Download Issue 112783

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THE PROFOTO ADVANTAGE:

for PortraitPhotographers

Lighting Ingredients / David BichoChallenge: Profoto D1 vs. Speedlights

Getting the Shot / Dixie Dixon

Composite Like A Superhero / Andrew McGibbon

Anatomy of a Portrait / Tony Corbell


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02 LIGHTING INGREDIENTSWITH DAVID BICHO

14 CHALLENGE:PROFOTO D1 VS. SPEEDLIGHTS

30 PROFOTO D1

46 BATPAC

48 GETTING THE SHOTWITH DIXIE DIXON

56 ACUTEB2 AIRS

60 HOW TO CREATE A SUPERHERO-ESQUEMOVIE POSTER IN LESS THAN TWO

HOURS WITH ANDREW MCGIBBON

66 AIR REMOTE

68 ANATOMY OF A PORTRAITWITH TONY CORBELL

74 LIGHT SHAPING TOOLS

SOFTLIGHT REFLECTORS 74

PROFOTO UMBRELLA XL 80

PROFOTO GIANTS 84

PROFOTO UMBRELLAS 88

PROFOTO RFI SOFTBOXES 90

REFLECTORS 100

SPECIAL APPLICATIONS LIGHT

SHAPING TOOLS 108


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110 RFI SOFTBOX TIPS AND TRICKS

CHOOSING THE RIGHT SIZE OF

SOFTBOX FOR THE RIGHT JOB 112

BUILDING YOUR SET, SOFTBOX

BY SOFTBOX 114

USING SOFTBOXES TO CREATE

A PERFECTLY EVEN, WHITE

BACKGROUND 116

CREATING HARD LIGHT WITHA SOFTBOX 118

CREATING LONG AND EVEN

HIGHLIGHTS WITH SOFTBOXES 120

CREATING A GIANT RING LIGHT

WITH SOFTBOXES 122

124 READ MORE AND JOINTHE CONVERSATION

Cont

ents


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2

LightingIngredients

with David BichoSwedish photographer and lighting guru

David Bicho is a man of many ideas. One

of his recent ideas was to shoot a model

covered in food ingredients oil, salt, flour,

cocoa and licorice, to name just a few.

Why, you might ask?

It wasnt about the food, says David. The

real reason was that I wanted to shoot one

face but with different textures. Ive always

been fascinated with how different a face

can look depending on how you light it, and I

wanted to explore this phenomenon further by

experimenting with different facial textures.

As with most experiments, David did not know

exactly what to expect. For instance, he soon

learned that oil and salt do not mix very well.

Instead, what was supposed to become a

beautiful, crystal texture ended up looking like

a skin disease. Ingredients such as flour, cocoa

and licorice, on the other hand, turned out even

better than he had hoped for.

Obviously applying flour, cocoa or licorice

creates very different textures. Still, if we

look at the portraits David shot, he evidently

managed to maintain a consistent look and fee

throughout the entire series.

So how did he do that? The short answer is:

with lighting...


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LICORICE SHOT

When you cover a face in licorice, it

gets shiny. Very shiny. And very shiny

surfaces are very reflective. This

deceptively simple fact was the starting-point for

Davids licorice lighting setup.

I wanted a large light source for the licorice shot,

says David. A large light source equals large and

beautiful reflections that accentuate the shape of

the face. For this reason, I choose to work with a

D1 monolight and a Profoto Giant 240 Reflector as

main light. The Giant Reflector, which is something

of a favorite of mine, is standing camera left, quite

close to the model.

I then had a second D1, equipped with a Softbox

1x6 RFi, standing camera right behind the model.

The softbox was equipped with a blue color gel to

create blue reflections and to enhance the green

glitter the make-up artist had applied.

Finally, I had a third D1, equipped with a 10 Gridand blue color gel, as background light. Thats

the light that is visible on the left hand side of the

background, behind the models face.

In addition to the monolights, I had a large foam

core board lying on a table in front of the model.

LICORICE SHOT DAVID BICHO


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6

The foam core board was used to lighten up

the shadows around the models chin, forehead

and nose.

Finally, the black flags were also crucial. The

shiny licorice reflected every single light source in

the studio, so it was just as important to flag off

light as it was to add light. I believe I had eightflags in total: three on each side of the shooting

area, and another two right behind the model. You

can actually see one flag in the image. You see

that large black area on the right hand side of the

background? Thats a flag.

THE ACCIDENTAL LICORICE SHOT

As mentioned above, some things went as plannedand some did not. Besides that, there were a

couple of occasions when things happened almost

by accident.

The second licorice shot wasnt planned, says

David, It just happened. The make-up artist

had just started to apply the licorice, when I

realized how cool it looked and that I had to shootit. So I just tweaked the setup and pushed the

release button.

Because of this, the set up was quite similar to

the other licorice shot. I had a D1 with a Giant

Reflector as main light. You can see it reflecting

in her eyes. Speaking of which, this image is also

a great example of the amazing skin textures youget with the Giant Reflector. That kind of broad

highlight detail that you can see all the way from

her forehead down to her eyes and further down

to her lips only the Giant Reflector can do that

Again, the background was lit with a D1 with

10 Grid. But I didnt use any color gel this time

Neither did I use any fill light. Another importantdifference is, of course, that we added certain

elements during postproduction. The gold make

up, the hair and the pigtail, all that was added in

Photoshop by my talented assistant Maria.

a. Profoto Giant 240 Reflector

b. Softbox 1x6' RFi

c. 10 Grid.

c

THE ACCIDENTAL LICORICE SHOT DAVID BICH

a

b


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COCOA SHOT

When David and his crew had finished the licoriceshot, it was time for the cocoa shoot. Well, before

that they actually had to spend quite some time

getting the licorice out of the models hair, but that

is of less importance to this article.

The first cocoa shot we did was the one where the

model is looking straight into the camera, says

David. The main light is a D1 monolight, equipped

with a Softbox 3x4 RFi. Whats interesting here is

the position of the softbox. Its positioned right in

front of the models forehead, almost horizontally

but slightly tilted towards the camera. In other

words, she is sticking the front of her face into

the light. Thats why its so dark around her

face and under her eyebrows and under her lip.

Having the softbox so close and at this angle to

the model means that you get a light that you

might not associate with a softbox. Its a common

misconception that softboxes can only do soft and

flat light. But as you see, having the softbox turned

away makes it a vertically narrow light source.

COCOA SHOT DAVID BICHO


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STAY CONNECTED! FIND A DEALERPROFOTO.COM

PROFILE COCOA SHOT DAVID BICHO

LIGHTING INGREDIENTS WITH DAVID BICHO

Hence, the sharper vertical shadows, mixed with

the short depth of light due to the close placement.

I believe this brought out some strikingly beautiful

textures in her face!

By the way, the fact that the softbox was slightly

tilted toward the camera meant that I had to put

a black flag right above the camera to prevent theight from hitting the lens, adds David.

The catch light in the models eyes is also worth

mentioning. The upper reflection is, of course, the

Softbox RFi 3x4'. The lower reflections, the white

stripes, are created by the same piece of foam core

board that I had in the licorice shot, but in this case

Id attached several pieces of black gaffer tape tocreate the white stripes. The table with the foam

core board was also positioned much further away

from the model than in the licorice shot. This was

necessary to prevent the light from the softbox

bouncing on the foam core and unintentionally

ightening up the shadows in her face.

The second cocoa shot, the profile portrait, wasshot in almost exactly the same way. The only

difference is that I added a second D1 equipped

with a 10 Grid as background light. You can see

t around her neck and under her chin.

a. Zoom Reflector

b. Softgrid for 1x4' Softbox

c. White foam core board with black gaffer tape

a

b

c


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FLOUR SHOT DAVID BICHO

LIGHTING INGREDIENTS WITH DAVID BICHO

As was the case for the second licorice shot, the

flour shot happened almost by accident. The

make-up artist had just started to apply the flour

by throwing it onto the models face, and David,

who was standing right beside with the camera in

his hands, thought: rather than just standing here,

why not take some pictures?

The flour shot just happened, says David. I

barely changed the setup Id used for the cocoa

shot. The only difference is that I removed the

black flag above the camera. That is why there

s light leaking into the image in the lower right

corner of the image.

During the flour shoot, I also experimented withblending the flour with cocoa and water. I then

used Photoshop to turn the coca red. So the

portrait that looks as if the model is bathing in

wine, thats actually flour, cocoa and water.

To be honest, Im not very happy with either of the

flour shoots, laughs David. But I still think that

its nice to show them. If nothing else for the fact

that they remind me of the importance of simply

going with the flow from time to time.

David Bicho is a photographer from Stockholm,

Sweden. He shoots pretty much everything editorial, fashion, lifestyle, portraits and

advertisements, you name it. You can see more

of his stunning work at www.bicho.se

FLOUR SHOT


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14

The word photography comes from Greek and

translates as drawing with light. This means

that even the very first photographers understood

the essence of photography, and the description is

as true today as it was then.

But some things are different nowadays. The

evolution of controllable light sources has changed

the game. What were once dangerous powders

and expendable, single-use bulbs are now safe

and sophisticated lighting solutions. From the

ubiquitous speedlights to more powerful and

flexible monolights such as the Profoto D1, the

range of choices is greater than ever before.

Savvy photographers choose the right tool fo

the job. Some assignments can be done with a

quick fill flash from a speedlight. Others require a

more flexible, consistent solution and precise light

shaping. Finding the right solution that is you

job. What we do is provide you with options to help

you realize your creative goals.

Profoto offers the widest selection of Light Shaping

Tools on the market. Each tool is unique and

designed to create a specific light. Nearly all tools

CHOOSING THE RI

b

Challenge: Profoto


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use our patented clamp mechanism, which makes

them very easy to mount. This also allows you to

adjust the light spread by simply sliding the tool

back or forth.

When your job is on the line and you are looking

to grow your business, are you making the right

decisions about what tools to use? Lets explore

a few scenarios where we believe Profotos D1

monolights and Light Shaping Tools are a better

choice than a speedlight.

|LIGHT SHAPING |

There are times when a speedlight will do the job.

However, their light spread is boxy and rectangular,

and they are mainly designed to throw direct light

forward, or perhaps bounce it. There are some

third-party accessories to modify the flash, but

these do not have a parabolic shape that maximizesthe output. Also, they are not available in such

arge varieties as Profotos Light Shaping Tools.

Here are some of our most essential:

TOOL FOR THE JOB

l

D1 vs. Speedlights


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16

10 WideZoom Grid10 06 36

Magnum Reflector10 06 24

Wide Zoom Reflector10 07 11

TeleZoom Reflector10 07 12

Disc Reflector10 06 54

D1 Spillkill Reflector10 07 94

Grid Reflector10 07 05

7 Grids5 10 06 3510 10 06 34

LIGHT

SHAPING

TOOLS

Grid and Filter Holder90 06 49

Barn Doors10 06 71

Snoot10 06 51

5, 10, 20 Grids10 06 46, 10 06 05, 10 06 06

10 Grid10 06 18

Pro Tube10 06 70

Barn Doors10 07 15

Softbox Square

Softbox RFi 2x2' (60x60 cm) 25 47 06Softbox RFi 3x3' (90x90 cm) 25 47 07

Softgrids, masks and diffusersavailable for softboxes.

Softbox Octa

Softbox RFi 3' Octa (90 cm) 25 Softbox RFi 5' Octa (150 cm) 25

Zoom Reflector10 07 85

Standard Zoom Reflector10 06 10

Softbox Rectangular

Softbox RFi 1x1.3' (30x40 cm) 25 47 01Softbox RFi 1.3x2' (40x60cm) 25 47 02Softbox RFi 2x3' (60x90 cm) 25 47 03Softbox RFi 3x4' (90x120 cm) 25 47 04Softbox RFi 4x6' (120x180 cm) 25 47 05

Softbox StripLights

Softbox RFi 1x3' (30x90 cm) 25 47 08Softbox RFi 1x4' (30x120 cm) 25 47 09Softbox RFi 1x6' (30x180 cm) 25 47 10

PROFOTO BATPACBatPac 230V / 120V

901124

|D1 LIGHT SHAPING TOOLS SYSTEM CHART |

PROFOTO D1 VS. SPEEDLIGHTS


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Honeycomb Grid for D1

5 10 07 9510 10 07 9620 10 07 97

ProGlobe10 06 73

Softlight Reflector White10 06 08

Softlight Reflector Silver10 06 07

Grid for Softlight Reflectors10 06 09

Glass Disc10 07 04

Barn Doors for FresnelSpot10 07 58

Translucent UmbrellaS 10 06 13M 10 06 14

Silver UmbrellaS 10 06 15M 10 06 16L 10 07 20

PROFOTO AIR WIRELESS SYSTEM

Air Sync90 10 32

Air Remote90 10 31

Air USB90 10 34

Fresnel Small10 07 89

Spot Small10 07 90

ProFresnel Spot10 07 06

White UmbrellaS 10 06 11M 10 06 12L 10 07 19

Umbrella XLUmbrella XL White 10 03 26Umbrella XL Silver 10 03 27

Umbrella XL Translucent 10 03 28


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18

Softlight Reflector White/Silver

Photographers often refer to our Softlight Reflector as the Beauty

Dish. The reason for this nickname is simple. The Softlight Reflector

offers the perfect combination of even illumination and well-defined

light direction, which creates a pristine, classic portrait look. The

white version is gentle and flattering. It is often used for female

portraiture, and it will save you a lot of retouching since it fills in

undesired wrinkles. The silver version is punchy and crisp great

for rugged features and bold portraits. The optional 10 Grid allowsfor even more precise light shaping. Also, due to its smaller size,

the Softlight Reflector is better than softboxes in windy conditions.



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20

Softbox

When you want to flatter your subject or cover a larger area,

the softbox is your tool of choice. The softbox creates a soft yet

distinctive light that bounces off available surfaces and fills in the

details nicely. It can be used for main light or fill light. All Profoto

softboxes are built to last, using high-grade fabrics, industrial

stitching and age-resistant diffusion materials. They are also easy

to use, mount and dismount.

Optional, additional diffuser, soft grids and masks let you customize

the look at any time.



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22

Profoto Giants

The Giant is our foldable studio light. Instead of having a very soft,

diffused light such as a softbox (which scatters the light), the Giant

turns a small light source into a very large, directional light. The

results are flattering shadows and glimmering, spectacular highlights

in your subjects eyes all in a portable package. The Giants are

available in 4 sizes with either silver or white interior surfaces.



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24

Spot Small

This is one of Profotos more specialized Light Shaping Tools. The

Spot Small is a compact, portable spotlight for punching in a direct

light with crisp, clean shadows. The results are bold, dramatic

portraits sometimes with a silver screen feel.



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| POWER |

When you want to balance or overpower direct sunlight, you need

power. Lots of it.

We took two speedlights and directed them into an umbrella, set

them to full, manual power, and were thereby able to get a setting

of f/6.3 at ISO 100 and 1/15 sec.

Two speed lights at full power.



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When we directed a single D1 monolight (powered by the Profoto

BatPac) into the same umbrella, we could dial it down from

maximum power by 3 1/2 stops to get the same output as two

speedlights at full power. Note that with the greater intensity of light,

the background exposure can be set to a complimentary, balanced

exposure.

As you probably know, having multiple speedlights with external

batteries can become quite costly and bulky. You also miss out on the

comprehensive Light Shaping Tool system, and ubiquitous availability

as a rental worldwide.

Profoto D1 500 at 3 1/2 stops less than full power.


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| SPEED |

You can spend lots of time researching how to optimize your

recycle time with speedlights at high-power settings. But no

matter which external battery pack you choose, you will still have

limitations. For example, some of them can overcharge your flash

and shorten its life span. Also, the hotter the flash gets, the

slower the recycling time. In fact, many speedlights overheat and

shut down for at least five minutes when used at full power for

extended periods of time. Speedlights are simply not designed for

high-power, high-speed shooting.

Speedlights: maximum 20 frames in one minute with external battery pack.



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If you want to produce high-quality images at this rate, you will need

a powerful and reliable monolight. The Profoto D1 500 recycles at

full power in 0.95 seconds. That is nearly three times faster than a

speedlight with an external battery pack.

Do not take our word for it. Above left you can see 20 frames from

a speedlight with a battery pack shooting at one frame every threeseconds. Above right is a D1 shooting at the same power output as

the speedlight at just under one frame per second. Imagine how

much better your rapport with the subject will be if your flash was

always ready?

Profoto D1 500: max 60 frames in one minute (at equivalent light output).


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For more than 40 years, Profoto has

been the leader in lighting solutions

for portrait photography. Their

consistency, reliability, durability

and quality of light have made them

the standard worldwide.

The line of Profoto D1 monolightsmaintain that same philosophy

with the quality and features

important for todays

digital portrait and wedding

photographer. Controls are

easy to use, freeing your

mind, eyes and hands, so you

can focus on the image yourecreating.

Available in 250, 500 or 1000 watt-second

versions, they offer an extensive power range

from full to 1/64th in increments of 1/10th of

f-stop intervals with the most consistent color

temperature and light output available. Dial in high

light output to overpower the sun at the beachand low power setting when you want the lens

wide open.

Despite their small, lightweight design, D1 units

also offer ultra-fast recycling times and short

flash duration. The unique built-in reflector gives

you full control and minimizes stray light while

also protecting the flash tube and modeling light

during travel. Its designed for use with

the entire range of Profoto Light

Shaping Tools.

The fan-cooled units are

offered with a white light

slave for triggering, while

models designated Air

also offer a built-in radio

receiver for use with the

Profoto Air system. Thisprovides full control of power,

modeling light and triggering up

to 300 m (1000 ft) away, making on-the-

fly adjustments simple from your camera or

computer.

The unit can be used with any worldwide voltage,

from 90-130 and 200-240 volts without havingto change the modeling lightso take those

international gigs. Youre ready to light anywhere!

30

Profoto D1


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SUPER PERFORMANCE IN A

SMALL PACKAGE

Youre in control with the D1 Air. Convenience and digital precision

in a handy format.

Compact and lightweight.

Built-in reflector gives you full control, minimizes stray light and

maximizes the light output. It is designed for use with softboxes,

umbrellas and for use with or without additional reflectors.Optional grids and clear glass plates give you further control.

The frosted glass plate and built-in reflector protects the flash

tube and modelling lamp which makes the D1 easy to transport.

Choose from the vast variety of Light Shaping Tools available.

Uncomplicated handling of all accessories. For example, softboxes

can be rotated 360 degree in both directions.

The 7 f-stop power range gives all the power the demanding

photographer needs for creative freedom, including the ability to

shoot with high speed and wide open lenses. Power is controlled

in 1/10 f-stop precise and repeatable increments.

The unique Zoom function allows you to freely move the Light

Shaping Tools back and forth on the D1. This increases the

versatility of each tool even further.

Built-in microprocessors ensure the output consistency 0.05

f-stop and 30 K flash to flash.

PROFOTO D1


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Short recycling times to keep up with the active objects, so you

never have to wait for the flash.

Short flash duration to stop action.

Multivoltage. Plug in anywhere in the world and no need to change

modeling lamp.

Profoto Air system built-in, for remote control and triggering

from up to 300 m (1000 ft).

Trigger the flash via Profoto Air system, sync cable, or IR slave.

Connect to your PC or Mac with Profoto Studio software.

Optional BatPac for on-location use.

Can be used with petrol electric generators rated 800 W

continuous load.

Adaptive thermal control ensures overheating preventions and

allows you to get maximum output from the flash. 1500 flashes

per hour at full energy.

Built-in 300W modelling light.

Built-in fan for longer shooting sessions and maximum

performance.


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34

13

2

4

5

6

78

9

12

11

10

13

14

15

16

17

18

19

20


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1. Easy-to-use, accessible controls and

displays on the back. Direct digital control

for precise images, its far more than just a

digital display.

2. Setting knob.

3. Display for energy and other functions.

4. Slave mode selector, set to Radio or IR.

5. Ready signals; Off or Beep and/or Dim.

6. Modelling light selector. Off, Proportionally

or Free.

7. Modelling light Free setting.

8. Channel and group settings for

Profoto Air system.

9. Test button.

10. On button.

11. Umbrella tube/mount.

12. Built-in reflector.

13. The optional glass cover will give you more

light spread.

14. The unique mounting of the Light Shaping

Tools gives the versatile zoom function.

15. Locking knob, well balanced and strong to

hold large and heavy accessories.

16. Quick and easy to mount, with Profoto

Stand adapter.

17. Mains Socket.

18. Ergonomic handle lets you redirect the light

in an instant.

19. Synchro interfaces. Sync socket, antenna

and IR lens.

20. Built-in radio for remote control

or triggering.


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36

D1 Air

D1 Air 250

901022

D1 Air 1000

901025

D1 Air 500

901024


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SEE VIDEO AT:

http://www.youtube.com/watch?v=BAuLWb26yKs

I think theres an advantage in using the

same strobes in the studio, like the D1, that

I would out on location. To me, its all about

the quality of light that I'm going to get,

the dependability of the equipment that I'm

going to use, and the predictability. That's

one of the things I like about the D1 system

is that I know exactly what Im going to get

whether I am working in the studio or out

on location. BAMBI CANTRELL


Bambi Cantrell:

Overpowering the Sun with Profoto D1


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D1 250

901021

D1 500

901023

38

D1


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1-Light Portraiture:

Tony Corbell & Profoto D1







SEE VIDEO AT:

http://www.youtube.com/watch?v=CDbRaBXsXco

SEE VIDEO AT:

http://www.youtube.com/watch?v=LAtzrKOpHhc

SEE VIDEO AT:

http://www.youtube.com/watch?v=fUnVY4jUwS8

SEE VIDEO AT:

http://www.youtube.com/watch?v=gjgrHoYyHr8


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The D1 monolights are available in kits to save time and

money, especially beneficial to photographers just

starting out. Choose from 250, 500 or 1000 watt-secondkits with or without Air Remote technology for remote

radio sync and control. Kits include 2 D1 units, 2 small umbrellas,

2 light stands, case and either Air Remote or sync cord.

Air Remote Sync Cable

40

D1 Studio Kits


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D1 AIR WITH AIR REMOTE

D1 Studio Kit 250/250 Air901051

D1 Studio Kit 250/500 Air incl. Air Remote901059

D1 Studio Kit 500/500 Air901053

D1 Studio Kit 500/1000 Air incl. Air Remote901074

D1 Studio Kit 1000/1000 Air

901054

D1 AIR WITH SYNC CABLE

D1 Studio Kit 250/250 Air w/o Air Remote901055




D1 Studio Kit 1000/1000 Air

w/o Air Remote901057

D1 WITH SYNC CABLE

D1 Studio Kit 250/500901058

D1 Studio Kit 250/250901050

D1 Studio Kit 500/500901052

D1 BASIC KITSKit Contains: 2 D1 Monolights, 1 Basic Kit Bag,

Power cables

D1 Basic Kit 250/250901060

D1 Basic Kit 250/250 Air901061

D1 Basic Kit 500/500901062

D1 Basic Kit 500/500 Air901063

D1 Basic Kit 1000/1000 Air901064



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The 3 head version of our D1 Studio Kits comes with two RFi

softboxes and a 10 grid so you can bring professional lightingon location, anywhere you need to be. Choose from 250, 500 or

1000 watt-second kits with or without Air Remote technology

for remote radio sync and control. Kits include 3 D1 units, Air

Remote, one Softbox RFi 3x2', one Softbox RFi 2x3', two Speedring

Adapters, one D1 Grid 10, three Kit Stands, and three Power

Cables. All equipment comes in a high quality trolley bag.

D1 Studios Kit 3 Heads 250/500/500 Air901086



42

3-Head D1 Studio Kits


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Out of the box, the Profoto D1 is ready to shoot, but by adding

accessories you can increase your versatility and broaden your

light shaping abilities for more creative lighting effects and more

efficient setups.

D1 Umbrella White Small100787

Need to travel light, but still

want soft, beautiful light? The

white umbrella collapses to

be smaller than a light stand,

yet opens to be a large, soft

light source. Its specifically

designed around the internal

reflector on the Profoto D1

system, optimizing the center

of light for perfectly even

illumination reflecting from

the white interior, while the

black outer material prevents

any stray light from passing

through. This increases the

control you have, putting light

only where you need it.

SpillKill Reflector100794

Limits stray light from spilling

over edges of your umbrella.

Integrated clips for heat resis-

tant filters and gels make this

accessory even more valuable.

Bag S330211

Fits 2 Profoto D1 units, ballistic

nylon exterior, thickly padded

interior, two carry straps,

removable shoulder strap.

Trolley Bag L

330220

Trolley Bag L is a large, soft,

padded kit bag with wheels

and shoulder strap, suitable for

D1 Studio Kit 3 Heads.

Bag M

330212

Fits Profoto D1 Studio Kit,

replacement item, ballistic

nylon exterior, thickly padded

interior, slip pocket with ID

window, two carry straps, and

removable shoulder strap.44

D1 Accessories


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GLASS DOMES

Glass Dome D1101561

Glass Dome D1 -600K101562

Glass Dome D1 -300K101563

FLASHTUBES

Flashtube D1 250331522

Flashtube D1 500/1000331523

GLASS PLATES

Glass Plate D1 Standard331524

Glass Plate D1 Clear331525

Glass Plate D1 -300K331526

Glass Plate D1 -600K

331527

MISCELLANEOUS

D1 Plastic Transport Cap100799

D1 Stand101085

D1 Honeycomb Grid 5100795





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BatPac

901124

Power your Profoto anywhere! The BatPac isa portable power-in-a-bag unit, and comes

complete in a comfortable backpack for easy

transportation. Featuring a dedicated inverter and

a high capacity battery, the BatPac is safe and

very easy to use. With its compact size, this power

source is ideal for location shoots on the beach,

park, or in any location where you do not have

electricity. Shoot with it across town or around theworld. Its innovative design delivers power with

exceptional stability.

The BatPac has safety features offering protectionfrom overvoltage and overtemperature, low power

low battery voltage, etc. This prevents damage to

the BatPac and connected flash units. The Profoto

BatPac complies with CE regulations and fulfills

all international safety requirements. It gives up

to 600W constant power from two integrated

separate mains outlets. The BatPac will power

your D1, Acute lighting systems as well as manyolder Profoto systems. In addition, your computer

cell phone and other AC-operated devices can also

be powered by the BatPac.

46

BatPac


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SEE VIDEO AT:

http://www.youtube.com/watch?v=mbOVj1TpJ1U


Profoto Presents: BatPacthe portable power source.


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DIXIEDIXON.COM

FACEBOOK.COM/DIXIEDIXONPHOTOGRAPHY

@IAMDIXIEDIXON

DIXIEDIXON.TUMBLR.COM

Getting the Shotwith Dixie Dixon

Interview by Ron Egatz

When Houston native Dixie Dixon was a

student at Klein High School she was paid to

photograph Little League games. Wielding

her trusty Nikon FG, she made ten dollars

per hour, and shot every weekend, including

soccer competitions. Not bad for a kid,

she says, grinning.


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50

Dixons father was a hobbyist photog-

rapher, and provided her first camera.

Her grandfather was a landscape

photographer.

Not many professional shooters can match Dixons

claim of only working as a photographer, but its

true. She shot for the high school yearbook, andone of her shots made the cover senior year. At

that point she decided she wanted to pursue

photography for a living.

Studying entrepreneurship in college, she learned

how to run a business, which has helped her

photo practice. She launched her business while

still attending school. The business backgrounddefinitely helps in accounting, she says.

During her junior year, she studied abroad with

a fashion photographer. During that time she fell

in love with fashion photography, which is the

genre she is known for. Before graduation, she was

shooting weddings, but got tired of it. I started

shooting fashionable portraits of friends and thenstarted charging for them. My whole senior year, I

started my business and got my web site up and it

was really just shooting fashion portraits.

Since her first camera at age ten, at the ripe old

age of twenty-seven, Dixon already has a long list

of clients and the television show Get Outunde

her belt. With talent and credits beyond her years

shes a photographer to watch. Dixon has quickly

become known for her fashion photography and

portrait work. Shooting with a Nikon D3X as he

main body, Dixon broke down two portraits sherecently completed.

GIRL PORTRAIT

The basic concept of this photo session was to create

natural looking beauty images. I wanted to highligh

the beautiful features of the model, make her skinlook glowy, and make her eyes really pop agains

the background. I looked through a ton of fashion

magazines for inspiration and came up with this

simple concept. I find a lot of beauty in simplicity.

In the studio, I have a basic idea of how Im going

to light something but once you get in there, it

always different, so you never really know untiyou get in there and shoot it. I used a Softligh

Reflector White with the D1 500 as my main light

The light is pretty low - Im probably five-foot three

and its just above my head. With the Softligh

MODEL: KAYLIN ROGERS WITH KIM DAWSON AGENCY

MAKEUP/HAIR: ROCIO VIELM

GETTING THE SHOT WITH DIXIE DIXON


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Reflector at that height, you get this pretty glow

in your light. I also had two Softbox 1x3s in the

back that were facing slightly towards her and

me so I could get a rim light on the edge that I

overexposed by about half a stop. I used a small

umbrella on the background to light up that pretty,

blue, turquoise paper. I was going for super simple

natural beauty, and that sort of lighting highlightsthe skin and makes it look beautiful.

I used a Nikon D3X and a 105 mm lens for this

portrait. I like cropping in like that and focusing

on the macro elements of the shot. Its interesting

shooting really close-up portraits, because you

really have to get the right angle on the person. I

tend to shoot and crop in-camera as opposed tocropping in post later on. It can get you in trouble,

especially when you work with art directors and

they want room for text, but this was a personal

shoot so I got to choose the way I wanted it. I

took some shots with her whole face and, for

some reason, they werent impactful, so I ended

up going to one side for a half-face shot.

I love shooting strobes in the studio because youre

able to make sure that everything is really crisp

and focused and you can see every eyelash. Im

so not technical. I just get in there and I know

how to use the lights. Luckily, Profoto lights are

really user-friendly. I dont do a lot of measuring

I basically set it up, shoot it, and if I like what Im

getting, Ill stick with it. If I think I need to tweakthings, I move them around or try changing to an

Octa. Profoto is super reliable and Ive been really

blown away by them every time.


a

b

c

a. Softbox RFi 1x3'

b. Umbrella

c. Softlight Reflector White


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For this shot, I wanted to create a masculine

beauty image in black and white. With color

mages, your eyes can be more distracted by the

clothes and everything else thats going on, but

with black and white, I feel that youre able to get

more to the soul of the image and make a deeper

connection. If color isnt adding to the shot, try

making it black and white.

I used one Softbox 5 Octa. I used the Softbox

1x3s closer to the subject than on the womans

portrait. I like shooting guys this way because it

really highlights their great jaw line. Bringing the

strip softboxes in closer gives you that spillover

of the light onto his nose and the side of his face.

I used a D700 on this shot and a micro 16 mm

Nikon lens. The exposure was at f/14, 1/126, and

ISO 100.

I look at a lot of pictures for inspiration and its

all about getting the right team together. When

youre shooting beauty, you have to focus on

finding a really great makeup artist. It doesnt looklike it, but the guy has makeup on. I chose the best

makeup artist I knew to get that look and to make

his skin look flawless. The fashion industry is such

a huge illusion and it takes a huge army of people

to make it happen.

GUY PORTRAIT

It's just endless

what you can dowith lighting...


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MODEL: BRANDON THORNTON WITH CAMPBELL AGENCY

a

b

c

a. Umbrella

b. Softbox RFi 1x3'

c. Softbox 5' Octa

Lighting is interesting to me because you can

control so much of it in the studio. However, I love

those happy accidents when you end up getting

something totally different than you went out

to shoot. Its kind of like adding to your lighting

repertoire because its in the little detours that

you sometimes end up with the best shot. Its nice

to do the shots youre going for and then leavesome room for experimentation at the end. Its just

endless what you can do with lighting, especially

with all the light-shaping tools Profoto has.

I picked up the D1 monolight and it was so user-

friendly; its super consistent and has a fast recycle

time. Ive used other lighting gear and its not

nearly as reliable so Ive definitely been happy withthe results. Thats why anytime I rent I say, Give

me the Profoto. I dont want to have to get on set

and my lights dont work. Ive never had an issue

with Profoto lights over five years of using them.

I love the Profotos Light Shaping Tools. They are

really what I feel sets Profoto apartall the great

softboxes and beauty dishes. Theres just so muchyou can do with them. In photography, lighting is

everything. It creates the mood, and the mood of

an image is what sets it apart from the rest.


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AcuteB2 AirS LiFe Battery901101

The AcuteB flash pack brings together the

famous quality and reliability of Profoto in a small

battery generator. Offering significantly improved

performance and higher flash capacity all in a

lightweight package, the AcuteB2 is just over 3.6 kg

(8.9 lbs)!

The small size and light weight of the AcuteB2

offers up to 200 full power or thousands of lower

power flashes on a single charge, allowing you

to take your studio light on location for a full day

of shooting!

The incorporated Profoto Air system allows for

remote triggering from up to 300 m (1000 ft) from

the camera.

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AcuteB2 AirS LiFe Battery


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I have one kit that I take with me

everywhere I go, every shoot, every

humanitarian project, it just always travels

with me. It's a bag with my camera and

lenses and it's the Profoto Acute battery

with one small softbox. To this day I'm

amazed that I can get on a plane with

the whole Profoto kit right there with

my lenses. JEREMY COWART

SEE VIDEO AT:

http://www.youtube.com/watch?v=qWsrges5Hco


MASTER SERIES: Jeremy Cowart's Mobile Setup


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AcuteB2 AirS/R US/CE901102, 901103

The AcuteB2 600 AirS/R is almost identical to the AcuteB2 AirS. It

offers the same light weight design and unique Profoto Air remote

triggering system, but adds a built-in PocketWizard receiver to

the mix.

58

AcuteB2 AirS/R


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AcuteB Head900938

With our smallest battery pack, the AcuteB2,

there is also a special lamp head: the AcuteB

Head. At a mere 1.5 kg (3.4 lbs), gives you 600

Ws flashes and an innovative modeling light, using

a high-performance halogen lamp that, at 65 W,

gives you the brightness of 90 W. Combined with

ts fan-free cooling, it translates to longer lasting

batteries. The AcuteB Head includes: disc reflector,

flash tube, 65 W halogen lamp, removable frosted

glass cover, protective transportation cap and a

10-foot lamp cable.

Acute Battery Including Cassette LiFe901105

The most advanced and reliable rechargeable

batteries available! These Lithium Ion Iron

Phosphate (LiFePO4), in short LiFe batteries.

They have a lifetime four times longer than

lead acid batteries and can be used in a wider

temperature range. With 20% more flashes per

charge than older battery types and integrated

electronics protecting them against deep-discharge

and overheating, the Profoto LiFe batteries offer

long life and trouble-free operation.



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60

How to create asuperhero-esque

movie posterin less than

two hoursWith Andrew McGibbon

It goes without saying that blockbuster

movie posters are the result of countless

hours of postproduction and spending

ridiculous amounts of money. But if you are

willing to take it down a notch, you can do

your very own poster in just two hours!

South African photographer Andrew McGibbon

was recently asked to shoot a promotional

image for a man who was about to start his

own private security company. The two agreed

that a superhero-esque, movie poster-like

image would be suitable (everybody needs a

hero, right?). But time was short and the budget

was limited, so Andrew had to come up with a

quick and easy solution. Here is how he did it,

explained in six simple steps...


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HOW TO CREATE A SUPERHERO-ESQUE MOVIE POSTER IN LESS THAN TWO HOURS

ba

c

1Picture The Final Result

First of all, get a clear image of what you

want to achieve, says Andrew. What I did

was that I downloaded a bunch of movie posters

from IMDb.com and brought them with me to

the shoot. If you dont want to do that, you can

draw a simple sketch. Regardless of what you do, I

think its important to have some sort of referencematerial. It really helps me as a photographer to

keep track of what I want to do, and it makes

it a lot easier to give the person in front of the

camera proper directions, especially if theyre not

an experienced model.

2Find A Suitable Location

You need very little space to do this, saysAndrew. You could easily shoot it in your garage.

Just make sure the room is dark enough and

that you find a background that wont become

completely white or black when you shoot it. If

the background is too bright or too dark, it will

be much more difficult to insert the background

mage.

3Do The Styling

You can, of course, add as many details as

you like during postproduction, but my advice is

to get as much as possible right in camera, says

Andrew. Its way easier and takes a lot less time.

In this case, the guy hadnt received his company

uniform yet, so we decided to go for a simple, black

shirt. I then sprayed some water on him to make

him look a bit sweaty.

4Set The Lights

The setup I used was very basic, saysAndrew. Its sometimes referred to as a key and

clip light setup.

a. White Backdrop

b. Softlight Reflector White

c. Softbox RFi 5' Octa

ANDREW MACGIBBON


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64

The key light is the main light in the image. In

this case, its the light that looks like sunlight. For

this I used a Profoto D1 monolight, equipped with

a Softbox RFi 5 Octa, standing camera left. The

softbox is very close to the subject, and I am so

close to the softbox that Im pressing against it.

We then have the clip light. Some photographerscall it rim light or hair light, but I prefer the name

clip light. The clip light is the light that hits the

side of his face that is turned away from the

sun. The clip light helps define the shape of his

face and makes it pop out of the image. For this

I used the Softlight Reflector White, also known

as the Beauty Dish. Many photographers use

hard reflectors or strip softboxes for this purpose,but for me the Beauty Dish works really well.

It gives me quite a hard light, but not too hard.

Neither does it burn out the hair or the small yet

important details.

5Shoot!

There are basically three things you need to

get right in camera: the lighting, the styling andthe energy, says Andrew. Weve already talked

about the first two. Now, when I say energy, Im

talking about the eyes. The energy in the eyes

needs to be right. You cant fake that. So, Id

recommend a technique I learned from the write

Constantin Stanislavski: the magic if technique.

It works like this: ask the person youre shooting

that if they were in this or that situation, what

would they think and feel? Their emotiona

response will then be conveyed through their eyesIn this case, I asked the guy to imagine what it

would be like to a superhero that the whole city

looked up to. Once he started thinking about that

everything else just followed.

6Insert Background

Whenever I do a job outside and theres a

nice enough sky, I shoot it, says Andrew. Bynow I have a pretty good library of sky images

which I find often comes in handy, such as in this

case.

So, I cut out the portrait with the help of the

Magic Wand tool and the Refine Edge tool, and

inserted the background image. I then used a

simple bi-color filter to make the image a bit moreyellow on the left hand side and a bit bluer on the

right hand side. I then burned out the image at the

HOW TO CREATE A SUPERHERO-ESQUE MOVIE POSTER IN LESS THAN TWO HOURS


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bottom. Finally, I did some minor tweaks, removed

a few blemishes, pulled out a few highlights, etc.

Thats pretty much it! All in all, I think I spent

about ten minutes in Photoshop, and the entire

process from picturing the final result to havingit on my hard drive took less than two hours. I

started at 4 pm and was done before dinner time.

Andrew McGibbon is currently busy wrapping

up his Influence Project an ambitious project

in which he explores the concept of influence

through a series of portraits of influential South

Africans. The Influence Project will soon be

available as a coffee table book. If you cannot waituntil then, you can see more of his work at www.

andrewmcgibbon.co.za

Original shot Final image


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Air Remote901031

Our specially-designed digital radio system allows

complete flash control at your camera or in your

hand, including trigger, flash energy control and

modeling light control. Set up your lights at the

venue and dial in the exposure power as you need

it. The Air Remote mounts on your cameras hot

shoe or syncs to your flash terminal and has eight

channels which it uses to control an unlimited

number of power packs. Whether shooting at

a VFW hall or a cathedral, Profoto Air Remote

gives you the power and flexibility to create

perfect exposures.

These small, handheld devices weigh only 70g

(2.5 oz), including batteries, making them easy to

handle or keep at the ready when shooting formal

events. They pack a lot of function and reliability

into an easy-to-use control panel. Operating at

2.4 GHz, they are approved for worldwide use

Profoto Air is a transceiver, so it can serve as eithe

a transmitter to fire your lights, camera or operate

as a receiver when used with non-Air flash units

Operating from two AAA batteries, at a frequency

of 2.4 GHz, the Air Sync has a range of 300 m

(1000 ft). With range like that, youll never need

another system for a wedding venue or reception

hall. It can sync up to 1/250 second with a foca

plane shutter camera, and 1/500 second with a

leaf shutter camera. Its triggering speed is ove

100 fps.

Air Remote


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Air Sync901032

Air Sync technology syncs flash generators or

groups of Profoto D1 Air units with the same high

performance as Profoto Air Remote. The Profoto

Air Sync provides a simple solution when you only

need to trigger your flash. Its a faster, simpler

alternative for the more fast-paced portrait

environments.

Operating from two AAA batteries, at a frequency

of 2.4 GHz, the Air Sync has a range of 300 m

(1000 ft). It can sync up to 1/250 second with

a focal plane shutter camera, and 1/500 second

with a leaf shutter camera. Its triggering speed

s over 100 fps.

Air USB901034

Profoto Air USB offers all the advantages of the

Air Remote, and then some. You can still control

all your lights from up to 300 m (1000 ft) away,

but now, you can control all of them from your

computer keyboard.

Just load the included software and plug in the

USB Transceiver. Thats all it takes to get you up

and running. Visually see the connected heads on

screen and take control over every aspect of your

lighting. Turn units on and off, power the flash

or modeling light up or down, change recycling

timeanything your flashes can do, you can

now do from your computer! You can also save

an unlimited number of frequently used lighting

set-ups for fast, easy recall later.

Operating at 2.4 GHz, they are approved for

worldwide use.



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Anatomyof a Portrait

withTony Corbell

Interview by Ron Egatz

Tony Corbell has long been a fan of Profoto

lighting gear. He did some of our earliest

instructional videos, demonstrating a

wide variety of lighting effects in portrait

photography, including the very popular

one-light, two-light, three-light, and

four-light shorts.

Tony recently completed a workshop in

Santa Fe, and chose to analyze two portraits

taken during that workshop. In his own

words, heres his breakdown of thought,

technique, and execution.

CORBELLPRODUCTIONS.COM

@TONYDUDE1


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AARON

In this case, I wanted to create a low-key, gritty,black and white image. His face just screams for

that kind of a look, I think.

This is a simple studio picture, when you think

about it, but its important to understand whats

going on in order to pull it. Its basically just one

soft light. Theres a Softbox RFi 3x4' to the left of

the camera and I have one of them turned a littlebit farther away from him to the left. This means

that about half the light that would be on his face

is going past him, traveling about twelve feet, and

hitting the background. Its just giving me a little

bit of ambient light on the background. This is a

technique I do a lot when I teach to get everybody

to learn to get the most they can get from just one

light. Often, that means making one light appearas if its one, two, three, or maybe even four lights.

If I had wanted to have light in his hair, I would

have taken that same one light, and I would have

had somebody hold up a Plexiglas mirror over his

head and redirect a little bit of that light from that

strobe right back down onto his hair. I wouldnt

have turned on another light. I try to be as efficientas I can with the number of heads I use. Its a

technique I try to teach students, because it makes

them better photographers. In other words, if

youre a photo student at a school, lets say, and

youre doing a shoot and you need another light,

you just go to the checkout area, and grab anothe

light, or you go down to check out three more

lights or whatever you might need. In the reatrue working world, we dont all have that luxury

Therere a lot of people that dont have more than

one or two or three lights. Also, not everyone lives

in a big city where they can go rent gear easily.

For this shot, I used my Nikon D3, although Iverecently become a convert to the world of Canon

I used a 70-200mm 2.8 lens. The focal length was

probably set to 200, and the exposure was shot at

f/16 and ISO 200.

ANATOMY OF A PORTRAIT WITH TONY CORBELL

a. Gray Seamless Backdrop

b. Softbox RFi 3x4'

a

b

AARON TONY CORBEL


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OL DONALD

This is Donald Blake. Hes been an actor, a workingcowboy, and a stuntman whos been in 200 or

300 movies and likes to claim hes been shot and

killed in about 150. We shot this at the old saloon

on Eaves Ranch, which has been in countless

television shows and movies.

Here, I was doing a demo with my students, trying

to teach them how to mix strobe lights inside andhow you can vary your shutter speed to adjust their

brightness to the light outside. In this case, I used

a Softbox 4x6 with a D1 500 Monolight.

I had the softbox pretty far away from me, so

there was a little room around him. I maintained

that darkness on the left of the space, and the

reason its so rich and deep and black is becauseof a black gobo that I put up, just a black panel on

his right side, camera left, to make sure I didnt get

any influence from the ambient light in the room.

I really wanted the drama of the light falling off

on the left side of this face.

After you determine the exposure for the strobe,

which in this case was about f/16, its just a matterof running the shutter speed up and down until you

get the brightness of the background just where

you want it. In order to do this, I meter using a

Sekonic L-758DR.

a. Window

b. Profoto D1 with Softbox RFi 4x6'

c. Black panel Gobo used to eliminate the influence of any

ambient light from right side of face

a

b

c

ANATOMY OF A PORTRAIT WITH TONY CORBELL

OLDONALD TONY CORBEL


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74

Light Shaping Tools

The Softlight Reflector also known as The Beauty Dish

gives a soft, yet easily-focused light. Meant to providecharacter lighting in portrait photography, it is superb

for a wide variety of uses.

The gentle slant of the Softlight Reflector makes it ideal for close-up,

beauty photography. From portrait to fashion photography, the

Softlight Reflector is an excellent light source whenever a soft, yet

directional light is preferred. Its is a distinctive alternative to an

ordinary softbox.

By using the optional glass deflector, front diffuser and grid

(separate or in combination), the characteristics and light spread

can be further adjusted to the photographer's needs and wishes.

When used with a honeycomb grid you get a soft, toned-down

edge-lighting effect, with 10 coverage with the silver, and 25 with

the white reflector for more directed light.

SOFTLIGHT REFLECTORS


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MASTER SERIES:

Matthew Jordan Smith's Favorite Light Shaping Tools

SEE VIDEO AT:

http://www.youtube.com/watch?v=Djoi6hFK35o


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My favorite Profoto Light Shaping Tool has

got to be the Softlight Reflector Silver. We

always have it... the light that comes out of

it is amazing. There's nothing else like it. TOM MUNOZ

The silver-colored Softlight Reflector creates a narrow light spread

for crisp beauty and fashion pictures, while at the same time

providing soft shadow definition, thanks to its large reflecting area.It is especially suitable for lighting subjects where contours should

be emphasized.

Softlight Reflector Silver100607

76


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Diffuser

for Softlight Reflector100714

25 Grid for Softlight Reflectors100609


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Whether Im doing portraits

or a beauty assignment, or a

hair assignment, my Beauty

Dish is there... I use thewhite most of the time.

Its an incredible light...

a great tool.

MATTHEW JORDAN SMITH

78

The Softlight Reflector White gives a softer, wider

light spread for beauty and fashion images with

a softer tone without sacrificing the directionalquality of the light. It is especially suitable for

lighting subjects where diffused, yet distinctive

light is needed.

The Softlight Kit includes 1 Softlight Reflector

White along with a 25 grid, to narrow the light

when precise control is needed, and a diffuser, to

create even softer light.

Softlight Reflector White100608

Softlight Kit901183


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I find myself using the Beauty Dish all the

time because it creates a nice catch light

in the eyes of your subjects. It's just a

beautiful light. JEREMY COWART


MASTER SERIES:

Jeremy Cowart, Favorite Light Shapers

SEE VIDEO AT:

http://www.youtube.com/watch?v=Qn05BEj3dMQ


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Extra large umbrellas are useful Light Shaping Tools for

portrait-, people- and fashion photography. They createa smooth yet distinctive light, which allows the user to

illuminate an entire person or even small groups with just

a single light source. Great specular highlights and sharp, snappy

detail are also possible.

Profoto's Umbrella XL has a diameter of 165 cm (65"), and fits onto

all Profoto flash heads and monolights. An optional stand adapter is

also available, which allows the photographer to mount the umbrellaonto a light stand, or use it with former Profoto headsor even

with products from other brands! All umbrellas come in a rugged

transport bag.

PROFOTO UMBRELLA XL


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Profotos Umbrella XL Silver creates a hard light, perfect for lighting

a large area with a crisp directional light. Whether in studio or

on location, when shooting full-length portraiture of a group, the

Profoto Umbrella XL is perfectly suited for the challenge. The

parabolic shape, allowing the light distribution to be changed by

simply sliding the shaft inside the flash head.

Profoto Umbrella XL Silver100327

Profoto Front Diffuser for

Umbrella XL254651


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Profoto Umbrella XL Translucent100328

The Umbrella XL Translucent creates a smooth, yet distinctive light.

This is a shoot-through umbrella, and can give a softbox-effect,

creating a soft light perfect for brides. The parabolic shape allowsthe light distribution to be changed by simply sliding the shaft inside

the flash head.


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In conjunction with the Beauty Dish, I

always use the 7ft Profoto Giant just to fill

everything; light a whole room...

KAREEM BLACK

84

Profoto's 150 and 210 reflectors, often used with the

photographer standing in front of the reflector, give youthe unique combination of a soft light and still brilliant

highlights. Very popular in fashion photography because of

the quality of their light, they're also popular because they are easy

to set up and dismantle. Both Profoto models offer four focusing

positions of the head, from a kind of spot to flood fill. A special "spill

kill" head adapter reduces stray light. Using optional diffusers the

light can be softened further.

Delivered with:

Rigid stand attachment

Two different extension poles

Lamp holder

Transport bag

PROFOTO GIANTS


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Excellent light source for portrait and fashion photography. Large

reflector with 5-foot diameter for a soft, natural light in studio

large enough to illuminate a person, yet compact and handy for easy

transportation and set-up.

Profoto Giant White 150100314


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Large white umbrella/reflector with a 7-foot diameter, resulting

in a strong, but very soft light output. The low weight and easyhandling makes the Giant White perfect for location work as well.

A flexible and affordable Light Shaping Tool for portrait and beauty

photography. There are four zooming positions, using two extra rods.

A lightweight and convenient transport bag is included.

Profoto Giant White 210100315


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With their robust, solid construction and versatility,Profoto offers a number of different umbrella sizes

and finishes, all designed in a robust and solid

fashion. They are a must for every wedding and

portrait photographer. These umbrellas are available in Small,

Medium, and Large diameters 33.4", 41.3", and 51.1".

The White Umbrella gives an even, diffused lighting effect with soft

shadow definition. The closer to the subject the umbrella is placed,the softer the shadow will be.

The Translucent Umbrella provides diffused lighting around a bright

core. The lighting can be varied by changing its distance to the

lamp head.

The Silver Umbrella provides focused lighting, along with soft shadow

definition. It is especially suitable for bringing out structural detailsin materials, or if a higher light output is needed.

PROFOTO UMBRELLAS


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White Umbrella Small100611

White Umbrella Medium100616

White Umbrella Large100719

Disc Reflector100654

Designed for use with an umbrella. It keeps light from spilling off

the edges of the umbrella. Very compact design for easy carrying.

Silver Umbrella Small100615

Silver Umbrella Medium100616

Silver Umbrella Large100720

Translucent Umbrella Small100613

Translucent Umbrella Medium100614


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The softbox is one of the most popular Light Shaping Tools.

At first glance, its uncomplicated nature might trick you

into thinking that all softboxes are the same. But as any

experienced photographer will tell you, there can be a big

difference between one softbox and another.

RFi softboxes come in all sizes and shapes. To ensure full control

for the photographer, they have a deeper shape, a recessed front,double-layered diffusers and a highly reflective silver interior.

Optional accessories such as Softgrids and Stripmasks are available

for even more precise light shaping.

The RFi speedring adaptors make the RFi softboxes compatible

with well over 20 different flash brands, ranging all the way from

speedlights to high-end studio strobes.

In short, an RFi softbox is not just a softbox. Its a Light Shaping Tool.

PROFOTO RFI SOFTBOXES

90


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Profoto RFi Softboxes

SEE VIDEO AT:

http://www.youtube.com/watch?v=G6qsGKEl2Fc


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Softbox RFi 4x6'

(120x180 cm)

254705

Great for full-body portraits

and lighting large groups.

Softbox RFi 3x4'

(90x120 cm)

254704

Great for full-body portraits

and lighting large groups.

Softbox RFi 1x1,3'

(30x40 cm)254701

Extra-small softbox ideal for

hand-held use on location or for

ighting small objects or areas

within a larger scene.

Softbox RFi 1,3x2'

(40x60 cm)254702

Small, compact size makes

it ideal to use on location for

portrait, wedding, editorial,

and product photography.

Softbox RFi 2x3'

(60x90 cm)254703

The medium sized RFi 2x3'

(60x90 cm) is suitable for

portrait, wedding, editorial and

product photography.

Softbox RFi 2x2'

(60x60 cm)254706

60x60x47 cm. Can be used

as a hairlight, fill light and for

bringing out small details in

portraits. (23.6x23.6x18.5 in)



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94

Softbox RFi 5' Octa

(150 cm)254712

Ideal main light source

for portrait and people

photography.

Softbox RFi 3' Octa

(90 cm)254711

Ideal for people and portrait

photography, optimal size for

jobs on location. The octagon

shaped softbox can be used asa key light for portraits since

it is the most efficient use of

light and has a natural fall off.

18.5" depth..

Softbox RFi 1x6'

(30x180 cm)254710

Ideal to light a full length

portrait without spilling light

everywhere, hair lighting, and

as a kicker light.

Softbox RFi 1x4'

(30x120 cm)254709

This striplight is ideal for many

situations, especially 3/4 and

headshot portraiture. The

exchangeable internal diffuserensures extremely low light

fall off.

Softbox RFi 1x3'

(30x90 cm)254708

Due to its small profile,

this soft box is optimal for

portrait, beauty and product

photography.

Softbox RFi 3x3'

(90x90 cm)254707

Suited to portrait and people

photography, but also ideal

over-head to draw out extra

detail in shadows with a small,diffuse source.


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SOFTGRIDS

RFi Softgrid 50

1x1,3'254620

RFi Softgrid 50

1,3x2'254621

RFi Softgrid 50

2x3'254622

RFi Softgrid 50 3x4'254623

RFi Softgrid 50

4x6'254624

RFi Softgrid 50

2x2'254625

RFi Softgrid 50

3x3'254626

RFi Softgrid 50

1x3'254627

RFi Softgrid 50

1x4'254628

RFi Softgrid 50

1x6'254629

RFi Softgrid 50

3 Octa254630

RFi Softgrid 505' Octa254631

RFi Softbox Kit

901182

The RFi Softbox Kit includes 1 Softbox RFi 2x3',

1 Profoto Speedring for RFi, and 1 Softgrid

50. Creates a very soft light that is perfect for

portraits and allows for precise light shaping.




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96

STRIPMASKS

RFi Stripmask 7 cm 1x3'254632




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DIFFUSERS

RFi Flat Front Diffuser 1x1.3'

254635

RFi Flat Front Diffuser 1.3x2'

254636

RFi Flat Front Diffuser 2x3'

254637


254638


254639


254640


254641



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98

RFi speedring adapter Profoto100501

RFi speedring adapter Nikon/Canon100502

RFi speedring adapter Elinchrom100503

RFi speedring adapter Bowens/Calumet100504

RFi speedring adapterAlienBees/White Lightning X100505

RFi speedring adapter Hensel Expert100506

RFi speedring adapter Broncolor Pulso100507

RFi speedring adapter Multiblitz Profilux100508

RFi speedring adapter Photogenic100509

RFi speedring adapter Speedotron100510

RFi speedring adapter Comet100511

RFi speedring adapter

Lumedyne/Quantum/Sunpak/Norman100512

RFi speedring adapter Dynalite 2100513

RFi speedring adapter Sunstar100514

RFi speedring adapter Broncolor Visatec100515

RFi speedring adapter Novatron 2100516

RFi speedring adapter Multiblitz Varilux100517

RFi speedring adapter Photona100518



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Ready to Take Your Lighting

to the Next Level?

Check out our RFi softbox tips and tricks!

Choosing the Right Size of

Softbox for the Right Job

pg. 112

Building Your Set,

Softbox by Softbox

pg. 114

Using Softboxes to

Create a Perfectly Even,

White Background

pg. 116

Creating Hard Light

with a Softbox

pg. 118

Creating Long and Even

Highlights with Softboxes

pg. 120

Creating a Giant Ring Light

with Softboxes

pg. 122


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100

Zoom Reflector100785

The versatile and compact cornerstone ofmost Profoto owner's Light Shaping Tool

collection is the newly redesigned Zoom

Reflector. Why? In a word: versatility.

This standard reflector adds functionality to

your lighting system without adding significant

size, weight or cost. The unique Profoto head

zooming feature incorporated into all Profotoheads allows you to slide the reflector forward

and backward on the head. The result is nearly

infinite control the spread of light and intensity

over a wide range, which also can eliminate the

need for additional reflectors or grids.

It is perfect for simulating direct sunlight ina small studio or for pumping a tremendous

amount of light on a background. They also work

well controlling any stray light when using a large

umbrella or when bouncing light from a wall or

ceiling.

For even more control, add Profoto grids or

barndoors to further shape the light. Find outfor yourself why the Profoto Zoom Reflector is

the most popular reflector we offer!

REFLECTORS


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Grid & Filterholder Kit for Zoom Reflector900649

Attachment for new Zoom and former StandardZoom reflector to mount grids, filters and the

Snoot (100651).

Snoot100651

Compatible with Grid & Filterholder


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102

Magnum Reflector100624

The Magnum Reflector has long been regarded asthe sunlight of the Profoto light shaping family. It

provides strong, smooth light featuring maximum

output with a normal beam spread. Employ this

reflector to get direct light with high output and

defined shadows.

To achieve precise control over direction of the light,

the Magnum can be supplemented by the ProTube,10 Grid or Barn Doors. The crisp character and

high output make this reflector very popular as

fill-in light source against direct sunlight.

10 Honeycomb Grid for

Magnum and Narrow Beam

Reflectors100618

REFLECTORS


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The one I am in love with right now is the

Profoto Magnum Reflector. The reason I

love it is because it is so versatile. It can be

narrow, it can be wide. Right now I'm really

into a cold, sharp, light. I like that about it."

KAREEM BLACK

MASTER SERIES:

Kareem Black on his Favorite Light Shaping Tools

SEE VIDEO AT:

http://www.youtube.com/watch?v=dEhzWOzEVwk


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104

WideZoom Reflector100711

This reflector is very versatile with an angle of light

from 40 to 70 degrees. It provides even illumination

when used at short distances. The WideZoom

reflector produces f/64 @ ISO 100 at 2 meters with

a 2400 Ws generator. A more modern, zoomable

version of the classic Magnum reflector.

Excellent as a crisp, brilliant main light source to

simulate or overpower the sun on location, or as

a main light on a reception hall dance floor. This

reflector features every even illumination with a

fast fall-off. With the light characteristics of a

wide angle and normal reflectorand everything

in between. The WideZoom Reflector can be used

in combination with umbrellas to reduce stray

light as well.

10 WideZoom Grid

for WideZoom Reflector100636

REFLECTORS


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TeleZoom Reflector100712

Direct light with maximum output even at large distances, this

modifier can illuminate the entrance to a church on a cloudy day. Its

a perfect accessory to get an even, but very effective light output over

wide distances. Sharing its lighting characteristics with the Standard

Zoom Reflector, this reflector is unique because the angle of light

varies from 10 to 20 degrees. Even illumination and high light output

add to its versatility.

The TeleZoom accepts the same accessories like the Magnum and

Narrow Beam Reflector.


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106

NarrowBeam Travel Reflector100713

The NarrowBeam Travel Reflector gives one ofthe highest light outputs of all Profoto reflectors

Used on Profoto flash heads it great for the location

photographer since it is compact, lightweight and

produces a narrow spread of light.

Disc Reflector100654

The Profoto Disc Reflector is designed for usewith an umbrella. It keeps light from spilling off

the edges of the umbrella. Without an umbrella,

it gives a low-lighting effect. Very compact design

for easy carrying. Standard accessory to go along

with AcuteB flash heads.

REFLECTORS


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The other piece I love that I think is theunsung hero of the light shaping universe

are the Narrow Beam Reflectors, and

the travel one is smaller now. Those are

unbelievably useful! They concentrate the

light like a gridspot does, but they intensify

the light." GREG HEISLER

Gregory Heisler on Profoto Light Shaping Tools

SEE VIDEO AT:

http://www.youtube.com/watch?v=igoU0JpdyZE


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108

The Fresnel Spot projects a clean, crisp beam oflight, similar to that of natural sunlight. Filters

can be attached to the front of the Fresnel for

additional lighting effects. A flash head can

mount directly to it, without requiring an adapter,

and is easily adjustable with its built-in iris control

which adjusts the diameter of its projected beam

and can also be used with all Profoto heads. This

light shaper is excellent for location interiors.

The Fresnel Spot has built-in flashtube, whichincreases efficiency and gives 100% conformity

of model and flash light for total light control

Active fan cooling allows continuous use, optiona

barn doors assist with controlling stray light

and rigid and stable construction allows heavy

duty use.

SPECIAL APPLICATIONS LIGHT SHAPING TOOLS

Fresnel Small100789


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ProGlobe w/Ring100673

The ProGlobe gives a surrounding light, similar to abare bulb effect or, if mounted high up, like a street

lamp source. It can also be used as background

lighting or placed underneath a photography table.

Cinematographers call this a Chinese lantern. Its

soft, bare bulb effect is perfect for quick location

lighting. When used in combination with a softbox

mounted around it, the ProGlobe creates very even

light with soft shadows.

Spot Small100790

Ideal for creating theatrical lighting effects, theSpot Small projects a controllable, hard edged

spotlight. This high-quality optical focusing spot

can be used to project patterns or masked shapes

onto your set. It attaches to any Profoto flash

head and accepts M size (7 cm) gobos.


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Choosing the Right Size of Softbox

for the Right Job

Creating a Giant Ring Lightwith Softboxes

Building Your Set,

Softbox by Softbox

Creating Long and Even Highlightswith Softboxes


114/128

Using Softboxes to Create

a Perfectly Even, White Background

Creating Hard Light

with a Softbox

RFi SoftboxTips and Tricks


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112

The larger the light source is

in relation to your subject, the

softer the light will be. This

simple fact is one of the mostimportant lessons to learn

about light, and for this reason,

choosing what size of softbox

to use will be one of the most

important decisions that you

will make prior to a shoot.

For instance, if you choose

a larger softbox, you will get amuch more open, softer light

that more closely resembles

daylight. If, on the other hand,

you go for a smaller softbox,

you will get a harder light with

richer contrasts, reminiscent of

interior light.

Take a closer look at the

two smaller images in this

article. The first image (1) was

shot with the larger Profoto RFi4x6 while the second image

(2) was shot with the smaller

Profoto RFi 1.3x2. While the

first image looks almost as if a

window was in the room, the

second image looks more as if a

lamp is turned on. The lighting

also affects the overall mood ofthe image. The second image is

undoubtedly moodier and more

dramatic.

Note that we used only one

rectangular softbox for both

images. Also note that the light

was standing in the same spot

with exactly the same distance

between our model and the

softbox diffuser (when using

a softbox, this is the distancethat actually matters not the

distance between the model

and the flash head).

In conclusion, by choosing

between a large and a small

softbox, we can drastically

change the light and the overall

mood. Needless to say, thereis no right and wrong. It all

boils down to deciding on what

you want to achieve, and then

choosing the right softbox to do

the job.

If you are planning to use a softbox for your next set-up, you

should think about more than simply what shape to choose

or where to put it. The size is just as important - perhaps

even more so!

Choosing the Right Size of Softboxfor the Right Job

RFI SOFTBOX TIPS AND TRICKS


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1

2


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114

The main image (1) in this

article was shot using four

lights: one Profoto Softbox RFi

3x3, one Profoto Softbox RFi5 Octa and two Softbox RFi

1x6. Again, some might be

intimidated by the amount of

lights but the fact is that as

long as you build your set one

light at a time, it is almost as

easy as using just a single light

source!Let us take a closer look at

the second image (2). This was

shot using just the RFi 3x3.

The image is dark, moody and

admittedly not very inspiring.

But that is not the point. The

point is that we begin with

our main light, and when weare happy with the result, we

move on

to the third image (3).

Here, we add the RFi 5 Octa

as our fill light. Now, the

important thing to remember

is that the fill light should not

add to the character, and

instead just blend harmoniously

with the main light. That isthe reason that we chose to

work with the RFi 5 Octa a

large light source that creates

a soft and even light. The

fourth image (4) shows just

the fill light, but what is really

interesting is, of c

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