• What lighting equipment should I order?  -- On separate page.
• Strobe Section: Questions regarding working with strobes and flash equipment
• Is a "strobe" a regular light or a "flash" type of light?
• Strobes and digital cameras - what should I know before ordering strobes?
• Will my SLR camera be able to use strobes?
• How will I fire  the strobes if I don't have a PC jack on my camera?
• What's a "Slave Sensor?"
• Problems getting strobes to fire reliably via their optical slave sensors!
• What's a Flash Meter?
• Do I need expensive batteries or power packs to use strobes?
• What's my flash sync speed, and why is it important?
  General Section: Applies to all lighting equipment
• Why do I need a handheld exposure meter?
  For some great images illustrating how and why we all need a meter, please see this!
• What is "Medium Format" and how does it compare to 35mm?
• What is "Red-Eye" and how can I eliminate it?
• How can I make a "Home-Made" red-eye eliminator?
• Would I be better off with one powerful light instead of 2 or 3 less powerful lights?
• What's "ambient" light?
  
  
• For more (and better) help and guidance, go to our New Help Page! You'll be glad you did.

A GREAT source of links to photographic web sites...

While all the strobes work just fine with ALL film cameras, and most digital cameras, (I always use my digital camera's little built-in flash to fire the pro strobes via their "slave sensors". However, there is one problem that comes up sometimes with digital cameras that you should be aware of before forking over your hard-earned money. Some digital cameras fire TWO flashes when taking flash pictures; they sometimes fire a "pre-flash" to set their white balance, and then fire the "real flash" to take the picture; the digital camera doesn't open its shutter until after the white balance pre-flash fires. In many instances, the pre-flash will set off the pro strobes before the digital camera opens its shutter for the actual exposure. As a result, the pro strobes will fire from the pre-flash, and by the time the digital camera opens its shutter for the second flash, we've already lost the strobes' light!
There are two ways to solve this problem, if your digital camera falls into those which fire pre-flashes:
1) If you can, simply turn OFF the pre-flash (don't confuse the "red-eye" pre-flash settings with the "white balance" pre-flash settings on your digital camera - you'll have to turn off both the "red-eye" AND the "white balance" pre-flashes), simply turning the pre-flashes "off" will solve the problem for you (look in your camera's manual to see if you can turn this feature off); if not,
2) You can simply "tape over" the camera's built-in flash window with dark tape, and attach one of the pro strobes to your camera's PC or Sync terminal, and fire the pro strobes that way. If you don't have a sync terminal, you can usually find a little accessory that fits on your hot shoe and provides a sync terminal for you.

So before ordering, check out your digital camera to make sure it will work with pro strobes.

However, if your digital camera, or film camera, or video camera, or motion picture needs or requires continuous lighting (also called "Hot Lights"), fear not, because I've got you covered! Just see the Continuous Lighting Section! And Fluorescent Lighting Section.

Sometimes, a certain few digital cameras (without the ability to turn off the pre-flash, without a sync terminal, and without a hot shoe), cannot be successfully used with pro strobes, so please check in your digital camera's manual, and be aware of this before ordering any pro strobes from any supplier. Also, be aware that there are some slave flash units being sold that come with a short delay (designed to overcome this problem), but in many cases, these units still do not work!

If my equipment won't work to fill your needs, I'll tell you so in advance (it's simply the decent and honorable thing to do).

First, we have to be aware that there are so many different cameras and manufacturers, and software configurations (the computer chips built into most newer cameras have software programs programmed into them), it's impossible to "guarantee" that every possible camera will work perfectly with every possible strobe. Life keeps getting more complex every day. That said, here's the information:

It's almost certain you can use these pro strobes with your current equipment (although I'll be the last to counsel you against upgrading your cameras). In most cases the answer is YES these strobes will work just fine with your current cameras, and digital cameras, and NO - you don't have to go out and buy new, expensive, cameras to utilize pro strobes. Pros have been using strobes for decades with cameras just like yours. Regardless of whether you're shooting with APS, 35MM, 120, 220, medium or large format cameras, or even the new digital cameras, the pro strobes will most likely work fine for you. But if you're going to be using digital cameras and/or video cameras and camcorders most of the time, you'll probably be better off with continuous lighting equipment.

While the strobes work just fine with ALL film cameras, and many digital cameras, (I always use my digital camera's little built-in flash to fire the pro strobes via their "slave sensors" - I'll explain more slave sensors below). However, there is one problem that comes up sometimes with digital cameras that you should be aware of before forking over your hard-earned money. Please see this discussion of digital cameras below.

With the strobes I sell, many of them are master/slave units (PS-200s, BB-50s, BB-100s, PS-300s, HS-500s, etc., etc.), which means that you can either use a sync cord (also caller a "PC" cord) with them, or no sync cord at all (the AS-66 Mini-Strobe, for example, is an illustration of a slave only unit). But whether they're master/slaves or slaves only, ALL the strobes I sell have slave sensors built-in. Here's how it works: if you turn on the strobes, and wait until the "Ready" lights light up, then they're ready to rock (i.e., ready to fire as soon as they get the signal from you). Now, the "signal" you'll send to the strobes is EITHER a pulse from the sync cord (if your camera has a sync terminal, and you choose to use it), OR the flash from any other flash/strobe unit. The pros usually connect whatever strobe is closest to where their camera is to their sync terminals when they want to use a sync cord. Once ONE strobe "flashes," then all the other strobes will fire too, since they ALL have "Slave" sensors built in. Now some of you might wonder: won't there be a delay between the time when the first strobe flashes, and then when all the other strobes fire from their slave sensors? The answer is yes and no; certainly there's a time differential, but remember that light travels at 186,000 Miles per Second! So while, technically, there might be a delay of a few trillionths of a millisecond, for all our purposes, the firing of the slave strobes is instantaneous!

 It doesn't matter which strobe you choose to connect to your camera's sync terminal, and you don't even have to use a sync cord, as long as your camera sets off it's own flash - either a built-in flash, or one attached to a hot shoe. As soon as ANY flash goes off, all your pro strobes (that are turned on and "ready") will fire, too. The reason for using a sync cord is because sometimes a photographer decides s/he doesn't want any light coming from the camera's position at all; in this case, a sync cord is used. If you decide that you do want some light from the camera position, then you can either use your camera's flash or another accessory flash unit. Also, be aware that unless the flash on your camera is very powerful, the light from the pro strobes will most likely overpower and just "blow away" the light from your camera's little flash, so it's unlikely that it will interfere with your picture when using it to set off strobes via their slave sensors. If, on the other hand, your camera doesn't have a sync (or PC) terminal, many camera manufacturers have accessory units that you can attach to your hot shoe, that give you a sync terminal.

Back to top

Even most of the little flashes built into most modern cameras can set off most strobes with slaves. A strobe that has PC socket, or both a PC Socket and a slave sensor is called a "Master" strobe; a strobe that only has a slave sensor and no PC socket (usually less expensive units) is called a "Slave." Whichever strobe you're using with a PC cord is referred to as your "master" strobe for purposes of that shot.

Also, be aware that your camera(s) can also be involved in causing this problem. The camera sends an electrical "pulse" to your strobe through the sync cord; so, as your camera's batteries grow weaker, the signal pulse also grows correspondingly weaker, especially when making several shots in a short time period. Try putting fresh batteries in your camera, and see if this doesn't help.

Make sure the "PC" cord plug is making solid contact with the sync terminal on your camera; if the connector is loose, take a small pliers and gently squeeze the plug's gripper to tighten it up a bit.

I know they sell multiple sync extensions, but most cameras just don't have enough power to send reliable pulses through multiple sync connections.

Back to top

ALL the strobes are A.C. units, and do NOT require separate (and expensive) power supplies or connector cables (such as are needed with DC units);

The D.C. strobes (powered by expensive and very heavy battery packs) are valuable to photographers who often work at outdoor locations (on the beach, mountains, woods, etc.) where there is no available electricity (DC stands for Direct Current - batteries, as opposed to AC - Alternating Current devices which can be plugged into any socket).

Our ktis come with everything you'll need to start using your new equipment, as soon as you unpack it! There will be nothing "extra" that you'll be required to buy in order to start making great pictures as soon as it's unpacked.

Back to top

However, if you're using continuous lights, such as the digital and video lamps, your camera's built-in meter will function for you, and you don't HAVE TO use a handheld meter. But even if you're using digital/video (continuous) lighting equipment, a hand-held meter will substantially improve your exposures. But don't buy a flash-only meter - get a combination meter.   Every pro photographer - and virtually allserious amateurs - own handheld exposure meters. That's why the pros' pictures always look so great.

Here's why you need a handheld meter:
If you want a white plate to come out white instead of gray, or a black plate to come out black instead of gray, you need a handheld meter - even when using continuous lights. The white plate to the left wiill come out gray if you use your camera or camcorder's built-in meter. When using a handheld exposure meter though, white comes out white, black comes out black, and gray comes out gray.

You have to understand that your camera's TTL (Through-The-Lens) exposure system is geared to control a built-in or dedicated flash unit, not external lights. With a built-in or dedicated flash attached to your camera's flash shoe (or a specially-designed remote shoe on a cord), your camera's TTL system will detect when the film plane has received sufficient illumination, and then shut off the dedicated flash unit (the new "auto-thyristor" circuitry will then "save" any extra power not used, and recycle it for the next flash.) External lights are beyond the control of cameras or camcorders, nor can their reflected-light meters correctly set exposure in all circumstances - that's why the white plate (above, left) comes out gray - because ALL built-in meters are keyed to 18% gray. Consequently, you will need an exposure meter for truly accurate exposures. If you're using continuous lighting, you can get away with not absolutely needing a handheld exposure meter - but for the best results, you should pick one up as soon as it's convenient for you. If you didn't see this great section when you came upon the link above, go check it out now - after all, "a picture is worth a thousand words".

Since no camera can properly expose shots using external strobes, all pros, and many amateurs, own flash meters. While it's "possible" for a mathematically-gifted photographer to calculate an exposure using one strobe (using the GN, or guide number), it becomes virtually a necessity to use a good flash meter with 2 or more strobes. Such a meter will allow you to read the output of your strobes for your subject, and then for your background, and then calculate the correct exposure settings for you to set your camera to properly expose everything (ain't technology great? Again?)!

However, while there are some "flash only" meters, nowadays most flash meters are also ambient light meters and reflected-light meters, as well as flash meters, so if you do purchase a good flash meter, you'll have an invaluable aid to use with all your photography.

With all the great flash/ambient/reflected combination meters on the market, I most emphatically recommend buying one of these combination meters, which will help you get perfect exposures for ALL your photography, not only flash photography (and they're great for ALL types of photography, black and white as well as color - and work with virtually all film and digital formats.

Here's some meters brands:  Sekonic, Gossen, Polaris,- Minolta, and JT.

NOTE: Please understand that there are many excellent exposure meters available, and you should definitely consider all the fine brands and models available on the market.

When using multiple strobes, always take readings (with your new meter:) of both the subject's lighting AND the background's lighting separately. Depending upon the effect you're after, your background light reading should come out (for example) about one to two stops less than the light falling on your subject (to have the background appear clearly in the print, but not so bright as to compete with, or detract from your subject).

Back to top

Regarding flash meters, unfortunately I don't carry any at this time, but I'll be glad to offer some suggestions for your consideration:

If you're going to use pro strobes (at least if you're going to use more than one strobe at a time), it's almost impossible to calculate how to properly expose your shots. That means you'll have to set an autoexposure cameras for manual exposure (autofocus will be OK, though; in portraits, focus on the eyes). Now, your next question will likely be: "if I'm using manual exposure, how do I set it?" and although I hate to suggest spending more money, there's only one answer: get a flash meter!

Since no camera can properly expose shots using external strobes, it becomes a virtual necessity to use a good flash meter with 2 or more strobes. Such a meter will allow you to read the output of your strobes for your subject, and then for your background, and then calculate the correct exposure settings for you to set your camera to properly expose everything

However, while there are some "flash only" meters, nowadays most flash meters are also ambient light meters and reflected-light meters, as well as flash meters.

The operative aspect with shutter speeds when using strobes, is at what speed is your shutter fully open? Every camera has a certain "sync" or "x" speed, which is usually related to the type of shutter and the speed of the shutter. Our newer cameras can have tremendously short shutter speeds, 1/4000th or 1/8,000th or 1/12,000th of a second! How do they achieve that speed? Not by fully opening and closing the shutter in 1/8,000th of a second (for example), but by running a "slit" of a shutter opening across the film plane! The "sync speed" on your camera is the fastest speed in which the shutter is FULLY open, and therefore the fastest speed at which you can use a flash. But to cut to the chase, and avoid a long, drawn out treatise on the subject, whenever using strobes (or any flash unit), check in your camera's manual to determine its flash sync speed (often, on older cameras, it's the shutter speed shown in red on the camera or the lens barrel, but not always shown on newer cameras); once you've determined your camera's flash sync speed, set your shutter speed to whatever setting you want - as long as it is AT OR SLOWER THAN your camera's flash sync speed.

To repeat (because it's important), the sync speed is the speed at which your camera's shutter is wide open, thereby allowing the light from the flash (which is usually much faster than any camera's flash sync shutter speed) to reach your film's full size film plane. If you try to use a shutter speed faster than your camera's flash sync speed, part of your frame will not come out. Consequently, as long as your shutter is wide open and will allow the flash from the strobe to reach your full frame film surface, your shot will (most likely) work. The duration of the flash is always far shorter than the shutter sync speed, usually around 1/1,250th of a second with the Britek units.
Back to top

Back to top

Why? Basically, "red-eye" is caused by the flash reflecting its light from the retina in our eyes. Whenever a subject is looking into the camera, the subject is also looking into the flash, since the flash is attached to the camera and that's when we get the red eyes. Although - when WE look at someone's eyes, WE see a black pupil, in reality the back of our eyes are actually red, and this is because our veins and arteries are filled with blood, and blood is red. Our camera "sees" red when it reflects the flash off the (blood red) retina in the back of our eyes!

When using pro lighting, whether strobes or continuous lighting equipment, however, we place them on angles; we put one pro strobe or digital lamp on the right side of our subject's face, and another on the left side of our subject, and not only do we get proper (and attractive) portrait lighting, but since we're not aiming a flash directly into our subjects' eyes, we eliminate "red eye" for good!

However, any time you use an on-camera flash unit, with or without "red-eye reduction," you're likely to get red eyes. In reality, the "red eye reduction" function on our cameras simply fires a little pre-flash before firing the main flash and taking the picture; the theory behind this is that the first flash will cause the pupils to constrict, so there's less of a chance of getting red eye in the picture. It helps - sometimes - and is ineffective other times.

To eliminate "red-eyes" in your flash pictures, either don't use on-camera flash units, OR use the following techniques!

Want to eliminate the "red eye" syndrome when using your on-camera flash? Here's how:

What you'll need: A dedicated or accessory flash unit, a piece of white cardboard, about 4" x 8" - and some tape or velcro.

<-- 1) When you're using a flash on your camera's hot shoe (the "hot shoe" is the little gripper thingamajig on the top of your camera into which you slide on a dedicated or third-party flash unit); most of these flashes have a swivel head, which allows you to adjust the flash window; so swivel the head (the window where the flash comes from) straight up 180º to point directly up, towards the sky (or ceiling, as the case may be:). Then, take a piece of white cardboard (available as poster boards in any art supply store, most large drug stores, and almost every variety store); in fact, I'll bet you have at least a dozen pieces of white cardboard laying around your house (try the cardboard insert they put in new shirts to keep them looking good)! All you'll need is a piece about 3 or 4" wide and 4-6" long. Take the white cardboard and with a scissors, cut it the same width as your hot shoe flash unit, and about 4-6" long. Bend a piece of the white cardboard to about a 45º angle, and use a piece of scotch tape to hold it at the proper angle. Then, with tape or velcro or something similar, attach it to your flash unit as shown in this picture. Swivel the flash head to point straight up, of course. This will "bounce" your flash off of the white cardboard, and onto your subject - without any chance of getting "Red-Eyes" in your image! Or....

2) Swivel the flash head straight up to point at the ceiling (presuming the ceiling is white or a very light color, and is not TOO high); this will "bounce" the flash off the ceiling, and eliminate any chance of ending up with red eyes in your pictures. Or....

3) Swivel the flash head up to about a 45º angle; this will most likely allow enough light to reach your subjects for a proper exposure, but make it very unlikely that you'll end up with red eyes in your pictures.

Back to top

But what if I don't have an accessory flash? What if I don't have a "hot shoe?" What if the only flash my camera has is the little flash unit built into it?

Fear not, fair photographer! I've got this eventuality covered, too. Just read on....

1) If you have one of the "point and shoot" film cameras, or "point and shoot" digital cameras that are so popular nowadays, it's likely that it doesn't come with a hot shoe, and to add insult to injury, in many instances the built-in flash "automatically" fires whenever the camera decides that's what you need. So what to do? Here's a little "secret" that works exceptionally well in nearly all cases: Take a piece of tissue or toilet paper (if it's one of those that come with 2 or more layers of tissue, just carefully peel them apart so you have one, thin and translucent layer of paper. Then cut this thin tissue into a size just a little bit larger than the flash window on your camera. Take a couple of strips of scotch tape, and tape the tissue over the flash window on your camera's built-in flash. Voila! You have just created the "poor photographer's softbox!" This simple little device will soften the flash light, eliminate red-eye, and also help to hide the sags, lines, and wrinkles on our older subjects' faces!

Back to top

It's often common for beginners in studio photography to confuse the value of power output (watt seconds with strobes and watts with continuous lighting equipment) with efficacy. True, we should buy the most powerful set of lights that will fit our needs, but what's much more important than simple power is our ability to position multiple lights to produce the best possible image. If you can afford a set of two or three (or more) super-powerful lights, then that's absolutely the way to go. But if money is an object for you, then you should seriously consider the following information before plunking down your hard-earned dollars.

As an example, if we're doing a portrait session, it's more important to have 2 less powerful lights than it is to have one much more more powerful light (because in portraiture, we need at least 2 oppositely-placed light sources - and 3 - to give us the best results).

With 2 lights, we have the main light (to light the highlight side of our victim's face), and the fill light (to light the shadow side of the face), giving us the interplay of light and shadow which are necessary for the depth and texture characteristic of professional portraiture (or product photography).

Ideally, with 3 lights (2 for lighting the face or product), the third lights will be our background light (to light the backdrop, which not only gives us the three dimensional look and separation between our subject and the background, but also to blow away all the ugly shadows! The backlight is the "secret" of eliminating the shadows that plague many of our amateur images.

Far more important than power, is having the ability to appropriately light our subjects to get the best images. Sure, 3 or 4 powerful lights will eventually be more useful to us than 3 or 4 less powerful units (and if you can afford 2 or 3 or more powerful lights, definitely go for it)! Ideally, at least two MonoLight strobes - with modeling lights - (or continuous lights) and a third for a backlight, would be an ideal starter package. If you can afford the MonoLight strobes with modeling lights (they're a bit more expensive, though), absolutely go that route! It will make your photographic life much easier. But if you can only spend a certain amount of money, and can afford either one powerful light, or 2 or 3 less powerful lights (for portraiture, or small to medium product photography, for example), you'll be better off with the 2 or 3 less powerful lights, than you'd be with the one more powerful unit, for lighting your subject.

So basically, if your budget will allow for it, get the most powerful set of lights you can comfortably afford, and try to get as many strobes that come with modeling lights as you can.

For much more Help, go to our Help Page!