Los Angeles-based toy photographer Mitchel Wu stages action figures like characters in a film crew with a sense of humor. In his world, General Grievous might be enjoying a few beers at a backyard barbecue while Stormtroopers take over the grill, and Darth Vader's idea of a day off could involve a swing set, a helmet off, and absolutely no galactic domination.

"I find myself in the same thought process I had as a child when I played with toys," Wu says. "I'm rediscovering the joy, reconnecting with my 10-year-old self, while enjoying the creative freedom of writing my own stories."

That combination of nostalgia, cinematic staging, and carefully controlled chaos is what defines his work – and why major franchises including Disney, Marvel, Warner Bros, and Nickelodeon have taken notice. But beneath the humor and miniature spectacle lies a disciplined creative process, built around one rule: the story always comes first.

When Stormtroopers become the punchline

For Wu, one of the most enjoyable parts of toy photography is reimagining iconic characters outside their usual roles.

"My work with Disney instilled a deep respect for their properties," he says. "So I try to remain faithful to characters' personalities. But with other properties, like Star Wars, I can get a bit more irreverent."

That irreverence is where much of the humor comes from – especially with Stormtroopers, who often end up as the comedic centrepiece of his scenes. "They are often the butt of the joke in many of my Star Wars images," he says.

In one imagined version of the Star Wars universe, Darth Vader isn't plotting galactic domination – he's off duty. "I thought, is Darth Vader a villain 24/7 or is that just his 9-to-5 job?" Wu says.

That idea became a scene where Vader pushes a Stormtrooper on a swing – an almost absurd domestic moment in an otherwise epic universe.

It's that contrast – between legendary characters and everyday behavior – that gives Wu's work its tone. "I try to come up with unexpected twists and present characters in a unique manner," he explains. "It's important to incorporate entertainment, joy and humor."

Explosions, fire and controlled accidents

Wu's scenes often feel like stills from a film mid-action – complete with smoke, fire, water, and destruction – but almost all of it is created practically.

"I mainly use small, battery-powered LED lights," he says. "And I often use real effects like fireworks, sparklers, and smoke bombs." It's not just for spectacle – it's part of the playfulness that drives Wu's process.

"As a kid, I loved playing with firecrackers and sparklers," he says. "Blowing stuff up is fun, so having the chance to do that for my work is pretty cool."

Not everything is predictable, though. Some effects are difficult to control. "Liquid splashes are unpredictable," Wu explains. "You don't really know what kind of splay you're going to get. Sometimes it takes a dozen attempts."

Still, effects are never used for their own sake. "I don't want to create effects just because they're cool," he says. "I want them to support and enhance the story being told."

Story over perfection

Despite the technical complexity of his work, Wu consistently returns to one idea: storytelling matters more than perfection. Technical skill is important – but it should never replace narrative.

"I would much rather see an image that speaks to me emotionally, even if it's not technically perfect," he says, "than a technically perfect image that says nothing." The philosophy also shapes how he teaches other photographers. "Find the story," Wu explains. "Tell me a story that makes me feel something."

"You need to shoot a lot to build up your technical skills," he says. "But not at the expense of storytelling."

In Wu's world, toys and action figures don't just sit on shelves; they act out stories. And sometimes, they just want a beer and a barbecue too.

To discover more of Wu's work, visit his website or Instagram account. He also has a blog and YouTube channel with more behind-the-scenes content.

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Profto has released its latest high-end LED panel – and it's designed to deliver both powerful and soft light. The Profoto ProPanel 3x2 is an RGBWW soft panel with an ultra-wide correlated color temperature (CCT) range, which the company touts as the most powerful soft LED panel for high-end film, TV, and commercial productions.

Filmmakers have traditionally faced a tradeoff between soft light and powerful light. While soft light is covered for the dreamy, flattering look it creates, it typically comes at the expense of light intensity.

To get the best of both softness and intensity, production crews have typically needed large diffusion rigs or multiple fixtures.

The Profoto ProPanel 3x2 comes as an ambitious solution to this tradeoff, packing 2000W of output, a CCT-range of 2,000k-15,000k, and the Profoto Core LED engine, which Profoto claims provides “unmatched color rendering” with TLCI 97 into a large LED panel surface.

The ProPanel, however, is a soft panel, a category that uses built-in diffusion, unlike hard panels. Creators can also soften the light further with a range of modifiers. The light is dimmable down to 0.1 percent.

With six different light modes: CCT, HSI , RGBW, XY, Gels, and Effects, and proclaimed “flicker free” shooting at any frame, Profoto says this is the lighting solution for all workflows, no matter the creative ambition.

While touted as a single-light solution, the Profoto ProPanel 3x2 is also designed to be operated by a single person. Featuring a 360° aluminum railing system and Profoto’s Speed Clamp, the ProPanel 3x2 can be mounted quickly and in any orientation without overheating, the company says.

Profoto has paid attention to weight too, as the ProPanel 3x2 comes in at 62lbs (28kg), which the company says is 50% lighter than competing LED panels. With IP-65 weather sealing, the Profoto Propane 3x2 is protected against liquids and dust too.

While Profoto's latest LED rig comes in as an all-in-one lighting solution, the claims of being the “world’s brightest panel” will depend on measurement conditions, beam angle, and just how creative producers want to get.

The ProPanel 3x2 was announced last summer, later earning a Cine Gear Technical Award, but has now started shipping to creators.

The ProPanel 3X2 is now available through authorized dealers for $14,995 (£11,067 / AU$20,901).

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Profoto has announced the launch of its latest additions to its compact flash lineup, the Profoto B20 and B30. These new portable monolights are designed to offer photographers and content creators improved performance, including faster recycling times and a more powerful LED continuous light, building upon the established B10 series.

Engineered for demanding use in varied shooting conditions, the battery-powered Profoto B20 and B30 flashes feature a robust build and a tactile, rubberized exterior. This design aims to provide a secure grip and long-lasting durability, even when attaching heavier light modifiers. The B20 has an output of 250Ws, whilst the B30 doubles the power to 500Ws.

Profoto Product Manager Göran Marén emphasized their readiness for professional challenges, stating, "Regardless of location, these flashes are ready for any creative challenge."

A key advancement in these new Profoto units is a reported 13% reduction in recycle time compared to the B10X, intended to help users capture successive shots more quickly.

The inclusion of user-replaceable flash tubes is also a notable feature, allowing for rapid swaps on set and maintaining a smooth workflow. Both models provide a broad range of power settings, offering extensive lighting control for different creative requirements, from subtle fill to strong illumination.

The B20 and B30 also introduce three distinct flash modes: an ECO Mode to extend equipment lifespan, a Boost Mode for when additional power is required, and a Freeze Mode, which provides exceptionally short flash durations, ideal for capturing fast-moving subjects.

For professionals engaged in both photography and video, the integrated bi-color LED has been significantly upgraded. It now delivers 40W, 50% more output than earlier versions, making the Profoto B20 and B30 more effective as continuous light sources for short video shoots, live streaming, and on-location setups.

The new flashes are also fully compatible with Profoto’s extensive Light Shaping System, granting access to over 120 modifiers and accessories. Their intuitive user interface is designed to simplify operation, reducing time spent on technical adjustments.

While the compact form factor of the B20 and B30 is a core design element, by looking at some of the early comments, some photographers have observed the absence of a built-in handle for direct manipulation of the units. However, it must be noted that Profoto offers an optional handle as an accessory to address this need.

These new models position themselves as an upgrade in both power and speed within Profoto's portable flash offerings when compared to the B10 and B10X.

This new announcement comes just after Profoto recently expanded its product portfolio with the introduction of new cinema lights, indicating a broader strategic focus on both still photography and video production markets.

The Profoto B20 is currently available for purchase starting from $1,995 / £1,995, and the Profoto B30 is available from $2,395 / £2,395 (Australian pricing to be confirmed).

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Profoto, best known for its industry-renowned photography lighting kits, is making serious moves in the world of cinema lighting. After introducing the L1600D earlier this year, the Swedish company has just unveiled three new constant lighting systems: the LP2000C, L600C, and L600D.

All three lights will be officially premiered at the Cine Gear Expo in Los Angeles on June 6–7, held at Universal Studios. The launch event marks Profoto’s most significant push yet into cinema lighting, and it’s a clear signal that they’re taking this market seriously.

Each brings Profoto’s signature blend of technical quality and practical design to film and video production. The company’s message with these lights is a clear statement of intent; these lights are "faster, lighter, and brighter", and they’re built to meet the needs of professionals across both photography and cinema.

Above: A video showcasing the Profoto LP2000C

The LP2000C leads the lineup as a powerful new soft panel that Profoto claims is the world’s brightest full-color LED panel. Delivering an impressive 2000 watts of rich, full-spectrum light, it’s engineered to provide unmatched quality while staying nimble enough for demanding film sets.

Weighing just 27kg, about 50% less than its closest competitors, the LP2000C combines brute strength with practical portability. Profoto’s patent-pending CTech cooling system not only keeps the unit cool but also contributes to its dramatically reduced weight.

The light features a wide CCT range from 2000K to 15,000K and a TLCI of 97, ensuring true-to-life colors and soft, flattering illumination. Its 360° aluminum rail system enables flexible mounting in any orientation and a new SnapBag pairs with Profoto’s Speed Clamp for lightning-fast setups.

Designed to withstand real-world production demands, it’s IP65-rated for weather resistance, making it just as effective on location as in the studio. The LP2000C is now available for pre-order at $12,995, with shipping expected in Q3 of this year.

Above: A video showcasing the Profoto L600C and L600D

Next in the lineup is the L600C, a full-color 600W point-source LED that focuses on power, color precision, and portability. With no ballast and a streamlined, self-contained design, the L600C is all about speed on set.

It features Profoto’s new HydroCTech cooling system, which enables the light to stay silent and cool without compromising performance. This also helps keep the total weight down to just 6.1kg.

Under the hood is Profoto’s Core LED engine, using the world’s first RGBWWW chipset, which enables the light to deliver a TLCI of 99 and extremely high SSI values, up to 90 at 3200K and 84 at 5500K. The wide color temperature range, combined with support for over 300 digital gels and compatibility with more than 55 Profoto light modifiers, offers filmmakers and DPs incredible creative control.

Wireless connectivity is built-in via DMX, CRMX, and Profoto’s own Air system, with intuitive onboard controls and app support rounding out the package. The L600C is available now for pre-order at $3,995, with shipping beginning in Q3.

Completing the trio of new lights is the L600D, a daylight-balanced 600W point-source LED aimed at users who require compact, high-output lighting with color accuracy and simplicity.

Sharing the same HydroCTech cooling system as the L600C, the L600D weighs slightly less at 5.9kg. It offers daylight-balanced output with a TLCI of 99 and an SSI of 86, making it ideal for scenarios where natural-looking skin tones and accurate daylight replication are essential.

Like its full-color sibling, it features precise 16-bit dimming from 0.1% to 100%, with no flicker at any frame rate. All controls, power, and connectivity are integrated into one compact unit, enabling quick deployment on set.

The L600D is also compatible with Profoto’s broad range of modifiers, maintaining the modularity that many photographers and filmmakers have come to expect from the brand. It’s now available for pre-order at $2,995, with delivery expected in Q3.

While Profoto’s reputation has long been cemented in the world of photography, this latest expansion into cinema suggests a broader vision that caters to creators who don’t want to compromise between still and motion workflows.

The LP2000C, L600C, and L600D aren’t just repurposed lights for video, they’re built from the ground up for film sets, with features and performance tailored specifically to production realities.

If Profoto’s track record in photography lighting is anything to go by, these cinema fixtures are likely to become fast favorites among professionals who demand quality, reliability, and ease of use.

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Sony and Profoto have introduced a new system that allows you to use high-speed sync (HSS) with Sony’s pioneering global shutter camera, the Sony A9 III. For the first time, you can now use sync flash at speeds of up to 1/80,000sec (!!!) and gain precise control over your exposure, including blocking ambient light even in the brightest daylight conditions.

This is all possible when shooting with the Sony A9 III using the Profoto A10, or the A10 paired with the D30, Pro-D3, or Pro-B3 flash systems. By doing so, the Sony A9 III can show its real potential as it features the first full-frame global shutter on a professional mirrorless camera. (The A9 III has a top shutter speed of 1/80,000sec, and can shoot at 120 RAW frames per second.)

This development is just the first phase of a broader rollout by Profoto, aimed at enabling full system compatibility across its flash lineup. So, if you are not shooting with a Sony A9 III or the specified Profoto flashes, there may be future opportunities giving you similar possibilities.

Here's how it works: To get the advanced flash synchronization, you need to download firmware updates, which are available now. And keep in mind, to enable this feature for the D30, Pro-D3, or Pro-B3, they must be triggered via an updated A10 unit.

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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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Softboxes are by definition designed to give you soft lighting in the studio… But what if you want your strobe lighting to be even softer for your portraits and product photography? Profoto now has an answer…

It's new range of white softboxes that swap the usual silver interiors for all white ones - to produce a light source that is less harsh, and less focused.

According to Profoto's product expert Chris Fain this gives you a buttery creaminess to the lighting extra kind of layer of softness and diffusion that you don't  get from the silver. but this comes at the cost of losing some efficiency, so the overall illumination is not as strong.

The new Profoto Softboxes White range offers the same sizes as with the original silver versions -  2x3ft  (60x90cm), 3x4 ft (90x120cm), 1x4 ft (30x120cm) rectangular versions, plus 3ft (90cm) and 4ft (120cm) octagonal versions.

The white softboxes are available to buy immediately, with pricing around $50/£50 more than for the equivalent silver versions.

Full pricing for the range is as follows:

2x3ft - $499 / £475
3x4ft- $549 / £525
1x4ft - $499 / £475
3ft Octa - $499 / £475
4ft Octa - $549 / £525

Check out our guides to the best softbox lighting kits, and to the best studio lighting

Profoto has raised the bar once again with the launch of the Profoto Pro-B3, a powerful new battery-powered monolight engineered to freeze action and endure the toughest shooting conditions. Designed with the world’s most demanding photographers in mind, the Pro-B3 is poised to become the go-to choice for those who need reliable, high-performance lighting – no matter where their work takes them.

Profoto has long been known for creating some of the best photography lighting equipment in the industry, from compact on-camera flashes to larger, high-output off-camera strobes. The Pro-B3 firmly falls into the latter category, offering everything you need in an on-location lighting kit. Whether you’re capturing high-speed action, working in remote locations, or dealing with unpredictable conditions, the Pro-B3 has you covered.

Developed for the world’s top action and extreme sports photographers, the Pro-B3 features an impressive 750Ws of flash power and is ready to handle the most demanding lighting scenarios. Its fast recycling times – ranging from 0.01 to 2.3 seconds – ensures that you never miss a moment, while its ultra-short flash duration of up to 1/75,000s allows you to freeze motion with razor-sharp clarity, eliminating motion blur from fast-moving subjects.

Profoto Product Manager Göran Marén explains, "The unique combination of features that the Pro-B3 brings ensures that you will always get that perfect shot. The whole idea with the Pro-B3 is that it’s only the imagination of the photographer that should set the limits for what you can do creatively, not the gear".

The Pro-B3 isn’t just about power – it’s built to endure the bumps and scrapes of on-the-go shooting, giving photographers the confidence to push their gear to its limits. Constructed with high-quality, interchangeable flash tubes and long-life capacitors, the Pro-B3 promises years of professional use in even the most demanding environments. The flash unit’s rubberized housing offers additional protection from the elements, ensuring that it can handle whatever you throw at it.

For photographers who depend on their gear to perform at the highest level, knowing that it can stand up to the toughest challenges is a huge comfort and reassurance. Too often, concerns about equipment durability hold photographers back from pushing their limits and fully exploring their creative potential. The Pro-B3 aims to eliminate these concerns, allowing you to focus solely on creating outstanding images.

Above: A video released by Profoto showing the Pro-B3 in action

As expected from a premium brand like Profoto, the Pro-B3 comes with a price tag to match its professional-grade performance. The Pro-B3 is priced at $3,995.00 / £3,162.50 individually or $7,895 / £6,249.17 in a duo kit (excluding sales tax or VAT). Australian pricing is yet to be confirmed.

While it’s a significant investment, the Pro-B3 offers exceptional value for those who demand the best in performance, reliability, and versatility. For serious photographers looking to take their on-location work to the next level, the Pro-B3 is a fantastic option that will deliver results for many years.

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Profoto produces some of the best photography lighting kits on the market, providing industry professionals with versatility in light quality and control. To further improve its lineup three new lighting modifiers have been released, ideal for balancing high and soft contrast. 

The Profoto Hard Reflectors White offers the user an exciting new take on high-contrast light scenarios, by utilizing a white interior to create the ideal mix between hard and soft, providing a 'more forgiving soft touch' that still provides a pop. 

Typically lighting reflectors like these have a silver and more reflective interior, which aids in producing harder lighting, even if feathered. The idea behind swapping this for white is that the light will be more evenly spread, almost as though a cross between a beauty dish and a reflector. 

The three new Profoto reflectors have been designed to cater to various shooting scenarios, and each offers something a little different to the user. The Profoto TeleZoom Reflector White is the largest of the three, offering a deep shape that creates a directed yet soft light ideal for scenes requiring depth or even illumination across distances. 

The Profoto Magnum Reflector White is the middle-sized reflector and when coupled with its zoom functionality, creates a targeted yet even light spread. 

Lastly, the Profoto Zoom Reflector White is the smallest and lightest of the three. The more compact shape enables a punchier light output but still provides a softer light than its silver counterpart. 

Versatility is key when it comes to lighting and even the slightest adjustment can change the entire dynamic of the image. These new Hard Reflectors offer a more balanced and even throw of light which can be utilized by direct lighting and by feathering the light, making it ideal for studio-based photographers especially those shooting beauty and portraiture. 

Above: A video showcasing the new white Profoto Reflectors

The reflectors are compatible with all Profoto lights and available now at the following prices: TeleZoom Reflector White - $854 / £641.67, Magnum Reflector White - $401 / £300, and the Zoom Reflector White - $273 / £204.17 (Australian pricing to be confirmed). 

Profoto is very much at the top end of the market when it comes to lighting and lighting modifiers and the price certainly reflects this. Unfortunately, having not yet gotten my hands on these reflectors it is difficult to pass judgment on the value, however, Profoto rarely disappoints in build and light quality. 

You may also be interested in our guides to the best lighting kits, the best LED lights, and the best lighting strobe.

Studio lighting specialists Profoto is adding a new fresnel lighting attachment to its range of light shaping accessories. The Profoto Fresnel Small is a relatively large device that sits in front of a monolight or studio head to create a controllable, spotlight-like beam of light - which is often used by photographers to add Hollywood-like drama to their shots.

Despite its name, the Fresnel Small comes with what Profoto describes as a medium-sized 7-inch (200mm) diameter lens that " projects a clean, crisp light beam, perfect for precise lighting and movie-like effects". A built-in iris control allows you to control the angle and spread of the beam.

Profoto already has a larger 11in (300mm) fresnel attachment in its range - the ProFresnel Spot.

The fresnel lens gets it name from the French physicist Augustin-Jean Fresnel who came up with the idea of constructing the concentric rings of glass prisms to create a strong pencil-like beam of light from a lighthouse - a system that is still used today some 200 years since its invention.

With the modifier weighing 7 lbs (2kg), Profoto recommends that its new Fresnel Small attachment is used with the optional Stand Adapter Pro when used with the B10 series of lights, to ensure stability and safety.

The Profoto Fresnel Small will retail for $1,495 / £1,349.

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Profoto is one of the go-to light manufacturers for professional photography studio lights, providing the perfect combination of light quality, ease of use, and versatility. However, despite its lofty position in the photography light market, it has never produced a continuous light dedicated to video - until now! 

The Profoto L1600D is the first video light developed by the light manufacturer, and what a way to introduce yourself to the world of video lighting than with a powerful cinema light. The compact LED video light unit incorporates 'state-of-the-art technology' designed for fast and powerful use on set for gaffers and DOPs.

The use of the term 'state-of-the-art' is often thrown around with abandon when it comes to new product releases, but in this case, it's not wrong. 

Profoto CEO Anders Hedebark says, "We have worked hard refining our technology to ensure we introduce not only the best but something unique that truly delivers customer value. The L1600D is a compact, all-in-one unit without a ballast. It brings an unparalleled power-to-size ratio. It is a new product category that we call Mono-LED".

With such a small unit delivering such a vast amount of power from an integrated battery, a concern that comes to mind is overheating. However, Profoto has this covered by incorporating a system borrowed from high-end gaming PCs. 

Hedebark continues, "Our patent-pending water-cooling system, HydroCTech is the heart of this compact Mono-LED. There is no floor unit; no more hauling heavy equipment around. It saves a lot of time on set and is more ergonomic to use".

The compact size and the lack of external battery packs will certainly appeal to use on set, and at just 50 x 26 cm, I imagine these will start popping up on film sets in no time.

As is the case of all Profoto products build quality and design plays an important role in the L1600D. The IP54 classification adds to this build enabling unaffected use regardless of how challenging the situation on set might be.

Another recognizable attribute of Profoto's photography products is the superb quality of light emitted from the various models, which is said to have also been assigned to its first video light. 

Profoto product manager Anton Falk says, "The L1600D offers the purest of light, and a lot of it, with the highest degree of light shaping possibilities. We have created an impressively efficient piece of equipment with our Mono-LED technology. 97% of the electricity is harnessed and used from input to output, which is at least 20% more efficient compared to other solutions with ballast and head".

The light can be controlled and shaped by the light shaping modifiers compatible with the L1600D's dual mounting options. The Profoto mount enables compatibility with the extensive Profoto Light Shaping Tool lineup, the second option is the versatile Bowen's mount. 

Other notable features include a color temperature of 5700K, flicker-free at any frame rate, 2 silent fans, Lumen radio, XLR, Bluetooth, and Profoto Air Radio connectivity. 

The Profoto L1600D will premiere at CineGear, Warner Bros Studios, Burbank, CA, on June 7, 2024. There, more details regarding pricing and availability will be released. 

I can't officially back up any of the claims as we haven't yet received a unit, but Profoto is one of the leading light manufacturers on the market for a reason, and I am excited to see its video lighting range develop. 

You may also be interested in our guides to the best-LED light panels, the best video lights, and the best photography lights.

Profoto is renowned for creating some of the best photography lighting systems on the market, and caters to all levels of creators, from budding enthusiasts to industry professionals. The newly announced Profoto Pro-D3 range aligns more with the latter, offering a 'groundbreaking industrial-grade monolight'. 

The Profoto Pro-D3 range was developed due to the growing demand for content creation by its customers. Profoto wanted to create a light that could adapt and keep up with the increasingly high volume of image content, offering improved durability, so the Pro-D3 range was born. 

Available in two versions, the Pro-D3 comes in a 750W and a 1250W which is more than capable of capturing all of your photographic needs. These are big lights suited for high-end studio photography rather than casual shooters. 

Each light has an impressive 11 stops of power range and can be precisely adjusted by 0.1 f-stop increments, for accurately fine-tuning your lighting setup. 

The Pro-D3 offers three distinct flash mode options, for use in different scenarios. Eco Mode is the default mode and enables you to get the most out of your light and energy consumption. By adding flash parameters, it is optimized for color accuracy and maximized efficiency. 

Boost Mode adds an extra boost of power output, while Freeze Mode delivers a short sharp flash of light making it ideal for capturing fast-moving subjects such as water droplets and sports. 

Another feature that I have found extremely useful in new lighting systems, is a powerful LED modeling lamp. An efficient and powerful modeling lamp makes using studio lighting in darker and more controlled environments much easier by showing a preview of how the lighting will affect the subject, but also enabling the users to gain accurate focus in a dark environment. 

The Pro-D3 includes an efficient Modelling light with a fixed daylight-balanced color temperature, that shines brighter than a 400W halogen lamp with only 15% of the power consumption. 

Product Manager at Profoto Göran Marén states, "We are excited to introduce the Pro-D3, a strobe that not only meets but exceeds our customers' evolving requirements in the high-end commercial image content creation industry. The Pro-D3's innovative features collectively contribute to improved energy efficiency, reduced maintenance costs, and an extended fixture lifetime, making it the go-to choice for professionals engaged in daily high-end image content creation”.

As a photographer who uses a lot of studio lighting, I am excited by this new release. It seems Profoto has designed a product that will keep up with the high demand of usage and has built the Pro-D3 to last. 

Without getting my hands on them and testing the lights I can't vouch for their capabilities, however, Profoto lights are among the best on the market for a reason, and consistently produce exceptional light quality and beautifully designed products - look at that back panel design! 

The Profoto Pro-D3 lights are available now for $2,995 | £2,840 | AU $4,539 for the 750W version, and $3,995 | £3,795 |AU $6,055 for the 1250W version. 

You may be interested in our guides to the best lighting kits, the best-LED light panels, and the best flashgun or strobe.

Picking up a camera has transformed the lives of many creatives, including Bella Kotak. A student of architecture at the time, Bella found a creative outlet in photography that allowed her to visualize and capture her thoughts and imagination, combining a passion for design and storytelling with a fascination for nature and the human form. 

In her work, Bella draws inspiration from fairy tales and the natural world, and her themes of women’s empowerment, diversity, and culture are woven into her art. Her images tell a story by revealing the hidden beauty in spaces and faces and her skill in crafting magical backdrops for her subjects not only creates aesthetically pleasing images but also conveys a deeper meaning.

Bella is an expert in creative photography and post-processing techniques, and she is renowned for her educational workshops and speaking engagements. Since her early days as a photographer, The Photography Show has been a focal point, helping nurture her creative growth over the years and, this year, she is a speaker at the event. We met up with Bella to discover what we can expect from her presentation in Birmingham and what she is most looking forward to when engaging with the creative community at the show.

Interview

Choice of camera

Why Bella loves to shoot with a Phase One

“I had an opportunity to use a Phase One camera back in 2016 and completely fell in love with the files from the very beginning. A few years ago, I was invited to be an ambassador for the brand and have been using it ever since to create many of my photography pieces. 

The camera itself forces you to slow down and observe everything for the moment or expression that you want to capture. The dynamic range has come in handy several times and, of course, the quality of the files speaks for itself. They are so beautiful and have an almost film-like texture and allure that I haven’t been able to recreate with any other camera so far.”

Kitbag essentials

Cameras

• Canon EOS R5
• Phase One IQ3 Trichromatic

Lenses

• Phase One 80mm f/2.8 LS AF Schneider Kreuznach
• Canon EF 50mm f/1.2L USM

Other gear

• Profoto A1
• Clicbox
• Gels
• Gaffer tape

Since last November, Rankin has been shooting portraits in a pop-up studio on London’s iconic Carnaby Street. 

This latest RankinLive event closes on Sunday (January 7), but we’ve been behind the scenes of one of the shoots to see the leading British photographer and cultural provocateur at work. 

Here’s what happens at the event: participants get a 15-minute photo session with Rankin – either on their own or with a loved one. 

For £500, the sitters see real-time image reviews, get a digital “green tag” file PDF, an authenticated A4 inkjet print of the chosen image delivered to a UK address, and a digital file of the chosen image for personal digital use. 

Some walk-in slots are still available, but to be certain of getting a place make a booking here. 

RankinLive, 47 Carnaby Street, London W1F 9PT. Opening hours are Monday-Saturday: 10am-7pm; Sunday: 11am-6pm. 

Behind the scenes of RankinLive Carnaby Street 

For someone who has photographed so many of the world’s best-known people, Rankin feels that his RankinLive events are the most ambitious of his many projects. 

The premise is simple: the photographer turns his lens on members of the public, something he has enjoyed doing since 2009. And being based in a pop-up shop in the heart of London’s West End, the latest RankinLive couldn’t really have asked for a better location. 

When Digital Camera World pays a visit, on a busy Saturday morning before Christmas, Rankin is really enjoying himself, bonding with his subjects in the brief time they get with each other, while his team bustles around the retail unit with various items of photo equipment to hand. 

You can feel the creative energy that’s bouncing off the walls, while puzzled passers-by stop to peer through the windows, wondering what on earth is going on inside. 

Sarah Taylor has just had her portrait taken; she’s a fan of Rankin’s portraiture and has travelled from Berkshire in England specially for the occasion. Grabbing some time with Rankin afterwards, I ask him how this particular RankinLive came about. 

“We stopped doing it during Covid and brought it back afterwards, with a couple of art shows, the Other Art Fair and the Art Car Boot Fair,” he says. 

“But we wanted to do a RankinLive in a store so asked our Instagram followers if they’d be interested. We got so many sign-ups, we thought ‘OK’, and the people who run Carnaby Street offered us this – it’s a great location.” 

Up to 250 photo sessions will have taken place by the time the event finishes. And while Rankin won’t be photographing all of the sessions – his assistants will be deputising for him when he’s not around – he is hoping to do as many of them as possible. 

As some walk-in time slots for RankinLive Carnaby Street have been available, two of his team are busy drumming up interest from the shoppers outside.

Rankin’s next subject has arrived and he is called away to greet her. Clare Sutcliffe is dressed for the occasion, wearing a leather jacket with distinctive floral prints. After a quick chat, she takes her position in front of the plain white background and Rankin and his team gather around. 

Shooting on a Hasselblad medium format with a Phase One digital back, and tethered to Capture One Pro software, the photos are pushed to a computer in real-time. This workflow is de rigueur for pro studio shoots and allows instant image feedback; it is Rankin’s preferred way of shooting portraits. 

“Even when I shot King Charles recently, I did the same – he chose the pictures [he liked]. I find that people generally choose the best pictures of themselves, so I don’t really worry about interfering too much. 

“Sometimes they want my opinion, which I’m obviously up for giving, but I’m very happy when people choose six pictures and then pick their favourite one.” 

For Rankin, photographing his subjects is something he feels – rather than it being technical. Participants are photographed against the same background – only the lighting, handheld and directed by an assistant, with reflectors used to bounce light back onto the subject as required, changes from session to session.

Checking in for the next time slot, a couple has walked into the shop. Rankin opts to photograph them with the man sitting on a stool with his partner embracing him from behind. Afterwards, I ask why he decided to use that particular composition. 

“I am quite directional, so when they come in, I’m already looking at them, trying to work out how I’m going to light them, how I’m going to direct them. 

“Some people are coming in for memorial moments, or they’re coming to have a photograph taken to remember a particular point in their lives. 

“What’s amazing about photography for me, is that it is also about memories, and I think as a professional photographer you tend to forget that – it becomes more of a product. 

“For example, the couple I’ve just photographed chose a photo that’s more like a Rankin picture. But three of the other photos I took are the ones that they’ll probably be calling me up in five years’ time to get prints of.” 

So you decided on those compositions and how to approach the shoot because of the feeling you had about the couple? 

“Yes, I could see they were really into each other, so I was doing similar compositions and shots each time. People criticise photographers for doing that, but I just want them to walk away having a picture that they really like.” 

And Rankin is certainly achieving that objective today. Before she leaves, I ask Sarah Taylor how she chose her favourite picture to take away. 

“It’s just one that looks the most like how I see myself – obviously, in the best possible way!” she laughs. 

“It’s the one that I feel looks the most like me. I’m actually smiling in it as well, which is lovely. Rankin immediately put me in the right positions and got the best photos, and the whole experience has been wonderful.”

Whether photographing the great and good, or members of the public, Rankin approaches them all in the same way. What has really come across today is his deep love of photography and taking pictures. 

“I’m never happier than when I’ve got a camera in my hand, so I always feel like I’m privileged to do what I do,” he enthuses. 

“And to still be doing it after 30-odd years is really special because a lot of people haven’t got jobs in photography any more because of the advent of camera phones – I never take what I’m doing lightly. 

“Also, I’m always trying to get a great picture, so I want people to walk away feeling, ‘Oh yeah, I’ve got a great picture’. That’s what’s important, so if people feel that, then it’s a really good buzz.” 

Rankin’s camera kit for pop-up portraits

Hasselblad H6X

“I was born as a photographer on a Mamiya RZ, and the RB67,” says Rankin, “so the Hasselblad is the closest I’ve got to that.” 

Phase One IQ3 digital back

“With today’s digital backs, you can go two stops over or under and it doesn’t really matter anymore. It used to really matter.” 

Hasselblad HC 3,5/50 II

Equivalent to a 35mm lens in full-frame terms, this H-system lens is billed by Hasselblad as the classic lens for reportage. 

Hasselblad HC 2,8/80

The standard lens for the H-system (55mm in full-frame terms), with a large aperture for working in low-light conditions. 

Profoto B10 studio flash and OCF beauty dish 

Portable 250W head fired via a remote trigger and powered by a mains studio pack, used with a Profoto OCF Beauty Dish White 2’.

Apple Mac Studio 

Powerhouse computer for creative professional applications, tethered to the Phase One digital back via a Tether Tools cable.

Eizo ColorEdge monitor 

One of the best-known names in computer monitor production, ColorEdge screens have a colour calibration system built in.

Capture One Pro 2023 

“I love shooting to Capture One,” says Rankin. “It really suits me and how I work.” The pro solution for tethered image capture.

RankinLive is taking place now at 47 Carnaby Street, London W1F 9PT. 

Click here to visit the RankinLive booking page.

Take a look at the best cameras for portraits, along with these portrait photography tips, to get the most out of your portraiture. 

Check out the best lens for portrait photography and browse a range of super-sharp 85mm prime lenses.

Get a portrait done, bag some merch

As well as being able to have your photo taken, a RankinLive event is also an opportunity for fans to pick up prints and other merchandise – all available under the umbrella of Rankin Swag. 

“We’ve never really done T-shirts before and we’re doing some now,” says Rankin. 

“Obviously, we’ve got some posters and some prints, too. We haven’t gone crazy on the prints here, though, because it’s not really the price point. 

“Collectors spend lots and lots of money on them – the prints here at Carnaby Street are all much more affordable, almost like a starter price.” 

Read more: the full version of this article appears in the February 2024 issue of Digital Camera magazine, on sale now. 

Why not subscribe to Digital Camera magazine and get the magazine delivered to your door every month? Choose between a print or digital subscription, or a bundle of the two. 

Taking on a wedding is a big responsibility. After all, if you mess it up, you can't ask all the guests to come back for a reshoot! As photographers we're commonly asked by friends and family members to shoot their weddings, but there's a few things you should know before agreeing to shoot the big day!

We recently caught up with award-winning photographer, Vanessa Joy, who has been a pro wedding photographer for over 20 years. She focuses her business in the Austin, Texas and New Jersey / New York City areas, alongside her partnerships as a Canon Explorer of Light and Profoto Legend of Light. For over a decade she’s been helping photographers take their craft to the next level.

• Elevate your wedding game with the best cameras for wedding photography

Vanessa tells us her story, her top tips for wedding photography, as well as the camera set-up she uses, including her favorite cameras and lenses. To see more of her lovely images and check out her workshops, be sure to visit her website.

"My mother was a photographer so I grew up with a camera in my hand, but it was only when I started developing my own film in high school that I fell in love it. I became a wedding and portrait photographer right out of high school and loved the high intensity and challenge. 

"I first worked for another photographer for about five years before going solo. I thought I needed to have a ‘real job’ instead of just being a photographer, so I became a Spanish teacher. This was short-lived and I followed my passion for photography just a few years later.

"When I first started, the challenge was the craft itself. Striving to learn more, correct my mistakes, and create images that my clients were happy with. Then it was about marketing, and keeping up with social media, and now it’s about standing out from the crowd. Even smartphones produce quality images, so it’s hard for clients to sometimes know the difference between good and great photos. So, now my goal is to also weave in an experience that they’ll love and remember.

"I’ve recently gone back to my film roots and picked up the Canon A-1 camera that was once my mom’s, and the Canon SLR on which I first learned and my journey in photography began. It might not be the same as working under red lights and getting my hands wet, but it’s a great way to slow down the creative process and remember why I fell in love with it to begin with."

1. Canon EOS R3

"The EOS R3 may only have a top resolution of 24MP, but its super-fast top burst rate of 30fps makes it a favourite among sports and news photographers. My old Canon DSLR was a Canon EOS-1D X series which I always loved, so the EOS R3 is a natural upgrade. I love the mirrorless format of this camera, the durability, and its speed. I usually use the R3 to shoot the second half of wedding receptions as I love how it performs in low light."

2. Canon EOS R5

"Canon’s EOS R5 is one of my all-time favorite cameras. The autofocus system is unparalleled and its eye detection is brilliant. The full-frame 45MP imaging sensor delivers incredible prints that can be blown up and printed large, while still maintaining loads of detail. With megapixels aplenty I have the option to crop in a little, too. It also features sensor-based image stabilization, so camera shake is a thing of the past, and it performs great in low light and at high ISOs, too."

3. Canon RF 28-70mm f/2L USM

"My Canon RF 28-70mm f/2L USM is one lens to rule them all! It’s perhaps no surprise that this lens is glued to my camera for the majority of the wedding, unless I need a different lens for something specific. With a versatile zoom range of 28-70mm and a super-wide maximum aperture of f/2 throughout, it does the job of three prime lenses and has replaced my 24mm, 35mm and 50mm lenses."

4. Canon EF 135mm f/2L 

"This is one of the most understated lenses in the EF lineup; it has a telephoto focal length, ideal for taking candid shots from a distance, or tight portraits. I use the Canon EF-EOS R mount adaptor so I can continue to use it with my newer mirrorless Canon cameras. Canon has recently announced a new RF version with wider f/1.8 maximum aperture and optical image stabilization and I can’t wait to get my hands on one!"

• Read more: Canon RF 135mm f/1.8L IS USM review

5. Canon Selphy CP1300

"Ever since I started my own photography business about 14 years ago, I’ve always done same-day edits at weddings and even printed albums. I carry Canon’s Selphy CP1300 to print on location, and I use the additional battery so I don’t have to worry about finding an electrical outlet. It has variety of paper options, though I usually print off eight 2x3-inch photos on the day to give them a small photo album. The image quality is really good, too!"

6. Profoto B10

"The Profoto B10 is my go-to flash when I want to have both power and portability. With lots of modifier options, such as softboxes and umbrellas, I’m able to use this on the wedding day for a variety of situations like family photos and shots at night. It’s easy to set up on light stands and position it where I need the light to fall, for sidelit or backlit, portraits and so on. I fire it remotely using a flash trigger attached to my Canon EOS R3 or EOS R5 cameras."

The Profoto A10 is the Gucci of flash heads, it's the pièce de résistance, the cream of the crop. But unless you earn a serious amount of money from your photography, chances are you're not going to drop almost 1K on a flash head. 

This truly is a flashgun geared towards professionals who are shooting commercial campaigns and getting paid a pretty penny to do it. On its own it's an excellent speed light, it's versatile, and perfect for shooting weddings and events or creative studio portraits, especially with the Clic accessories. Unlike so many flashguns, the Profoto A10 is very intuitive, it doesn't have a complicated menu system with lots of confusing settings and it can also be used as a constant light - a big plus for those who shoot hybrid. 

Specification

Max energy: 76 Ws
Energy range: 9 f-stops (0.3-76 Ws)
Energy control increments: 0.1 f-stops
Recycling time: 0.05-1.0
Energy stability: <0.2 f-stop
Built-in connectivity: Profoto AirX
Supported Air functions: Sync, TTL, HSS and remote control*
(*can be used as both receiver and transmitter)
Number of Air channels: 20
Number of groups per Air Channel: 6
Supported apps for Bluetooth devices: Profoto Camera and Profoto Control
Wireless operating range: 0.5-100 m (1.5-330 ft) with Profoto remotes*, 0.1-30 m (0.3-90 ft) with Bluetooth devices *in optimal conditions up to 300 m (1000 ft)

Key Features

One of the big advantages of the Profoto A10 over the Profoto A1X is that it comes with built-in Bluetooth connectivity which means you can use it when shooting with your phone. Of course, most content creators who shoot primarily on mobile are unlikely to spend almost $1,000 on a flash, however for portrait photographers who want to invest in a top-quality professional on-camera flash, it’s really very hard to beat this one. 

The Profoto A10 can be used alongside up to Profoto lights such as the Profoto B10 X Plus or on its own. It’s size and weight makes it perfect for shooting things on the move such as events and weddings or even video using the modeling bulb. 

There are two modes you can shoot in on the Profoto A10, either TTL (groups A-C) or manual (D-F). It can connect up to 20 other channels and shoot with lots of other Profoto lights. When shooting with the Profoto A10 on camera it can also be used as a trigger for up to four groups of other Profoto lights which means you wouldn't necessarily have to invest in a Profoto trigger straight away.

Build & handling

Built to last, the Profoto A10 feels very high quality with a smooth matte finish and an adjustable flash head that can swivel through 360 degrees and tilt from 180 - 45 degrees. On the back, there is a power button, a flash test button plus a wheel that is used to control the power settings.

When fitted onto your hot shoe, it can be locked in place by sliding the lock switch across to ensure that no matter what or where you’re shooting, it can't accidentally be knocked off. Even if you did forget to secure it into place however it fits very snuggly so is unlikely to just fall off anyway unless you really knock it hard on something. 

There is a range of accessories that can be used with the Profoto A10 including a range of Profoto Clic gels and grids which are perfect for capturing colorful creative shots or adding contrast to your photos. There are also several Profoto Clic light shapers that help create a particular look, they include barn doors, a snoot, an octa softbox plus a magnum reflector. While the accessories aren't cheap, they add an insane amount of versatility to the type of things you can shoot and the magnets used in the Clic accessories are very strong so they can’t easily fall off. 

At 560g with the battery, and dimensions of 7.5 (W) x 16.5 (L) x 10.8 (H) it isn’t the smallest flashgun ever but considering how powerful it is and how well it performs, it really isn’t an issue. When shooting for a long period of time, it can start to ache your wrist especially when shooting with a long lens but one of the best camera straps will help relieve the weight and give your arm a much-needed rest. 

Performance

When it comes to performance it is hard to beat the A10. It is both consistent and reliable, out of more than 200 shots, not a single image was over or under exposed and the flash didn’t misfire once. 

With a maximum power outage of 76 Watts and an energy range from 0.10 - 10, it’s able to compete against harsh midday sun or capture photos with atmospheric ambient lightning. It’s very easy to take natural looking photos with the Profoto A10 especially when using the diffusion dome or bounce card that are included. 

When shooting on full power, the A10 can take around 415 photos but this increases significantly when shooting at half or quarter power. On one full charge, I took around 650 photos at various power settings but I never used the modeling bulb. With the modeling bulb on constantly, you should expect a significant drop in the number of flashes you can get out of one charge. 

The flashes recycle time is insanely fast, so much so that when shooting at a lower power setting it almost looks like a strobe light. On the lowest power setting, it has a recycle time of just 0.05 seconds which means you will literally never miss a shot but even when shooting on full power the recycle time only increases to 1 second.

If you're someone who regularly shoots photos and videos, the Profoto A10 also includes a powerful modeling bulb that can be used as a constant light source. When used with the Clic Octabox, it gives a really nice, even spread of light which would be perfect for shooting interviews or even recording yourself vlogging.  

If you're shooting sports or action photography, the A10 also has High-Speed-Sync (HSS) compatibility which means you can shoot as fast as your camera will allow you to. 

Verdict

If money is no object (and let's be honest that is the case for very few of us) I'd say go out and invest in the Profoto A10. It's an amazing flash that delivers consistent, beautiful light and can easily keep up with you thanks to its super-fast recycling time. You might think, "oh it's only 76 Watts" but that is plenty powerful enough to compete even against bright midday sun. It's also perfect for capturing very natural looking shots and getting into small spaces that other larger flashes with more power might struggle with. 

There are a range of shooting modes and ways of controlling the light including with the Profoto triggers or via your phone or iPad. It's well made and benefits from a very simple layout that's easy to work your way around however, if you're after a similar round flashgun at a quarter of the price, the Godox V1 offers the same beautiful light fall off, admittedly the recycle time is slower but you save yourself a lot of money. 

Read More: Find the best lighting for your shoot with our guides to the best photography lighting kits, the best video lights, and the best ring light.

Has it really been six years since Profoto released the original Profoto A1 on camera flash?! Since then, the Swedish company known for making high-end studio lights has been developing a more travel-friendly range of flash heads such as the impressive Profoto A2. It's no bigger than a standard 24-70mm lens and has a power output of 100W so don't let the size of this light put you off - it's still incredibly powerful and has the same distinct, high-end finish as all Profoto lights do. 

The Profoto A2 is a small, 100 W light that is made for the traveling photographer. Packing the best of what Profoto has to offer currently, the A2 is a comfortable alternative for anyone who deems B10X or B10X Plus as too big. The biggest differences are the amount of power it delivers, size, and ability to adust modeling light temperature. 

Specifications

Output: 100W
Energy range: 10 f-stops
Energy control increments: 0.1 f-stops
Recycling time: 0.1-1.6 s
Energy stability: <0.1 f-stop @10-2.0 <0.2 f-stop @ 1.9-0.1
Flash duration t0.1: 1/350 s (100 Ws) - 1/26,000 s (0.1 Ws)
Flash duration t0.5: 1/1200 s (100 Ws) - 1/ 56,000 s (0.1 Ws)
Color temperature: 5800 K +-100 K
Beam angle: 62°
Field angle: 105°

Key Features

The number one key feature of the Profoto A2 is surely its size. It's absolutely tiny for a 100W flash and comes with a folding stand adapter so it can be easily stored away. Included in the box is a carry case with a handle but most photographers would probably opt to ditch the case for shoots and keep it in a rucksack just like you would the lenses. 

Super-fast recycle times regardless of what power setting you're using means you will never miss a shot and what's more, the color accuracy is remarkable. In total, I shot 3 different sets of photos to test the lights and out of over 300 photos there was one misfire where the photo was overexposed. 

Adding to the versatility of this light, thanks to built-in AirX technology, you can also connect to your phone via Bluetooth. With the Profoto app, you can not only control the lights settings but also make it fire when taking a photo on your phone which is great news for content creators who often shoot with their phone.

Build and handling

Like all Profoto lights, the finish of the Profoto A2 feels very high-end. It has a smooth, matte, LCD screen with a bright display, clickable nobs make it really easy to adjust settings and the button layout is incredibly simple. There is just a modeling lamp button, an on/off button and the center dial which can flick through the menu and control the power outage. 

Unlike other Profoto lights, the A2 benefits from a grippy rubber coating that enables you (or your assistant) to hand-hold the light which might be the preferred way of shooting if you're out on location in a run-and-gun-style scenario. It also comes with an adapter so you can mount it on a stand, this attaches via a 1/4-inch screw into the base and allows you to adjust the angle of the light. 

While the A series of Profoto lights in the past have generally been considered as an on-camera flash, the A2 doesn't have a hot shoe so it's definitely more of an off-camera flash.

One of my favorite things about the A2 (other than everything) is that it's compatible with Profoto's new Clic system of light-shaping tools. It has a magnetic ring on the front of the light which makes changing light shapers incredibly fast. When shooting with the Clic softbox, you don't even have to collapse it properly, you can just fold it down and leave the Clic mount attached so when you need to use it you can pop it up in seconds - no battling with speed things is a massive massive plus. 

There is a range of Clic accessories to go with it including a snoot, barn doors, an octabox plus a range of colored gels that are perfect for shooting more creative portraits.

It uses the same battery as the Profoto A1 and Profoto A1X which can be removed and charged via a charger supplied with the A2. You can't use the Profoto A2 while plugged into mains which means if you did decide to do a full days studio shoot, you would need multiple batteries. If you're looking for a hybrid light for location and studio, the B10X Plus sits more comfortably between the two but it's considerably more expensive and a lot bigger.

Performance

The first thing you'll notice about the Profoto A2 is its size - no bigger than a Coke can, this light seriously packs a punch with a maximum output of 100W and power settings ranging from 0.1 - 10. Designed with the traveling photographer in mind, Profoto has well and truly changed the game when it comes to off-camera flash creating a light that combines portability and power. 

The A2 has delivered flash at 5,800K and unlike other Profoto lights, the modeling lamp is set to a constant 3500K. The flash recycle time in the A2 isn't as impressive as say the Profoto B10X Plus but at 0.1 - 1.6 seconds it's still very good - I was on a fashion shoot using the A2 and it managed to keep up with the speed I was shooting just fine. I was only shooting single shots and I was recomposing each time but it never missed a shot and the color rendition was identical in every single photo.

It might not be as powerful as other Profoto lights but if you're shooting sport and action photography, you can still free-frame even the fastest of motions due to the flash duration (how long the flash flashes for when fired). When the flash duration (t value) is set to t.01, you can shoot at 1/350s when shooting on full power or 1/26,000 when shooting on the lowest power. If you drop the t value down to t.05, the flash durations increase to 1/1200s on full power and 1/56,000s on low power.

Verdict

If you have the budget and you want to invest in a really good off-camera flash that's easy to travel with, the Profoto A2 is hard to beat. Its tiny form factor means you can easily fit it in a camera backpack and takes up no more space than a chunky lens. Its so light you can even use it handheld and the Clic Softbox Octa even comes with one making it easy to use even when you don't have an assistant. The magnets used in the Clic system are really strong so you don't need to worry about light shapers falling off mid-shoot and the light itself feels incredibly well-built. 

I actually do think it's worth the $1000 price tag, it does everything I want a portable flash to do extremely well and can be used for anything from wedding photography to portraits or events. Yes, it's expensive but you really do get what you pay for. 

• Best softbox lighting kits

It's hard to criticize the Profoto B10X, apart from being incredibly expensive there it's very hard to find fault with it. Using flash shouldn't be complicated and Profoto's sleek, simple design makes these professional standard lights really easy to use, even if you've never shot with flash before! The build quality feels high-end and little touches such as the matte screen and clickable wheels set it apart from other flash unites. With a wide range of Profoto light shapers to choose from, the creative possibilities are endless. To be honest, the only bad thing about this light is I now want two of them but that isn't going to happen any time soon. 

Specification

Ассеѕѕоrу mоunt: Рrоfоtо ОСF
Flаѕh pоwеr rаngе: 10 f-ѕtорѕ (1.0-10)
Моdеllіng lаmр: LЕD 3250 Lumеn Мах. Оutрut
Роwеr sоurсе: Lі-Іоn bаttеrу fоr В10
Роwеr [Wѕ|Јоulеѕ]: 500
Rесусlіng tіmе: 0.05-1.3ѕ
Ѕіzе: 11 х 23.5 х 10cm
ТТL: Yеѕ
Wеіght: 1.9kg

Key features

The Profoto B10 X's main selling point (other than the fact it is an absolute joy to use) has got to be its versatility and speed. You can shoot pretty much anywhere with these lights may that be in a forest, on a beach, in a bedroom, or in a proper photography studio. 

Even when shooting on full power, the recycle time (the time it takes for the flash to be ready again) is just 1.3s which is incredibly fast and if you drop the flash power really low the flash can achieve a recycle time of 0.05s which is fast enough to keep up with most photographers (so long as they're not shooting on continuous burst mode which you usually wouldn't when shooting fashion or portraits).

Another key feature is the inclusion of Profoto's Air X technology which enables you to connect your phone to the light via Bluetooth to unleash the full power of the B10 X Plus even when shooting with a smartphone. 

When shooting with the Profoto Connect Pro remote, users can choose to shoot in TTL or manual modes. TTL is best when you need to give what's happening on the other side of the camera your full attention as the flash will adjust the power settings automatically according to your camera settings, however, manual will let you have complete control and is better when trying to achieve a very specific aesthetic. 

Build and handling

One thing that sets Profoto lights apart from other flash heads is their incredibly high-quality finish. The display on the back has just three buttons, the on/off button which doubles up as a test fire button, a dial to control the modeling bulb, and the main menu button which adjusts the flash power and can be used to scroll through the menu.

Included in the box is a stand adapter with room for an umbrella mount, a charger, and a padded carry case for easy transportation. 

There are also a huge number of light-shaping tools that can be bought separately in the OFC mount such as umbrellas in various sizes, depths, and finishes, softboxes, reflectors, barn doors, and snoots. You can also get a range of colored gels, gel holders, and grids which can be used in conjunction with any of the previously mentioned light shaping tools. 

Performance

There's nothing more satisfying than using a flash head that just gets you and can keep up with your shooting. And that is exactly what the Profoto B10X can do. As a fashion and portrait photographer, it's incredibly frustrating when a light misfires and you miss what would've been a perfect shoot but with the Profoto B10X, I shot 270 photos without a single error. 

Using just one light alongside natural light on a grey day, I set my camera to 1/250 shutter speed, f/4.5 and ISO 400. I wanted to achieve very natural-looking images using a shoot-through umbrella and half power (5.5) was more than enough light to achieve the desired results. I adjusted the flash a little depending on my position to the model using the controls on the connect pro remote which has 100 channels and six groups. 

Other than the consistency, the speed at which the Profoto B10x fires is incredibly impressive. With a recycle time of 0.05s to 1.3s dependent on what power settings you're using, it's more than capable of keeping up regardless of whether you're shooting a fashion editorial or high-speed sports. 

Starting with the battery at full charge, after an hour and a half shoot and 270 images later I still had two bars of battery showing. If you're planning on shooting a full day on the location you will need spares but that's the case with any location light. If you're after a hybrid light for both location and studio work, the B10X would suit both equally well. When shooting in a studio you can plug the batteries into the mains so you never have to worry about running out of power although it's worth noting if it gets too hot, it will affect the recycling time (not something I experienced).

When shooting with the modeling light on, the battery drains significantly quicker. When shooting at half power flash with the modeling bulb on full power, the batteries went from two bars to completely dead in under an hour and only took around 60 photos. 

Verdict

There are no two ways about it, the Profoto B10X Plus is expensive but you really do get what you pay for. Using a light that is consistent, lightning-fast, and incredibly powerful means that in any scenario you can be guaranteed to get good photos regardless of whether you're shooting high-end fashion or action sports. 

Since it's designed to be used on location and in a studio, it's perfect for someone who does a bit of both, and with a huge range of light shaping tools to use it's incredibly versatile. You can achieve beautiful soft light with larger softboxes such as the Profoto RFi Softbox Octa 150cm or if you want that harsh, high-contrast look you could opt for something like the Magnum Reflector. 

The Profoto B10X Plus comes either as a one-head or two-head kit although you will still have to buy a remote separately which is another added cost (on top of any softboxes or umbrellas you may want). Ultimately if you can afford it, you can't go wrong with these lights but unless you earn the majority of your income from using flash, it might be hard to justify the expense. 

Read More: Find out more about how to light your photos and videos with our guides to the best photography lighting kits, the best flashgun or strobe, and the best LED light panels.

If you've been waiting for a professional lighting solution for your Leica SL camera, then today is that day! For more than a century, Leica has been manufacturing outstanding precision tools to produce outstanding image quality. This commitment has now been re-emphasized by the cooperation between Leica and leading lighting specialist Profoto. 

Profoto's Connect Pro flash control is now available for the Leica SL camera system, including the Leica SL, Leica SL2 and Leica SL2-S, which provides SL shooters with fast and precise control when adjusting the balance between ambient light and flash. 

• These are the best Leica SL lenses to pair with your camera

The Profoto Connect Pro serves as a remote control and central hub between the camera and your flash units, connecting to the camera via the hot shoe, ready to be used immediately. With clear and intuitive controls, this slim flash trigger works reliably and with consistent performance under changing light conditions, where the established TTL and HSS functions can speed up the workflow.

In automatic mode, the flash output is calculated automatically and can then be adjusted with the Connect Pro. In manual mode, photographers have the ability to adjust the exposure according to their personal style, being able to achieve wonderful lighting set-ups to make subjects look their best. 

The Connect Pro, and other Leica-compatible Profoto products, will also be available in selected Leica Stores soon. This is a great relief to Leica users who are often left looking at brand-only solutions, or opting for highly professional products that might be too much for the camera enthusiast to handle. 

Thankfully Profoto offers the best of both worlds, and this new offering will surely increase the amount of Leica users making the most of their systems with flash photography.

If this article has been interesting we recommend taking a look at the best Leica cameras or taking a deep dive into the best studio lighting for your photography.

With the best photography lighting kit, you can take complete control over the lighting in your images for professional-looking results. Natural light will only get you so far, and if you are interested in serious portrait or product photography, you need to think about lighting.

A good photography lighting kit will give you everything you need in one package, usually including two light sources and accessories – however, there's a lot of cheap stuff on the market that you're best off avoiding. I've put together this handy guide to the best photographic lighting kits available right now.

I have included a diverse range of kits, covering a range of budgets, as well as all the facts and figures you need to choose between them. I'll look at flash-based kits for studio and location work, which are still my top pick for stills photography, however, if you're more interested in continuous lighting, skip down the list to find some of the best options for constant LED lighting.

The best photography lighting in 2026

Best value photography lighting kit

The Godox AD300Pro is a standout choice for photographers seeking an off-camera flash that offers exceptional performance at a budget-friendly price. It strikes the perfect balance between high-quality lighting, reliable wireless control, and affordability, making it a versatile option for various shooting environments.

In a studio, its powerful output is more than enough to light full-length portraits, and the wireless operation eliminates the hassle and potential risks of tangled cables. Outdoors, it’s equally impressive, providing ample light to combat harsh sunlight or enhance nighttime photography.

One of the flash’s key strengths is its wireless control system, which is both user-friendly and adaptable. It seamlessly manages complex setups, including multiple groups, making it ideal for those working with layered lighting. But what really sets the Godox AD300Pro apart is its affordability – it makes professional-level studio lighting accessible to photographers of all levels.

If you’re looking for a flash that performs well in both studio and outdoor settings without breaking the bank, the Godox AD300Pro should be at the top of your list.

Read more: Godox AD300Pro review

The best premium photography lighting kit

The powerful LED modeling light is perfect for both stills and video, with adjustable color temperature to suit different environments. While the recycling speeds are impressive, the battery life is somewhat limited, providing about 200 full-power flashes.

The Profoto B10X Plus is a larger and more powerful version of the standard B10X, offering 500Ws of power – double that of the original. Weighing 400g more, it still maintains portability with a battery that clips directly into the head. The addition of mains power compatibility offers flexibility for both studio and location shoots.

The kit includes the flash head, stand adaptor, battery, charger, and a padded carrying bag, with a twin head kit also available. However, the premium price tag is something to consider. Accessories such as the Profoto Air Remote TTL trigger (£349/$429) and the OCF Magnum Reflector (£189/$209) add to the overall cost, and the heads lack a sync socket.

Profoto’s build quality is top-notch. The rear-panel controls are easy to use, and the flash offers TTL, high-speed sync, and freeze modes for versatile shooting. An iPhone companion app connects via Bluetooth for additional control, adding convenience to the setup.

Despite the high cost, the B10X Plus delivers premium quality and performance, making it a strong choice for professionals seeking versatility in both studio and location work.

Read more: Profoto B10X Plus review

The best outdoors photography lighting kit

The Neewer Q6 flash is a powerful and portable outdoor studio flash that breaks from traditional bulky studio flash designs, featuring a compact, boxy form factor that makes it an excellent choice for location shoots. It delivers 600W of power and is equipped with a swappable lithium-ion battery that can provide up to 400 full-power flashes on a single charge. This high capacity ensures reliability during extended shooting sessions.

A Bowens mount ensures broad compatibility with a wide range of light modifiers from Neewer and many other manufacturers, as well as, of course, from Bowens itself. The flash can be controlled through its back panel interface, a dedicated Bluetooth app, or a compatible wireless flash trigger, such as Neewer's Q Pro.

With excellent build quality and performance at an attractive price, the flash offers outstanding value, power, and portability and is a top choice for photographers who need a versatile lighting solution for outdoor photography and events.

Read our full Neewer Q6 review

The best on and off camera flash for photography

The Godox V100 is not a complete kit – it's a single flash head that could be used as a building block in a custom kit, if you prefer to work that way. This head builds on the strong foundation of the V1 by adding some appealing new features, though it does come with a higher price tag. Whether this added cost is justified depends on your shooting style. The new USB-C battery charging is a tempting upgrade for those who already own V1 units, and the new touchscreen interface is leagues ahead of the older model.

The Godox V100 is an incredibly versatile and useful on- and off-camera flash. It is currently the best flash that can be used both atop a camera via a hotshoe or wirelessly triggered. Its consistency and power are more than sufficient for portrait, event, and wedding photography. It is also available for pretty much every camera system currently on the market.

The clip-on fill light, one of the standout additions, looks very cool, but felt more like a gimmick in practice. It didn’t suit my photography style, giving my images a look reminiscent of a disposable camera’s built-in flash, but this might be more useful to others. Another highlight – the ability to shoot 100 continuous shots at full power – is impressive but not something I would use often. However, if you shoot a lot of high-volume images, you may find it beneficial.

Read more: Godox V100 review

Best for design

If you're looking for the best studio flash, this portable off-camera model is a standout option – and it's available in a two-head kit. I’ve used many flashes, but this one is by far the most versatile. After testing it across various scenarios, I can confidently say it performed flawlessly every time. The light quality it produces is exceptional, leading to perfectly exposed images with minimal effort. What makes it even more versatile is its compatibility with Elinchrom Light Shapers, using an adapter for even more control over your lighting setup.

This flash is ideal for photographers wanting to step up from a traditional speedlight and explore the world of off-camera flash. Whether you're just starting out or looking to upgrade your gear, this tool is reliable and easy to use, making it a perfect addition to your kit.

It is a great choice for portrait, fashion, and documentary photography, simply because of the consistent quality it delivers. In short, this flash is a fantastic investment for anyone looking to elevate their studio or on-location work with reliable, high-quality lighting.

Read more: Elinchrom THREE review

Best for quick on-location setup

The Gofox AD200Pro II is an exceptional light source. Once again, this is a single light rather than a kit, so you'll need to factor in the cost of more than one – however, the good new is that Godox has made this head ridiculously affordable.

Godox has integrated numerous features into this small, lightweight, and affordable off-camera flash, making it a must-have in every photographer's toolkit. The performance and usability of this new model have significantly improved, but the standout feature is undoubtedly that aforementioned price – it's truly a fantastic deal!

Similar to its predecessor, the AD200Pro II serves as the ideal entry-level light for those venturing into off-camera flash photography, and this version makes it even simpler. Its power output is more than sufficient to act as a key light, even in settings with minimal ambient light. Additionally, the enhanced modeling lamp significantly aids in achieving focus in low-light conditions.

I primarily use it as a fill light, and in combination with my Godox AD600 Pro II, I can easily create a professional two-light setup that delivers maximum quality with minimal effort.

Read more: Godox AD200Pro II review

The best LED panel for photography

This powerful, hugely versatile yet lightweight portable LED lighting panel is a radical redesign compared with the original AEOS. It gives you 16.7 million colors of light to play with, instead of just various degrees of white. And that goes for both constant lighting and flash, the latter with a high-speed sync option. The interface is also completely overhauled, with the addition of a color touchscreen that makes it quick and easy to access a huge range of lighting options, digital filters and special effects. The original AEOS was very good; the AEOS 2 is absolutely brilliant.

The AEOS 2 certainly isn’t cheap to buy, especially when you opt for the two-head kit. However, it’s a joy to use and a top performer, making it worth the money.

Read more: Rotolight AEOS 2 review

Best continuous lighting for photography

The Molus G200 LED light is a powerful COB light that’s perfect for studio shoots, particularly for illuminating talking-head interviews or enhancing performances like dance when paired with its music mode. Its quiet fan is a great feature, keeping noise concerns at bay for sound recordists, and the Max mode provides an additional 100W of power when you need that extra boost. However, the absence of preset animated light effects does knock it down a notch.

Some might actually find the Molus G200 to be a bit too bright for their needs. But if you’re looking at light subjects from a distance, it’s worth considering, especially since it can push its 200W default output up to a maximum of 300W. It’s better suited for professional corporate and studio filmmakers, while social media content creators may find the smaller and more affordable Molus X100 a better fit.

Overall, while it’s a fantastic light with some great features, its brightness and price point make it more appropriate for professional setups. Also, be aware that it's not sold as part of a kit, so you may need to factor in the cost of more than one.

Read more: Zhiyun Molus G200 review

How to choose the best photography lighting

The best photography lighting kit for you depends on what you're planning to shoot. Are you expecting to stay in the studio, or do you anticipate loading the kit up and taking it out on location? There are lighting kits that are great for both purposes. You also want to consider whether you'll mostly be using flash for stills, and how bothered you are about having a continuous light for video.

Then there's also the question of budget. There are lighting kits and panels across the price spectrum, so it's worth considering the best you can afford. This guide includes various types of lighting, from plug-in studio lights to battery-powered lighting kits for use on location, as well as continuous LED lighting panels.

If you want something simpler and more portable, it's worth checking out our buying guide to the best flashguns. Flashguns are handy and fast in a pinch, but they do have their limits in terms of how much control you can exert over the light.

How we test photography lighting

When we test photography lighting kits, we're looking for optimal performance and consistent results. We start by assessing the kit's components, checking things like bulb wattage, reflector condition, and power output. We'll let up the lights in a controlled environment and use a light meter to measure the illumination levels at different distances and angles. We'll then experiment with various lighting setups and modifiers like softboxes or umbrellas to see how they affect the quality and direction of the light. We pay attention to color temperature, shadows and overall coverage.

Profoto has just launched a super-compact monolight that's compatible with the huge range of light shaping tools already available. The Profoto A2 is even smaller than the lens-sized Profoto B10’s which means the possibilities for creativity are now even more portable.

Some of the best photography lighting kits are made by Profoto, a professional lighting company based in Sweden known for its slick designs and easy-to-use equipment. The Profoto A2 is no different: it promises to deliver consistent flash with a short recycle time in a small, lightweight design.

Read more: Photography cheat sheet: Lighting setups for professional portraits

Whether you shoot weddings, fashion, beauty or editorial, the Profoto A2 will fit in the best camera back packs, messenger bags or even your pocket, as it’s not much bigger than the size of a can of Coke. It can be used in connection with any of the other Profoto lights including the Profoto A1X or the Profoto B10X’s using the built-in AirX connectivity. 

The recycle time of 0.1 - 1.6s is extremely fast, and its max flash is 100 watts, which may not be quite as powerful as the B10 but considering it only weighs 773g with the battery and stand adapter for its size it’s incredibly impressive. The battery charges in less than 2 hours and can manage 400 full-power flashes before needing to be recharged – perfect for when shooting on location. 

With its minimalist easy tp use easy-to-use interface, Profoto lights really set themselves apart from other products. Unlike many other brands, there are no complicated menu systems and it’s easy to adjust the power, flash mode and groups/channels. It features a removable umbrella amount and comes with a stand adapter so you can easily angle it in the right height and position. 

The Profoto A2 is now available to order from most Profoto dealers with an RRP of $995/£849. It might not be the cheapest option, but if other Profoto products are anything to go by it will certainly deliver powerful lighting options for professionals and be an easy and reliable light to use. 

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Profoto fans have a big reason to be excited as the lighting manufacturer has lifted the veil on their new B10X and B10X Plus heads. The B10 and B10 Plus have proven to be exceedingly popular products and these new successors add some significant upgrades. As with the units they replace the B10X and B10X Plus feature both strobe and continuous light functionality. This makes them ideal for content creators working both with stills photography and video - something which is becoming more common than ever before.

Looking at the specs there are some notable differences between the B10 Classic and the new duo. While the B10X retains the 250Ws flash output of the B10, the continuous light power has seen a major increase, up from 2500 lumens to 3200 lumens. This is a big deal for video creators as the extra output will allow for greater flexibility when working in lower ambient lighting conditions. With the new model at full power the ISO sensitivity on the camera can be kept at a lower setting, reducing image noise. It will also be easier to work with lenses featuring a maximum aperture of f/4 and higher. The B10X meanwhile shares this continuous output, but offers double the flash power at 500Ws.

Profoto B10X Plus specs

Max energy: 500 Ws

Energy range: 10 f-stops (1.0-10)

Recycling time: 0.05-2.2 s

Max continuous output (lumens): 3250

Max light output @ 1m (lux): 10000 lux with OCF Magnum reflector. 1100 lux without reflector

Lamp type: LED

Dimming range (%): 100-10%

Color temp (K): Adjustable 3000-6500 K (+- 500K)

Color rendering (CRI): 90-96

Wireless operating range: With Profoto remotes: 0.5 - 100 m (1.5- 330 ft)

Dimensions (W x L x H): 11 x 10 x 23.5 cm

In terms of flash recycling times the Profoto lights have always had a solid reputation for being fast, when working in the field. The B10X and B10X Plus further this tradition with new, faster recycling processes. While the B10 Classic could be fully recharged in 2 seconds at full power the B10X and B10X Plus are ready to go in 1.2 seconds and 1.5 seconds respectively. The 0.05sec min recycle time remains the same across all three models. 

“Both models also include new and useful features,” explains the Product Manager at Profoto, Goran Maren. “We’ve increased the continuous light-output from 2500 lumens to 3250 lumens. That’s a 30% increase. And both B10X’s provide faster recycling speed than their predecessors.”  

Despite the upgrades the B10X and B10X Plus retain the size and weight of their predecessors - in the case of the B10X 1.5 kg / 3.3 lbs and 1.9 kg / 4.2 lbs for the B10X Plus. Battery life is also impressive. The B10X can fire 400 full power flashes while the Plus version can manage 200 - the lower maximum being due to the higher output. 

Both lights feature adjustable colour temperature, allowing the user to match the mood of the ambient conditions. When shooting portraits at sunset, for example, the warmth of the light can be tuned to appear less cool and jarring with the low kelvin values of the sky. 

More: Profoto D2 500 Air-TTL review

Profoto B10X specs

Max energy: 250 Ws

Energy range: 10 f-stops (1.0-10)

Recycling time: 0.05-1.2s

Max continuous output (lumens): 3250

Max light output @ 1m (lux): 10000 lux with OCF Magnum reflector. 1100 lux without reflector

Lamp type: LED

Dimming range (%): 100-10%

Color temp: Adjustable 3000-6500 K (+- 500K)

Color rendering (CRI): 90-96

Wireless operating range: With Profoto remotes: 0.5 - 100 m (1.5- 330 ft)

Dimensions (W x L x H): 11 x 10 x 17.5 cm

Founded in Sweden in 1968 Profoto claims it has more than a 70% share of the worldwide lighting rental market. The range is designed to offer a balance of portability and output, bridging the gap between speedlights and studio strobes. 

The B10X will be available for $1,995 / £1,695 while the B10X Plus will retail for $2,295 / £1,995.

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In recent years, Profoto has been working hard on developing a number of features and products for camera phones. The company has described this as a matter of expanding their compatibility, as opposed to focusing on camera phones specifically. 

However, CEO Anders Hedebark has recently mentioned that Profoto does not produce lights for cameras, it produces lights for creatives. It doesn't matter what camera a creatives wishes to use, whether it's a medium format camera or a camera phone, Profoto simply wants to be compatible. 

• Read more: Best camera phone

A recent article from Lighting Rumours reports how Profoto may be developing through the lens metering (TTL) features for smartphones. Effectively, this would mean that you can use Profoto lighting equipment in automatic mode, due to the extra metering information provided to the camera phone. 

You can currently use Profoto strobes such as the B10 with your camera phone. The native sync speed is only 1/40s, which is rather slow if you're shooting outdoors. However, with the use of high speed sync, the Profoto B10 will sync all the way up to 1/25,000s, which is quite incredible. With the use of this, you can produce more dramatic looking images. 

With the addition of TTL for smartphones, this could make lighting with smartphones far more viable for a number of different kinds of photography. Having manual features is great, but there are many occasions where photographers may want to speed up the process. TTL offers that convenience and having that feature would quite simply be brilliant. 

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Profoto has launched the third incarnation of its A-series flashgun/speedlight range. Except they don't call it a flashgun or a speedlight. No, no - the A series is better than even the best flashgun, or at least that's what Profoto would like you to belive. Like the preceding A1 and A1X, the A10 stands out from the flashgun crowd mostly thanks to its 7cm round head that's designed to produce a softer light with a smoother falloff - the overall aim being to avoid the harsh, unflattering flash burst so often associated with a conventional flashgun. The round head is also compatible with a dedicated range of magnetic flash modifiers so you can further tune the light output to suit your subject and setting.

Thanks to a built-in rechargeable li-ion battery, recycling times are blisteringly fast - 0.05-1 second - and the battery is good for 450 full-power flashes per charge. Rather than giving a guide number output figure, flash power is quoted in typical studio light fashion, at 76Ws, and there's 9 stops of power adjustment. Other features include AF-assist, auto and manual zoom, high speed sync, and an LED modeling light for previewing the illumination you'll get from the main flash. Everything is controlled by a simple yet high-resolution LCD that's easy to ready from a distance.

If all this is sounding rather familiar, that's because the A10 shares much of its specs and design with the preceding A1X. The big difference here is the A10 gets Profoto's AirX Bluetooth sync feature, which enables the A10 to be used not just with conventional cameras, but also smartphones. Given the rise of 'professional' phone photography during the Covid-19 lockdown, the ability to quickly and easily pair one of the best camera phones with a compact yet high quality flash could well be a desirable feature. The system works in tandem Profoto App for iOS (an Android version is supposedly in development), and the app also allows you to individually control up to three lights over a distance up to 30 metres. The A10 can also be controlled off-camera by Profoto Air, AirTTL, and Connect flash triggers.

The A10 AirTTL is available for Canon, Nikon, Sony and Fujifilm cameras, each priced at $1,095 / £949.

Alternatively, the A10 also comes in an off-camera kit with a Profoto Connect Wireless Transmitter for $1,195 / £1,049, representing a saving of $200 / £200.

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As Profoto continues to expand its family of professional lighting products with TTL auto exposure control, what’s most surprising is that it remains the only brand offering this feature. True, the company now has patents in place to protect its technology, but the bottom line here is very much the bottom… it costs a huge amount to develop TTL control protocols and, so far, nobody else appears willing to make the considerable investment. So perhaps it’s only fair that Profoto reaps the rewards of its commitment with hot-selling products.

Both the Profoto B1 and B2 have revolutionised remote-location photography, bringing the convenience of a speedlight to professional-level lighting products… respectively, a monobloc and an ultra-compact dual-outlet power pack. Both the B1 and B2 not only offer the convenience of TTL auto exposure control, but also the flexibility of wider power output ranges… further exploited by the B2’s capacity to run two flash heads with fully asymmetric power distribution.

Now Profoto is taking its TTL technology into the studio with the next generation of D Series flash monoblocs. Of course, you can use the B1 monobloc in the studio too, but it’s exclusively battery-powered and if you have no need for a flash unit that works away from mains power, then recharging is a procedure you don’t need either. 

After the B1 arrived, we tended to forget just how revolutionary the D1’s original design was, including the fully integrated reflector (now, of course, also adopted by rival Broncolor). There are a number of conveniences to be had from this design, including faster set-up (no need to attach an add-on dish), the easier fitting of either a reflector brolly or a softbox (no need to first detach an add-on dish), and more convenient handling overall, including when packing the monobloc away. Additionally, the built-in reflector arrangement also minimises stray light and, to some extent, enhances efficiency. As before, the flash head’s diameter enables full compatibility with Profoto’s clamp-fit light shapers and they can be attached anywhere along the front barrel, thereby giving what amounts to a ‘zoom’ adjustment for the light spread. In other words, the further back on the barrel that the reflector, softbox or shaper is fitted, the narrower the light spread will be. As we noted with the D1; simple but very effective.

In sync

There are two D2 models with a maximum flash power output of either 500 or 1000 joules. Both are the same size, but at 3.4 kilos, the more powerful model weighs around 400 grams more mainly due to the extra capacitors. 

The heavy-duty GRP casing incorporates a sturdy handle which extends downwards from the rear so it doesn’t get in the way of the control panel. As on the D1, the power cable connection is set into the top of the moulding which forms the light stand mount. This also keeps the power cable well out of the way of the control panel – a common and often irritating design failing – and additionally means it drops pretty well parallel to the stand which just makes for a tidier set-up. Both the stand mount and the large knob which clamps it also look reassuringly durable.

Also as before, the sync cable socket and slave photocell are located on the unit’s base below the control panel, but this being 2016, they’re joined here by a USB port to enable firmware upgrades. Also here is the UHF digital radio receiver for Profoto’s ‘Air’ remote control system, now integrated as standard in both models. The standard Air Remote trigger is non-TTL and simply allows for remote firing of the flash, although it should be noted here that Profoto’s RF system operates at a frequency of 2.4 GHz to give a very short delay (as brief as 375 μs) and a massive range of up to 300 metres. The Air Remote TTL-C allows for TTL automatic flash exposure control via Canon’s current E-TTL II metering system, and also control over various settings, including flash power, modelling lamp operation and switching between first/second curtain sync. It can also be switched to non-TTL operation for radio triggering. The Air Remote TTL-N is compatible with Nikon’s i-TTL flash metering system, but otherwise offers the same operational features as the TTL-C model. The two dedicated controllers also have a USB connection, enabling firmware upgrades to accommodate future D-SLR models. In TTL mode, the wireless range is actually reduced to 100 metres which is still going to be sufficient for most applications. All the Air remote triggers are additional purchases.

Power and speed

Both D2 models have a ten-stop power range, adjustable in either one-tenth stop increments or in full stops. On the 1000-joules unit we tested, this power range allows the output to be wound down to just two joules and here the recycling time of 0.03 seconds allows for quick-fire shooting at up to 20 flashes per second. 

Additionally, there’s the choice of Normal or Freeze modes, the latter enabling ultra-short flash durations as brief as 1/63,000 second with the 500-joules model and 1/50,000 second with the 1000-joule version. These are obviously action-stopping speeds, but even more extend into more specialised high-speed photography applications such as perfectly frozen water splashes, bursting balloons or champagne cork pops. Not surprisingly, the D2 monoblocs are equipped with a cooling fan which is intelligently controlled to more effectively manage operating temperatures according to the type of usage. When it’s working hard it’s quite noisy, but this will only happen if you work the D2 extremely hard and, the rest of the time, the fan is actually quite quiet.

The D2 models also have Profoto’s High Speed Sync (HSS) as a standard feature which enables you to shoot with flash at shutter speeds of up to 1/8000 second. Profoto’s HSS allows for speed and power with exposure consistency… normally you can have one or the other, but not both. It’s done by generating an extremely fast series of flash pulses – as opposed to the conventional method of using the long ‘tail’ of the flash output curve – which ensures an even exposure while maintaining both speed and power. This provides a lot more flexibility when mixing flash and ambient light (for example, using wider apertures for shallow depth-of-field in bright sunny conditions)… and, of course, with full TTL exposure control.

Quick set

The D2’s control panel layout is closer to that of the B1 than the D1 which is good because it’s a much cleaner straightforward design that’s been further refined here. Again the main control is a large rotary knob which is used for a variety of operations via turning and pushing. For example, it’s rotated to change the power output while pressing it in switches between the full and one-tenth stop adjustments. It’s also used to navigate the Settings menu, where pressing it in then brings up the various submenus. 

Settings is where you select the modelling lamp mode, operating mode (i.e. Normal or Freeze), audible/visual signals, sync method (Air or slave), and assign the channel and group for remote control. The modelling lamp – a conventional QH source – can be set to maximum, proportional control or free adjustment. These settings are subsequently displayed in the D2’s high-resolution LCD display panel along with the power output which is shown in extra-large digits so you can’t actually miss them even from across the studio.

The controls are logical enough to use without resorting to a user’s manual and then allow even more efficient set-up – and subsequent adjustments – once you’ve learned how everything works. It really can’t get much more straightforward than this… and that’s even before you get to the conveniences of TTL auto exposure control… bye bye flashmeter or, for that matter, trial-and-error using the camera’s monitor screen. 

As was the case when we tested the B1, you really don’t appreciate just what a difference having TTL exposure control makes until you use it… and then you won’t want to be without it. You can fit softboxes, grids or a brolly and still not have to worry about exposure variations. With the technicalities under control you can concentrate on the all-important creative aspects of the shoot. And, in any situation, if you need to adjust the exposure, simply use the camera’s exposure compensation control. Likewise, if you don’t want your TTL exposures wandering as you change shooting angles, composition or framing, switch the Air Remote TTL controller to manual mode and the desired exposure is then effectively locked in. Alternatively, there’s an operating mode which uses the auto TTL control to establish an exposure, and then allows for manual fine-tuning so all bases are covered.

Verdict

There are probably quite a few B1s being used in studios, but it’s primarily designed for remote location work so they aren’t its natural habitat. This is where the D2 comes in, providing the same degree of convenience and flexibility (in fact, increased flexibility) for shooting in the studio or locations with mains power. 

With many photographers adopting a set of speedlights as their contemporary lighting solution, Profoto’s D2 is the more ‘grown up’ alternative in the studio – significantly more power with a much wider output range, and a far greater scope for creative control from an accessory system that now comprises over 120 light shapers of one sort or another. With a pair of D2s you can potentially achieve so much more than when using a gaggle of speedlights, with the added benefits of easier set-up and a much more efficient workflow. And here the price tags are put into perspective too… better results achieved more quickly translates into real savings over the longer term so think of buying a Profoto D2 kit as being more like making an investment than simply a purchase. 

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Remarkably, well over two years since it introduced the world’s first flash monobloc with TTL wireless flash control, Profoto is still unchallenged with this feature. It’s since introduced the B2, which further builds on the conveniences of TTL flash control, but is an even more adventurous product in terms of its design.

The B2 is based on the idea of a very compact power pack – similar to Elinchrom’s Quadra, only smaller – which has a pair of outlets for connecting small and lightweight flash heads. In fact, the B2 head is small enough to be mounted on-camera via a bracket with the power pack carried on a shoulder strap… in a similar style to the old Metz CT-series models. However, unlike the Metz units, the B2 packs a much bigger punch, but still with the convenience of TTL auto control. 

Just as the B1 repeats the distinctive styling of Profoto’s D1 monoblocs, the B2 pack looks a bit like a scaled-down D4. The battery simply clips to the base and the combined weight is just 1.6 kilograms. As the battery subsequently becomes the B2’s base, it’s completely encased in a tough rubberised material, while the control panel is also surrounded by rubberised sections to provide protection against knocks and scuffs. While the B2 isn’t fully waterproofed, there’s sufficient protection to enable it to be used in situations where spray or dust would normally be an issue. Once a head is plugged in, a twist lock secures it in place – reassuring given the some likely applications – and also prevents the intrusion of moisture. 

The power setting for each outlet is controlled independently, and the range is nine stops, adjustable in 1/10 stop increments. This means the power output can be wound all the way down from 250 joules to actually just under one joule (0.975 joules to be precise). 

In the Normal mode, this gives a flash duration of just 1/9300 second, but switch to the faster Freeze mode and it’s an even shorter 1/15,000 second. Also in Freeze mode, the recycling is rapid enough to allow continuous shooting at up to 20 fps. And, despite its compact size, the B2 pack still incorporates a proper cooling fan to deal with those rapid-fire sequences, but this only cuts in when it’s needed to avoid an unnecessary drain on the battery.

Heads up

The ultra-compact B2 flash head weighs 700 grams and incorporates an LED modelling lamp which is rated at nine watts, but such is the efficiency of this light source, this is the equivalent of a 50 watts halogen lamp. Apart from reducing the demand on battery power, the LED lamps also run a lot cooler. 

Like the B1, the B2 flash heads have Profoto’s novel built-in reflector arrangement so, for many applications, that’s as compact as they need to be. A frosted front glass acts as a protector as well as delivering a more diffused and even illumination than would normally be the case with such a small light source.

The B2 heads are also light enough to mount on things like a Gorillapod, and they can easily be tucked away in tight corners so they’re out of sight. Three-metre extension cables are available to extend the set-up options. Profoto offers an extensive system of ‘OCF’ (Off Camera Flash) accessories such as softboxes, a snoot, barndoors set and grids, so the light-shaping options are the same as any conventional studio lighting system. In keeping with the concept behind the B2, all the OCF light shapers are more compact and lightweight than Profoto’s standard accessories and, in the case of softboxes, have been redesigned to make them quicker and easier to set up.

The B2 pack’s control panel layout is also simplicity itself. The main buttons operate in conjunction with a large LCD control panel which indicates their settings (i.e. Model On/Off, Mode Normal/Freeze and Ready Beep/Dim). There’s an extra-large level indicator for the battery just so you don’t miss it… as with the B1, the B2 is exclusively battery-powered. Up to around 215 full-power flashes can be obtained from a full charge, but as the B2 is often likely to be operating at lower power settings, the reality is that you’ll probably do a lot better than this even when shooting a lot of action sequences.

Air time

There’s a choice of three low-profile, hotshoe-mounted remote triggers which are purchased separately. The first is the standard Profoto ‘Air Remote’, which is non-TTL and simply allows for remote synchronisation via the flash maker’s ‘Air’ control system which is based on UHF digital radio – operating at a frequency of 2.4 GHz – to give a very short delay (as brief as 375 μs) and a range of up to 300 metres. 

For the owners of Canon D-SLRs there’s the Air Remote TTL-C, which allows for TTL automatic flash exposure control via Canon’s current E-TTL II flash metering system, and also control over various settings, including flash power, modelling lamp operation and switching between first/second curtain sync. It can also be switched to non-TTL operation for radio triggering.

The Air Remote TTL-N makes the B2 compatible with Nikon’s i-TTL flash metering system. These two dedicated controllers have a USB connection, enabling firmware upgrades to accommodate future models of D-SLR. In TTL mode, the wireless range is reduced to 100 metres, although few users are going to find this isn’t sufficient. Importantly, you can have both the B1 and the B2 in the same wireless TTL set-up as, to quote Profoto, “everything works with everything”. Furthermore, you can assign each of the B2 heads to a separate channel, further adding to the flexibility of this system.

The conveniences of TTL auto flash control are many and addictive. If you do need to adjust the exposure, simply dial in the required amount of compensation at the camera. Similarly, if you don’t want your TTL exposures shifting as you change shooting angles, composition or framing, switch the Air Remote TTL controller to manual mode and the desired exposure is then effectively locked in. Alternatively, there’s an operating mode which uses the auto TTL control to establish an exposure and then allows for subsequent fine-tuning manually.

High Speed Sync (HSS) enables you to shoot with flash at shutter speeds of up to 1/8000 second, but again Profoto has gone a bit further so its technology allows for speed and power with exposure consistency… previously you could have one or the other, but not both. It’s done by generating an extremely fast series of flash pulses – as opposed to the conventional method of using the long ‘tail’ of the flash output curve – which ensures an even exposure while maintaining both speed and power, and it obviously opens up a whole world of new opportunities when mixing flash and ambient light (for example, using wider apertures for shallow depth-of-field in bright sunny conditions)… still all with full TTL control or with the ‘hybrid’ auto/manual control options explained in the previous paragraph.

Verdict

The B2’s compactness, power range, full asymmetry, true high speed sync and, of course, convenience derived from TTL auto flash control make for a hugely potent lighting package. While it’s primarily designed for on-location, there’s no reason why you can’t use the B2 in the studio – it integrates seamlessly with the B1 after all.

It’s become popular to promote a set of ‘speedlights’ as a compact flash lighting solution for shooting in challenging locations, but in practice this has never really proved to be satisfactory… the multi-unit set-ups are cumbersome, you have three or four or more control panels to fiddle with, and there’s a limit to what can be achieved in terms of light shaping. The Profoto B2 does the job far more effectively with the added bonuses of more power (and more controllable power), a far superior quality of light (again with more control), and much greater overall flexibility.

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The best light tents for photography

While camera phones have made photography as accessible as it's ever been, there are certain situations when a manual camera is just essential. Or, are there? Traditionally, low light has made camera phone photography difficult, as phone sensors just aren't advanced enough to handle the lack of light. However, with the introduction of the Profoto C1 and C1 Plus, this is all about to change. 

The Profoto C1 product range contains Profoto's first studio lights for camera phones. Both the Profoto C1 and C1 Plus are small, pocket-sized lights that help you create professional images with just a click.

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With a rounded shape the Profoto C1 and C1 Plus are designed to give a beautifully soft light. With inner reflectors situated under the integrated dome diffuser, the light is designed to create natural shadows for the most flattering light possible. 

If you'd like to see the Profoto C1 Plus in action, check out Instagram-famous photographer Brandon Woelfel's demonstration below. 

With the ability to change between flash and flicker-free continuous light, this light is set to prove popular with bloggers and Instagrammers who need professional results from light and compact kit.

Compatible with iPhone 7 and its successors, the Profoto C1 and C1 Plus are supported by the Profoto Camera app, which allows you to adjust color temperature, has a manual mode for full control over power and exposure, and has a point-and-shoot mode with automatic exposure and flash power based on the surrounding conditions.

Interestingly, magnetic modifying accessories for the Profoto A1 can also be used on the Profoto C1 and C1 Plus. This includes a set of color gels and a dome diffuser. 

Anders Hedebark, CEO of Profoto, says, "We recognized that there are many people out there who might not see themselves as professional photographers, but they are great image creators and dependent on professional-looking images in order to build their business and brand. People like bloggers and influencers. That is why we developed the Profoto C1 product range and the new and intuitive Profoto Camera, an app for smartphones."

While the Profoto C1 can only be used with camera phones, the Profoto C1 Plus is compatible with all Profoto AirTTL Remotes, which means that it can also be used with classic cameras as well. The C1 Plus also has a standard 1/4"-20 thread for stand mount. 

The Profoto C1 retails for £259 / $299 and the Profoto C1 Plus can be picked up for £469 / $499. 

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Photographers travelling on location are often presented with a problem - they might be working in complex lighting and therefore require a powerful flash, yet they are weight and space-restricted. 

The Profoto B10 was pitched to bridge these requirements and now the B10 Plus is poised to make life for the working flash photographer even easier. 

Despite being slightly larger in size than B10, the newest addition to the Profoto family offers double the power of that model at 500Ws, with an impressive minimum recycle duration of 0.05 seconds. This broadens the flexibility of the B10 system and should allow users to more easily prioritise what matters most to them - absolute portability or increased lighting options. 

Similarly to the B10, the Plus is cordless for maximum ease of operation, while it's physical dimensions are similar to that of an interchangeable camera lens, making it simple to pack and store the unit in a standard camera bag, alongside the rest of a location kit. At only 10cm in diameter and 23.5cm long it is significantly smaller than many traditional strobes.  

Other than offering a dramatic output advantage over a small speedlight flash (around ten times greater), the B10 Plus provides access to a continuous light source. It features temperature-controllable continuous illumination, with a maximum output of 2500 lumens - perfect for both location stills and video work, adding to its versatility.  

As well as being bright and small, the B10 Plus has an ideal battery life, enabling up to 200 flashes at the maximum setting or 1 hour and 15 minutes of uninterrupted continuous output. The battery can be fully recharged in around 90 minutes. 

The B10 Plus is as truly modern flash, featuring the full range of expected connectivity options. It can be triggered remotely using the Profoto A1 or A1X as a commander or by using the dedicated Profoto Air Remote, which is available in variants to fit cameras from all of the main brands. 

Smart connectivity allows settings to be controlled remotely, using the Profoto smartphone application.

The Profoto B10 Plus is available now priced £1795 / $2095 for a single head. Twin-head kits are also available.

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Profoto A1X bridges the gap between on-camera and pro flash systems

Usually there’s quite a jump between the kind of battery-powered flashguns you can attach to your camera and bigger and more expensive professional flash systems. The original Profoto A1 bridged that gap very well, and the new Profoto A1X improves on it in a host of ways.

It’s part of Profoto’s process of ongoing development, so that although the A1X looks very much like the original A1, it’s been improved in a number of ways.

Battery life is one of them. The A1X now offers up to 450 full-power flashes on a single charge from its rechargeable lithium-ion battery. It also offers very fast 1-second recycle times – the time taken to ‘recharge’ the flash ready for the next flash. The new model also comes in a version for Sony users, not just Canon and Nikon. In all, Profoto says the A1X incorporates more than 30 updates. It may not have the power of the best lighting kits for studio use, but it's small enough to fit in a camera bag and light enough to handle quickly and easily on location.

The Profoto A1X is more expensive even than the best flashguns from regular camera and accessory makers, but what you’re getting is high performance, compatibility with Profoto’s highly regarded Air Remote wireless control system and neat touches which will appeal to portrait photographers and other professionals.

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Profoto A1X features

Unlike regular flashguns, the Profoto A1X has a large, circular flash head designed to offer softer and more even illumination with gentler light fall-off. You may not need to use any kind of flash modifier to soften the light, but if you do there is a magnetic click-on mount system for attaching one of size different light-shaping tools – and they can be used both individually and in combination.

With flash, it’s not always easy to predict the lighting effect and you won’t always have time to shoot, inspect the result and try again. Like a few other high-end flashguns, the Profoto A1X also incorporates a modelling light to simulate and preview the flash effect before you shoot, and this can be especially useful if you’re using the flash off-camera. The modelling light doesn't have the power of the best LED light panels, but it's designed simply for visualising the effect rather than making an exposure.

Off-camera control is handled wirelessly using Profoto’s own Air Remote radio control system. This now features 20-channel communication to reduce the likelihood of conflicts with other photographers nearby, and the system also supports HSS and AirTTL. 

With HSS (high speed sync) you can shoot at shutter speeds higher than the camera’s normal maximum flash synchronisation speed, and AirTTL allows simple point and shoot automatic flash exposures – though you can also swap to manual mode for setting the flash power level manually.

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Photographers who shoot on location need lighting that’s small enough to keep their kit spry and nimble, but powerful enough to get the job done in all manner of circumstances. And Profoto has stepped up to the plate with its latest cordless lighting unit, the Profoto B10. 

Designed with the mantra “the power of small”, it’s as portable as a speedlight but produces five times the power. It’s got enough muscle for the studio, yet only needs as much room in your bag as a medium-sized zoom lens. And it’s a formidable flash unit that also delivers quality continuous light that’s ideal for stills and video. 

For existing users of the Profoto system, the B10 is a welcome addition to the family. Weighing half as much as the heavy duty B1 units, but possessing the same power output as the B2s, it’s a perfect complement to an existing setup, giving Profoto users additional freedom of movement and flexibility of shooting.  

It’s also a perfect standalone unit for roaming photographers, even those new to lighting and flash. Its versatility makes the Profoto B10 feel like a lighting Swiss Army knife; it can be plugged in to use it as a studio light, then disconnected to go wire-free on location. And it can switch from fully controllable flash to customisable continuous light, enabling hybrid shooters to get beautifully balanced blog and video lighting.

Small but mighty

None of this versatility comes at the expense of performance, however. Despite its discreet form – measuring just 175 x 150 x 110mm and weighting 1.5kg with battery and stand adapter – the Profoto B10 delivers 250 watts of flash power along with 2,500 lumens of continuous lighting. 

A single battery charge can produce up to 400 full-power flashes and 75 minutes of maximum continuous light. Recharging the battery only takes an hour and a half, but you don’t have to wait until you’re out of juice – Profoto has listened to customer feedback and designed a new battery that enables the B10 to charge while you’re using it. 

The fear with portable flash is always that the light won’t meet the same standard as dedicated studio lighting. The B10, however, lives up to the Profoto standard and delivers the quality of light you would expect from the company, with natural fall-off and silky soft delineation. 

As a continuous light, a dedicated dial enables you to control brightness as well as colour temperature. Rated at 90-96 CRI and adjustable from 3,000 to 6,500 kelvin, it seamlessly blends with ambient light, making it perfect for photography, cinematography and vlogging no matter the location.

This kind of shooting flexibility is exactly what the Profoto B10 is tailored for. The stand mount, for example, can be quickly removed, enabling the unit to mount on any camera tripod with a standard quarter-inch thread. The B10 is also fully compatible with Profoto’s 120-strong range of Light Shaping Tools and softboxes, in addition to a dozen portable OCF shapers designed specifically for on-location photography.

Take control 

It’s not just shooting and creative freedom; the B10 also offers freedom of control. Fully integrated with the Profoto Air system, the B10 can be triggered wirelessly from the A1 and any of the AirTTL triggers from up to 1,000 feet. 

Profoto has gone the extra mile to deliver smart connectivity, too, via its new smartphone app (currently Apple-only, but with an Android version on the way) that’s free to download. Paired with up to three B10s at once, every setting can be controlled from your phone via the same simple interface featured on the back of the unit itself. 

The new app also gives a glimpse into the future of smartphone shooting, enabling you to take fully illuminated shots with your phone – ideal for perfectly lit Instagram posts and behind-the-scenes shots. Best of all, the Profoto app ushers in an era of wire-free firmware, enabling you to keep your lights up-to-date with the latest updates without having to trail cables across your workspace or connecting to a computer.

The Profoto B10 is available for pre-order at a price of £1,410 for a single unit and £2,820 for a Duo Kit with a Profoto Core Backpack S. For more information, visit Profoto's site. The free Profoto app can be downloaded from the iOS App Store today.  

You can also follow Profoto on Facebook, Twitter, Instagram and YouTube for the company’s latest news, videos and updates. 

After a week of online teasing, Profoto has finally unveiled its latest portable lighting unit, the B10.

Weighing less than half of a B1, the new 250-watt head sits adjacent to the B2 in the Profoto family tree. 

Where the B10 monobloc has the same power as the B2 back and head system, however, it boasts a newly designed battery that enables you to power the unit while it is charging – a much-requested feature from B2 users. 

This means that if you’re working in a studio, you can plug the B10 into the mains power and it will trickle charge while you’re shooting. The new charger has a handy velcro attachment that can strap to a lighting stand while you charge the head. 

A full recharge takes an hour, and the battery will deliver 250 full-power flashes.

Profoto has also designed a removable stand adaptor for the B10, with a standard quarter-inch thread, enabling users to screw it onto a monopod and is it on a boom. The adapter also doubles as a handy trigger grip, and is an immensely useful addition.

The head has a 96% CRI (colour rendering index) LED and it has the ability to change the colour balance from tungsten to daylight (though there is no colour temperature readout) – two key features that make it ideally suited to video shooters. 

It is fully integrated with the Profoto Air system, so it can be fired from the A1 and any of the AirTTL triggers, and it will work seamlessly in TTL and HSS with the B1, B2, D2 and Pro-10. 

Pricing and availability

The B10 is available now from  Profoto  in either a one-head kit for £1380 or two-head kit for £2,760. The single head is presented in a form fitting clamshell case, while the twin kit comes with a usefully designed backpack that has room for a 15-inch laptop, two B10s, two smaller bodies (think Sony A7 size) and two lenses. 

Profoto smartphone app 

In addition to the B10, Profoto has also launched a new (and free) app. Currently available for iOS devices, with an Android version due to follow, the app will become a key part of the whole Profoto system going forward. 

Obviously its primary purpose is to control the light (power, continuous light power, colour balance), and up to three can be connected at once. The Bluetooth connection is remarkably lag-free, and makes the familiar “iPod Geiger counter” clicks as you dial your settings up or down. 

You can also capture a photo direct from the app using the B10’s LED to illuminate your image, which should be useful for behind-the-scenes shots or Instagram posts. 

Perhaps the most important function of the app, though, will be to deliver wire-free firmware updates. When you install or open the app, you’ll be notified that there’s a firmware update and you simply tap the button to get it; no more cables, and no more wrestling with new camera firmware interfering with your flash. 

It also has a “how to” section that links to the Profoto Academy website, as well as a support section for product issues. We can see how the app will become a well integrated part of Profoto products going forward. Other manufacturers, take note!

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