get that fine-art appeal, look for shapes in the shadows, and think about your composition. It could be that you shoot from a different angle or adjust your scene to the light. On this shoot, we had some plain black boxes to hand so that we could raise the main subject into a better position.

Create additional shadows

To enhance your still-life image further, you can create additional interesting shadows to fall in the background. For example, in our image, we placed a large house plant next to the window to create some softer leaf shadows. As our plant was further away compared with the shadow created by the flower jar, these shadows were not as harsh. The mixture of lighter and darker shadows adds to the overall impact.

Color-grade in Lightroom

Once your shadowed fine-art image has been shot, you will need to think about the tone and styling. To edit our image, we used Lightroom Classic, as one of Lightroom’s best tools for stylizing is the Color Grading option. 

For Color Grading, you can either create a global adjustment across the whole image or adjust the colors in the shadows, midtones and highlights separately. We suggest you opt for the latter as this gives you a more precise result (click the three-circle icon for this option). 

For our image, we set Shadows and Midtones to a cool tone and Highlights to a warm tone to contrast with each other. Note that the closer the circle is to the middle of the Color Grading circle, the more subtle the color. You don’t want the colors to be overpowering – just a hint is enough. Have a play around, and experiment with the different effects, strengths and tones to see how they impact your image.

Take a look at the best tripods for photography, and you might also be interested in the best backdrops for photography.

Recently, a bunch of artists, myself included, were invited to journey to the Blackdown Hills, a quiet rural landscape on the Devon and Somerset border that is designated as an Area of Outstanding Natural Beauty. Despite the relatively close proximity to my home, I didn’t know the Blackdown Hills. However, it was well-known among artists from the Camden Town Group, a collective of post-Impressionist artists who came together in London in 1911. It still exists today under the revised name of The London Group. 

In the early part of the 20th century, artists such as Spencer Gore, Charles Ginner and Robert Bevan spent time in the Blackdown Hills making work. As a creative springboard, I was given The Hay Harvest, Harts Farm by Robert Bevan to respond to. It proved an interesting foundation to engage with a location. 

It was a crisp, freezing cold winter day, with a beautiful low-raking light that spilled into the lens when I happened to visit – a magnificent day. I found the right farm, and after a brief introduction was given free rein to explore. Signs of hay were obviously not evident, but I think I found the right field and set about making work. 

Soon, I was seduced by the semi-industrial farm machinery parked at the bottom of the field. The monster-like shapes took on an imposing and sinister vibe. In other parts of the area, old farm buildings that would have been there when Bevan was present also caught my eye. Together, these two images, presented as a diptych, seemed to work well together, and spoke to the spirit of the pace as I encountered it. 

I’ve talked about boundaries in this column before, and how they can actually be a useful catalyst for the creative process. It feels kind of counter-intuitive, but I believe it to be true. Even though the work I made could not be more different for Robert Bevan’s painting of the hay harvest, using his painting and the location fuelled me in a way to make images that I wouldn’t have made had I just been wandering aimlessly with my camera. If you can think of a way to incorporate this way of working into your image-making, I’m certain you’ll benefit. 

• Other articles in the Art of Seeing series

Read more:
• The 50 best photographers ever
• 100 best photography quotes from famous photographers
• The best coffee-table books on photography

Inspired by the works of local photographers, street artists and architects in my home city of Bristol, photography has been a growing passion of mine ever since leaving school. Before setting up a shot I have in mind, I try to plan ahead as much as I can, often finding a few surprises along the way. For me, Bristol will always be a hub of creativity – I love the way the city offers a wide range of perspectives that many people walk past every day without thinking twice about. 

Capturing something unique in what can be considered poorly lit areas has always been an interest of mine and steel wool spinning gave me the challenge I was looking for. You can’t capture the same image twice and sometimes it can take several attempts to create an image that I’ll eventually be satisfied with, tweaking a few settings and positioning different angles to suit the environment. 

If you follow some basic safety principles and use your common sense, the process is both fun and safe. Using your imagination will also allow a range of new ideas to flow – such as changing the direction in which you spin the steel wool, which can yield some pretty interesting results.

Step by step: Shoot a low-light spectacle

Stabilize the camera 

I always shoot this technique with a Manfrotto Pixi mini tripod. It’s small and extremely strong, and it allows me to achieve the low angle that makes these shots stand out. Due to the required shutter speeds, it’s also impossible to shoot long exposures without some sort of camera support.

Prepare the wire wool 

Steel wool is readily available from most hardware shops and is cheap to buy. To house the wool, I place it inside an ordinary kitchen whisk – I’ve found that it’s best to pull the wool apart before doing this, as this allows more air to get to the wool and create better sparks.

Dial in the shutter speed 

The shutter speed is the most crucial setting to get right. Here, I used 1.3 sec. The next setting is to make sure you’re shooting in Auto ISO, as you can never guess how bright the sparks might be. Finally, to get the best optical performance from the lens, use an aperture of f/5 to f/8.

Set the camera’s self-timer 

Placing your camera on a support and using the self-timer function will allow you to create these images on your own without having to rely on a friend to help. I set a 10-second timer, which is just enough time to get into position, light the wool and start spinning.

Frame up wide 

Due to the experimental style of spinning steel wool, allow yourself a little breathing room by shooting with a wider composition than you think you’ll need. I use an AF-P DX Nikkor 10-20mm and, typically, will zoom out to 10mm to capture the spark trails as they fly off.

Start the exposure

For spinning it around me, the whisk is tethered to my wrist with a flexi cable. To start shooting, I’ll frame up, start the shutter’s self-timer, get into position and light the wool. Wearing a hat and a hoodie to keep any small sparks away from my face, I’ll start spinning the whisk.

Read more:

• This is how I shoot mind-blowing steel wool photography
• 5 tips for urban fashion photography
• Photography cheat sheet: low light photography

Zhiyun is perhaps better known to most for making some of the best camera gimbals or best smartphone gimbals around, but in recent years the company has pushed into lighting in a big way with its take on the latest LED lighting tech, with a unique Zhiyun design twist.

Going after the blossoming content creation market, Zhiyun’s lights combine distinctive style, with compact design, and as much power as can be squeezed out as possible. This has paid off in dividends, with products like the Zhiyun Molus X100 being one of the best video lights I used last year. 

Not resting on their laurels, Zhiyun has a new duo of lights for creators – the Zhiyun FIVERAY M20, a pocket-sized LED panel with a variable white balance, and the FIVERAY M20C, the full-color equivalent – which is the version of the M20 light I am testing here.

Although based around LED technology, LED panels differ from Zhiyun’s more recent lights which have featured COB (chip-on-board) LED tech. The main difference is the layout of the light emitting diodes (or LEDs) – in a COB light these are tightly packed together, offering a more powerful, beam of light that is more energy efficient, so can be used in a smaller housing. 

The downside of COB lights is they usually need light modifiers like a softbox or umbrella to spread the light evenly in a flattering and natural way, meaning that even though they are small, they often take up a lot of room once these accessories are attached.

LED panels spread the LEDs further apart over wider areas and can usually provide a more direct light with minimal light shaping accessories, this makes them better for mounting directly on a camera, or in close proximity to a subject where there isn’t a lot of space.

The FIVERAY M20C utilizes a small LED panel that should be perfect for creators looking for a quick and simple way to add some additional lighting to their vlogs and videos, but in a crowded market, how does the M20C compare?

Zhiyun FIVERAY M20C: Specifications

Zhiyun FIVERAY M20C: Price & Availability

The launch price for Zhiyun FIVERAY M20C in the combo kit is $159 / £169, while the M20C light on its own is $129 / £139. This is exceptional value when you consider that the combo kit includes the light, cage, barn doors, diffuser, and honeycomb grid for a mere $30 extra. You can get small camera-mounted LED RGB panels for less, although these vary wildly in quality and consistency, and don’t offer the features and functionality of the Zhiyun.

If you really don’t think you will use the RGB colors at any point, then you can save a considerable $50 with the bi-color-only version of the M20 costing $109 / £119 for the FIVERAY M20 Combo Kit.

Zhiyun FIVERAY M20C: Design & Handling

There are so many small LED lighting panels on the market right now featuring the same design that it is near impossible to tell one brand apart from another. While the Zhiyun Fiveray M20C doesn’t completely reinvent the design, Zhiyun definitely puts enough of a spin on it that it looks distinct enough from everything else out there, which is unsurprising from a company that had given us bold designs like the Molus X100 and Molus G60.

I fell for the design of the M20C immediately upon pulling it from its box, the light just looks cool, although I can see that maybe the ‘sci-fi – steampunk’ design won’t be to absolutely everyone's tastes. But for the target audience of vloggers, YouTubers, and other creatives, I think this design is right on trend, and I’d be happy to feature it in my kit bag on looks alone.

The build of the main light is plastic-y although feels very sturdy, with hints of metal around the light in areas that might see a bit more wear and tear like the latch to open the cage, the barn doors, or the honeycomb grid, which are great touches that shown Zhiyun has put thought into these areas.

The cage and accessories

 For mounting the light, on one side of the cage, there is a hot shoe mount for mounting the light directly onto a camera, or the mount has a standard 1/4in thread for mounting to a tripod or light stand. The other three sides all have cold shoe adapters for connecting several M20Cs together or attaching other accessories like microphones.

The M20C cage has a few other clever tricks up its sleeve. If you opt for the M20 or M20C Combo editions then you will get some accessories in the box including a diffuser, honeycomb grid, and barn doors which all mount magnetically to the front of the M20C cage. It's far from the first time I have seen this on a light, but I love this for small lights like this as it just makes attaching and detaching accessories so quick and easy.

The magnets in the accessories are strong enough that they won’t drop off at any point in the shoot, however, an issue I found a lot is I would try to move the light by gripping the barn doors, and the magnetic connection is not strong enough to hold the weight of the entire light which sent it tumbling to the ground. Now this is as much my error as the product, but it is certainly something to bear in mind, and I tend not to think about these things when moving lights in the heat of the moment.

One of the coolest features is the cage has two magnets in the rear for mounting the light quickly to any magnetic surface, this also has been carefully considered with the rear of the cage featuring a soft silicon pad to try and prevent any damage to the magnetic surface you choose. I found the magnets have no trouble holding the weight of the light with all the accessories attached, but they are not so strong that I couldn’t whip the light off one-handed in a hurry.

Controls

The light is controlled by two buttons/dials on the rear, if you have used a lot of other LED lighting this will be a familiar control scheme, with the right-hand button/dial cycling through settings options or changing lighting modes, while the left dial changes the settings such as precise brightness control in one percent integers, or can be pressed in to quickly cycle through settings e.g. 0%-50%-100%.

This system works really well and is near impossible to get confused by. The dials offer some good resistance making them harder to turn accidentally, the dials also require a fair amount of turning to do much damage, so an accidental twist is only likely to knock the brightness by one or two percentage points. The only annoyance I found was trying to get from HSI color back to normal CCT you have to cycle through all the modes (including the settings menu).

Zhiyun FIVERAY M20C: Performance

For an LED panel the amount of brightness the M20C outputs is impressive, this isn’t going to be lighting up a studio, but as a key light while filming a vlog, or offering background lights in video, this is an excellent choice. There are brighter COB options out there, even with Zhiyun’s own range it offers the Zhiyun Molus X100 (pictured below) or the Molus G60. Although these lights pack way more of a punch than the M20C, they lose the convenience of an inbuilt battery and don’t have any of the M20C’s HSI colors or lighting effects. So which one is for you is really a question of power versus convenience. 

The quality of light is also good, again there are lights that offer a marginally more reliably accurate CRI color rating, but unless you are doing precise color-critical work then the M20C is more than good enough. If you do find that the green or magenta tones are a little off, the M20C offers a quick scale to adjust the hue to get a more pleasing measure. There is also a mode for controlling the RGB balance independently, which is very useful for anyone who needs a specific tone, although this definitely takes some know-how and practice.

There is also the option to use the full HSI color spectrum. Colors on offer are very wide, and the M20C offers more than enough colors for most creators who are thinking about purchasing this light. The M20C claims to offer 360º of color, and this is mostly true, although sometimes the color jumps between two major hues rather than being a smooth transition. Colors do offer both brightness and saturation controls, so I was able to tune them to my perfect output.

Almost every lighting effect I could want has been included in the M20C, including classics like broken bulb, TV, lightning, and paparazzi, but also ones that make use of colors like police car and disco, you can also set the M20C to just cycle through all the hues. There is also a good level of control over all the effects and I could change the cycle speeds, number of colors, or just the overall look of the effect, there was so much to play with here.

Adapters

The clip-on light adapters mentioned earlier are mostly very good. The diffuser is the weakest of the bunch, there isn’t a huge amount of diffusion going on, but it does take a slight edge off the shadows, but don’t expect miracles. Although it does have the benefit of being slightly easier to look in the direction of the light for a subject without being nearly blinded.

The barn doors work exactly as you would expect for angling the light to be more direct, the shape of the doors also means they can be folded in to make an almost makeshift snoot. 

The final adapter is the honeycomb grid, which is the best of the adapters, and is very effective at narrowing down the beam of light to be more direct on the subject, used in conjunction with the barn doors offers a lot of control over the light.

ZY Vega App

The FIVERAY M20C can also connect to Zhiyun’s ZY Vega app which is available for iOS and Android as a free download from the relevant App Stores. 

The app works well, the initial setup process was very easy (on Android anyway), with the connection to the light being straightforward once the appropriate permissions are granted. I have used an earlier version of the app and found the interface to be quite buggy, but thankfully Zhiyun seems to have squashed the worst of them, and controlling the M20C went off without a hitch. 

The ZY Vega app allows for full Bluetooth control over the M20C, and goes surprisingly in-depth, with a lot of fine-tuning options without ever having to touch the light itself. 

Power and Temperature

The Fiveray M20C features the Mark II version of Zhiyun’s signature DynaVort cooling system, which in layman's terms, is a fan and heat sink that keeps the temperature of the light to a manageable level. Zhiyun’s system has always been top-notch, and the M20C is no different, with the light remaining only warm at best – ideal when the light will be handled so much in use. The little orange fan on the rear also makes barely any noise, with a slight perceptible whine when it goes full pelt, but not loud enough to be captured on my footage.

Battery life actually went beyond my meagre expectations with batteries always one of the weakest features with LED panel lighting. The battery easily lasted me for a couple of hours using the M20C at less than 50%, and when pushing the light up to 100% power, I managed to get around 45 minutes of power. The M20C can also be powered by a USB-C PD connection if you run out of juice, either straight from the wall or connected to a power bank with a high enough output.

One quirk I did find with the USB-C charging, is a couple of the more powerful chargers/cables I used were able to power the light just fine when it was on, but were not able to charge the battery when the light was off, causing the M20C to make a strange high pitch beeping whine sound and just flash the battery logo at me. I managed to just swap to a lower-powered charger which worked fine, but I found this a slightly odd behaviour.

Zhiyun FIVERAY M20C: Verdict

While the FIVRAY M20C cannot match the best COB lights for raw power, it more than makes up for that in its features – offering practically everything any creative could want in a small LED light panel. There is very little that lets this light down, and it really should be on the wishlist of any vlogger, YouTube creator, or filmmaker.

The brightness is more than enough for close-up work such as vlogging, portraits, or product photography, but the M20C really shines (pun very much intended), when it comes to creative work with a full HSI color spectrum, creative lighting effects, and precise color tuning. 

The build quality is exceptional, I love features like the magnetic attachments, both to stick the light to metallic surfaces and also to attach light shaping accessories to the front of the light. Battery life is decent for an LED panel, lasting hours if used conservatively, and with backup USB-C PD power, it can go for much longer.

Alternatives

With daylight hours being short and the weather getting chilly, why not get creative and shoot some festive low-light images using some sparklers and a bokeh effect?

To create our final result above, I had to merge multiple images together as I couldn’t capture it all in one shot. The main image is of the subject holding the sparkler, and this has been layered with multiple bokeh images to create the final effect. Doing it this way meant I had complete artistic control over the final outcome, making it far easier to achieve results with plenty of impact. 

To give this project a go, you don’t need much in terms of kit. I had some indoor sparklers, a lighter, two small models as helpers (they can be any size or age), a camera (Nikon D850) and lens (Sigma 135mm f/1.8 DG HSM Art ) and, for editing, Lightroom (to tone and style our image) and Photoshop (to blend multiple images together).

As this is a trial-and-error type of project, I recommend you have some spare sparklers to hand. It’s amazing how quickly they burn through, so make sure you’re ready to shoot as soon as they are lit.

ADULT SUPERVISION 

Always have an adult present while using sparklers to produce creative shots – and remember, children under the age of five are not allowed to handle sparklers in the UK. Check the guidelines in your region. Always hold the sparklers at arm’s length, away from the body, and have a bucket of water close to hand so you can put the hot end of the sparklers into it once they have been used.

Step by step: Shoot a creative sparkler photo

Find the right environment

This project can either be shot indoors or outdoors, depending on your preference. However, if you shoot indoors, make sure you use indoor sparklers. To create the perfect environment for our shoot, I waited until the light was low but not completely dark as a touch of natural light in the background works in your favour. Think about your background and how it will frame your subject – a plain background often works best.

Dial in your camera settings

For this setup, the most important setting to take into account is the aperture of the lens. Put your camera into Aperture Priority mode; as a shallow depth of field is required, I set my aperture to f/2. 

To ensure our shutter speed was reading fast enough (ideally over 1/200 sec), we set our ISO between 400 and 800. This is so you can hold your camera by hand, while keeping the sparks pleasingly sharp. You may need to do some light tests to determine the right camera settings for you. 

It’s sparkle time! 

Once you have your camera ready, get the sparklers out. As I had some little helpers to model for us on this shoot and they couldn’t light their own sparklers, I first had to light them and then move into a position to shoot. 

Get your subject to hold the sparkler out at arm’s length, and slightly raised, to create the shallow depth of field effect. Do a practice run with no sparklers before you light anything, so that everybody knows what they are doing. Your focus point should be on the sparkler and the hand. Keep shooting as the sparkler burns down the stick.

Capture the bokeh image

Next, you need to shoot your bokeh image. As our little helpers had already gone to bed, we shot the bokeh images separately using an apple to hold the sparkler in place. To take these images, keep the same camera settings as before, but instead of using AF, switch your lens to manual focus and knock the focus out to create those round bokeh dots. Shoot again from the start of the sparkler until the end to get a selection of images.

Style and combine the images

To create our final effect, I first toned and stylized our image in Lightroom. We kept our background cool, then used warmer tones for the bokeh and foreground so the two contrasted well against each other. 

Once you’re happy with the style of your images, export these files into Photoshop. Now you will need to layer your bokeh images on top of your original. To do this, import each bokeh image one at a time into your original image and change the Blend Mode of the layer to Lighten. I also experimented with turning down the opacity of the bokeh layers. 

Adjust the size and position of each bokeh image (for example, place some small bokeh effects around the sparkler and larger bokeh effects in the corners) to create a final look that you’re happy with.

Bonus tip

Lens choice

To create that gorgeous shallow depth of field that works so well for this type of image, I used a Sigma 135mm f/1.8 Art lens. A long lens compresses the scene, so you are left with a dreamy background, with just one area of the scene sharp.

This project can be shot with any type of lens, but we suggest you avoid wide-angle lenses, as the blur and bokeh effects are much harder to achieve. A prime is preferable as you can open the aperture to a wide setting, but if you are using something like a kit lens, position your subject further away from the background to increase the blur effect.

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