Issue 112783

The Profoto Advantage:
for Portrait
Photographers
Lighting Ingredients / David Bicho
Challenge: Profoto D1 vs. Speedlights
Getting the Shot / Dixie Dixon
Composite Like A Superhero / Andrew McGibbon
Anatomy of a Portrait / Tony Corbell
02 Lighting Ingredients
68 Anatomy of a Portrait
with DavidBicho
with TonyCorbell
14 Challenge:
74 Light Shaping Tools
Profoto D1 vs. Speedlights
30 Profoto D1
46 BatPac
48 Getting the Shot
with DixieDixon
Softlight Reflectors74
PROFOTO UMBRELLA XL80
Profoto Giants84
Profoto Umbrellas88
56 AcuteB2 AirS
Profoto RFi Softboxes90
60 How to Create a Superhero-esque
Reflectors100
Movie Poster in Less than Two

Hours with AndrewMcGibbon
66 Air Remote
SPECIAL APPLICATIONS LIGHT

SHAPING TOOLS108
110 RFi Softbox Tips and Tricks
124 Read More and Join

theConversation
Building Your Set, Softbox

bySoftbox114
Using Softboxes to Create
a Perfectly Even, White
Background116
Creating Hard Light with
aSoftbox118
Creating Long and Even
Highlights withSoftboxes120
Creating a Giant Ring Light
withSoftboxes122
Contents
CHOOSING THE RIGHT SIZE OF

SOFTBOX FOR THE RIGHT JOB112
Lighting
Ingredients
with David Bicho
Swedish 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. It wasnt about the food, says David. The
Why, you might ask? 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 facialtextures.
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 feel
throughout the entire series.
So how did he do that? The short answer is:

withlighting...
Licorice Shot
hen 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 Grid
and 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
The foam core board was used to lighten up THE ACCIDENTAL LICORICE SHOT
the shadows around the models chin, forehead
andnose.
As mentioned above, some things went as planned
and some did not. Besides that, there were a
couple of occasions when things happened almost
by accident.
c
The second licorice shot wasnt planned, says
David, It just happened. The make-up artist
had just started to apply the licorice, when I
b
realized how cool it looked and that I had to shoot
it. So I just tweaked the setup and pushed the
releasebutton.
a. Profoto Giant 240 Reflector

b. Softbox 1x6' RFi
c. 10 Grid.
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 you
get 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!
Finally, the black flags were also crucial. The

shiny licorice reflected every single light source in Again, the background was lit with a D1 with
the studio, so it was just as important to flag off 10 Grid. But I didnt use any color gel this time.
light as it was to add light. I believe I had eight Neither did I use any fill light. Another important
flags in total: three on each side of the shooting difference is, of course, that we added certain
area, and another two right behind the model. You elements during postproduction. The gold makecan actually see one flag in the image. You see up, the hair and the pigtail, all that was added in
that large black area on the right hand side of the Photoshop by my talented assistant Maria.
background? Thats a flag.
THE ACCIDENTAL LICORICE SHOT DAVID BICHO
COCOA SHOT
When David and his crew had finished the licorice
shot, 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
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 the
light from hitting the lens, addsDavid.
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 to
create 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
lightening up the shadows in her face.
a. Zoom Reflector
b. Softgrid for 1x4' Softbox
c. White foam core board with black gaffer tape
The second cocoa shot, the profile portrait, was

shot 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
it around her neck and under her chin.
profile COCOA SHOT DAVID BICHO
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LIGHTING INGREDIENTS WITH DAVID BICHO
FLOUR SHOT
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?
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
The flour shot just happened, says David. I editorial, fashion, lifestyle, portraits and
barely changed the setup Id used for the cocoa advertisements, you name it. You can see more
shot. The only difference is that I removed the of his stunning work at www.bicho.se
black flag above the camera. That is why there
is light leaking into the image in the lower right
corner of the image.
During the flour shoot, I also experimented with
blending 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.
flour SHOT DAVID BICHO
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Challenge: Profoto
Choosing the Righ
by Ma
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 for
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 your
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
14
D1 vs. Speedlights
ht Tool for the Job
att Hill
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 maximizes
the output. Also, they are not available in such
large varieties as Profotos Light Shaping Tools.
Here are some of our most essential:
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PROFOTO D1 VS. SPEEDLIGHTS
| D1 LIGHT SHAPING TOOLS SYSTEM CHART |
D1 Spillkill Reflector
10 07 94
Magnum Reflector
10 06 24
Wide Zoom Reflector

10 07 11
LIGHT SHAPING TOOLS
TeleZoom Reflector
10 07 12
Zoom Reflector
10 07 85
7 Grids
5 10 06 35
10 10 06 34
Standard Zoom Reflector

10 06 10
10 Grid
10 06 18
Pro Tube
10 06 70
Barn Doors
10 07 15
10 WideZoom Grid
10 06 36
Grid and Filter Holder

90 06 49
Disc Reflector
10 06 54
Grid Reflector
10 07 05
Barn Doors
10 06 71
PROFOTO BATPAC
BatPac 230V / 120V
901124
Snoot
10 06 51
5, 10, 20 Grids
10 06 46, 10 06 05, 10 06 06
Softgrids, masks and diffusers

available for softboxes.
Softbox Rectangular
Softbox RFi 1x1.3' (30x40 cm) 25 47 01
Softbox RFi 1.3x2' (40x60cm) 25 47 02
Softbox RFi 2x3' (60x90 cm) 25 47 03
Softbox RFi 3x4' (90x120 cm) 25 47 04
Softbox RFi 4x6' (120x180 cm) 25 47 05
Softbox Square
Softbox RFi 2x2' (60x60 cm) 25 47 06
Softbox RFi 3x3' (90x90 cm) 25 47 07
16
Softbox StripLights
Softbox RFi 1x3' (30x90 cm) 25 47 08
Softbox RFi 1x4' (30x120 cm) 25 47 09
Softbox RFi 1x6' (30x180 cm) 25 47 10
Softbox Octa
Softbox RFi 3' Octa (90 cm) 25 47 11
Softbox RFi 5' Octa (150 cm) 25 47 12
Honeycomb Grid for D1
ProGlobe
10 06 73
ProFresnel Spot
10 07 06
Softlight Reflector White

10 06 08
Softlight Reflector Silver
10 06 07
Barn Doors for FresnelSpot

10 07 58
5 10 07 95
10 10 07 96
20 10 07 97
Translucent Umbrella
S 10 06 13
M 10 06 14
Glass Disc
10 07 04
Fresnel Small
10 07 89
White Umbrella
S 10 06 11
M 10 06 12
L 10 07 19
Silver Umbrella
S 10 06 15
M 10 06 16
L 10 07 20
Spot Small
10 07 90
Grid for Softlight Reflectors

10 06 09
PROFOTO AIR WIRELESS SYSTEM
Air USB
90 10 34
Air Remote
90 10 31
Air Sync
90 10 32
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Umbrella XL
Umbrella XL White 10 03 26
Umbrella XL Silver 10 03 27
Umbrella XL Translucent 10 03 28
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Profoto D1 vs. speedlights
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 allows
for even more precise light shaping. Also, due to its smaller size,
the Softlight Reflector is better than softboxes in windy conditions.
18
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.
20
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.
22
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.
24
Two speed lights at full power.
| 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.
26
Profoto D1 500 at 3 1/2 stops less than full power.
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.
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Speedlights: maximum 20 frames in one minute with external battery pack.
| 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.
28
Profoto D1 500: max 60 frames in one minute (at equivalent light output).
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 three
seconds. 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?
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Profoto D1
or 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 monolights

maintain that same philosophy
with the quality and features
imp or t ant for t o day s
digital portrait and wedding
photographer. Controls are
easy to use, freeing your
mind, eyes and hands, so you
can focus on the image youre
creating.
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 beach
and 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. This
provides full control of power,
modeling light and triggering up
to 300 m (1000 ft) away, making on-thefly adjustments simple from your camera or
computer.
The unit can be used with any worldwide voltage,
from 90-130 and 200240 volts without having
to change the modeling lightso take those
international gigs. Youre ready to light anywhere!
30
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Profoto D1
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.
32
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 800W
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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11
12
1
3
4
10
2
14
6
8
13
20
15
19
17
18
16
34
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.
12. Built-in reflector.
2. Setting knob.
14. The unique mounting of the Light Shaping

Tools gives the versatile zoom function.
13. The optional glass cover will give you more

light spread.
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.
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.
9. Test button.
20. Built-in radio for remote control
or triggering.
10. On button.
11. Umbrella tube/mount.
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D1 Air
D1 Air 250
901022
D1 Air 1000
901025
D1 Air 500
901024
36
See video at:

http://www.youtube.com/watch?v=BAuLWb26yKs
Bambi Cantrell:
Overpowering the Sun with Profoto D1
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
onlocation.
Bambi Cantrell
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D1
D1 250
901021
D1 500
901023
38
See video at:
See video at:
http://www.youtube.com/watch?v=CDbRaBXsXco
http://www.youtube.com/watch?v=fUnVY4jUwS8
1-Light Portraiture:
Tony Corbell & Profoto D1
Tony Corbell & Profoto D1
See video at:
See video at:
http://www.youtube.com/watch?v=LAtzrKOpHhc
http://www.youtube.com/watch?v=gjgrHoYyHr8
Tony Corbell & ProfotoD1
Tony Corbell & ProfotoD1
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D1 Studio Kits
he 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-second
kits 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 Air with Air Remote
D1 with Sync Cable
D1 Studio Kit 250/250 Air
D1 Studio Kit 250/500
901051
901058
D1 Studio Kit 250/500 Air incl. Air Remote
901059
901050
901053
901052
D1 Studio Kit 500/1000 Air incl. Air Remote

901074
D1 Basic Kits

901054
D1 Air with Sync Cable
Kit Contains: 2 D1 Monolights, 1 Basic Kit Bag,

Power cables
D1 Basic Kit 250/250
901060
D1 Studio Kit 250/250 Air w/o Air Remote
D1 Basic Kit 250/250 Air
901055
901061
D1 Basic Kit 500/500
901075
901062
901056
901063
901076
901064

w/o Air Remote
901057
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3-Head D1 Studio Kits
The 3 head version of our D1 Studio Kits comes with two RFi
softboxes and a 10 grid so you can bring professional lighting
on 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 Air
901086

901087

901088
42
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D1 Accessories
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
efficientsetups.
D1 Umbrella White Small
SpillKill Reflector
Bag S
100787
100794
330211
Limits stray light from spilling

over edges of your umbrella.
Integrated clips for heat resistant filters and gels make this
accessory even more valuable.
Fits 2 Profoto D1 units, ballistic

nylon exterior, thickly padded
interior, two carry straps,
removable shoulder strap.
Trolley Bag L
Bag M
330220
330212
Trolley Bag L is a large, soft,

padded kit bag with wheels
and shoulder strap, suitable for
D1 Studio Kit 3 Heads.
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.
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.
44
D1 Honeycomb Grid 5
D1 Honeycomb Grid 10
D1 Honeycomb Grid 20
100795
100796
100797
glass domes
glass plates
Miscellaneous
Glass Dome D1
Glass Plate D1 Standard
D1 Plastic Transport Cap
101561
331524
100799
Glass Dome D1 -600K
Glass Plate D1 Clear
D1 Stand
101562
331525
101085
Glass Dome D1 -300K
Glass Plate D1 -300K
101563
331526
flashtubes
331527
Glass Plate D1 -600K
Flashtube D1 250
331522
Flashtube D1 500/1000
331523
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BatPac
BatPac
901124
Power your Profoto anywhere! The BatPac is

a 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 the
world. Its innovative design delivers power with
exceptional stability.
The BatPac has safety features offering protection

from 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 many
older Profoto systems. In addition, your computer,
cell phone and other AC-operated devices can also
be powered by the BatPac.
46
See video at:

http://www.youtube.com/watch?v=mbOVj1TpJ1U
Profoto Presents: BatPacthe portable power source.
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Getting the Shot

with 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.
dixiedixon.com
facebook.com/dixiedixonphotography
@iamDIXIEDIXON
dixiedixon.tumblr.com
GETTING THE SHOT WITH DIXIE DIXON
ixons father was a hobbyist photographer, and provided her first camera.
Her grandfather was a landscape
photographer.
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 Out under
her belt. With talent and credits beyond her years,
shes a photographer to watch. Dixon has quickly
Not many professional shooters can match Dixons become known for her fashion photography and
claim of only working as a photographer, but its portrait work. Shooting with a Nikon D3X as her
true. She shot for the high school yearbook, and main body, Dixon broke down two portraits she
one of her shots made the cover senior year. At recently completed.
that point she decided she wanted to pursue
photography for a living.
GIRL PORTRAIT
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 background
definitely helps in accounting, she says.
The basic concept of this photo session was to create

natural looking beauty images. I wanted to highlight
the beautiful features of the model, make her skin
look glowy, and make her eyes really pop against
the background. I looked through a ton of fashion
During her junior year, she studied abroad with magazines for inspiration and came up with this
a fashion photographer. During that time she fell simple concept. I find a lot of beauty in simplicity.
in love with fashion photography, which is the
genre she is known for. Before graduation, she was In the studio, I have a basic idea of how Im going
shooting weddings, but got tired of it. I started to light something but once you get in there, its
shooting fashionable portraits of friends and then always different, so you never really know until
started charging for them. My whole senior year, I you get in there and shoot it. I used a Softlight
started my business and got my web site up and it Reflector White with the D1 500 as my main light.
was really just shooting fashion portraits.
The light is pretty low - Im probably five-foot three
and its just above my head. With the Softlight
50
MODEL: KAYLIN ROGERS WITH KIM DAWSON AGENCY

MAKEUP/HAIR: ROCIO VIELMA
Getting the Shot with Dixie Dixon
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 highlights
the skin and makes it look beautiful.
I used a Nikon D3X and a 105mm 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 to
cropping 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
c
a. Softbox RFi 1x3'
b. Umbrella
c. Softlight Reflector White
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 tweak
things, I move them around or try changing to an
Octa. Profoto is super reliable and Ive been really
blown away by them every time.
52
Guy Portrait
For this shot, I wanted to create a masculine
beauty image in black and white. With color
images, 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 a D700 on this shot and a micro 16mm

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 look
like it, but the guy has makeup on. I chose the best
It's just endless

what you can do
with lighting...
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.
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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.
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54
Getting the Shot with Dixie Dixon
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 leave
some 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 userfriendly; 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 with
the 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.
a. Umbrella
b. Softbox RFi 1x3'
c. Softbox 5' Octa
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 much
you 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.
Model: Brandon Thornton with Campbell Agency
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AcuteB2 AirS LiFe Battery
AcuteB2 AirS LiFe Battery

901101
The AcuteB flash pack brings together the The incorporated Profoto Air system allows for
famous quality and reliability of Profoto in a small remote triggering from up to 300 m (1000 ft) from
battery generator. Offering significantly improved the camera.
performance and higher flash capacity all in a
lightweight package, the AcuteB2 is just over 3.6kg
(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
ofshooting!
56
See video at:

http://www.youtube.com/watch?v=qWsrges5Hco
MASTER SERIES: Jeremy Cowart's Mobile Setup
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
mylenses.
Jeremy Cowart
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AcuteB2 AirS/R
AcuteB2 AirS/R US/CE

901102, 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
themix.
58
AcuteB Head
Acute Battery Including Cassette LiFe
900938
901105
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
its 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.
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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How to create a
superhero-esque
movie poster
in less than
twohours
With 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...
60
62
How to create a superhero-esque movie poster in less than two hours
Picture The Final Result

Andrew. Its way easier and takes a lot less time.
First of all, get a clear image of what you In this case, the guy hadnt received his company
want to achieve, says Andrew. What I did uniform yet, so we decided to go for a simple, black
was that I downloaded a bunch of movie posters shirt. I then sprayed some water on him to make
from IMDb.com and brought them with me to him look a bit sweaty.
the shoot. If you dont want to do that, you can
draw a simple sketch. Regardless of what you do, I
Set The Lights
think its important to have some sort of reference
The setup I used was very basic, says
material. It really helps me as a photographer to Andrew. Its sometimes referred to as a key and
keep track of what I want to do, and it makes clip light setup.
it a lot easier to give the person in front of the
camera proper directions, especially if theyre not
b
an experienced model.
a
Find A Suitable Location

You need very little space to do this, says
Andrew. 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
image.
Do 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
a. White Backdrop
b. Softlight Reflector White
c. Softbox RFi 5' Octa
andrew macgibBon
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How to create a superhero-esque movie poster in less than two hours
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 photographers
call 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
importantdetails.
Shoot!
There are basically three things you need to
get right in camera: the lighting, the styling and
the 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 writer
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 emotional
response will then be conveyed through their eyes.
In 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.
Insert Background
Whenever I do a job outside and theres a
nice enough sky, I shoot it, says Andrew. By
now 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 more
yellow on the left hand side and a bit bluer on the
right hand side. I then burned out the image at the
64
Original shot
Final image
bottom. Finally, I did some minor tweaks, removed

a few blemishes, pulled out a few highlights, etc.
Andrew McGibbon is currently busy wrapping

up his Influence Project an ambitious project
in which he explores the concept of influence
Thats pretty much it! All in all, I think I spent through a series of portraits of influential South
about ten minutes in Photoshop, and the entire Africans. The Influence Project will soon be
process from picturing the final result to having available as a coffee table book. If you cannot wait
it on my hard drive took less than two hours. I until then, you can see more of his work at www.
started at 4 pm and was done before dinner time. andrewmcgibbon.co.za
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Air Remote
Air Remote
901031
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.
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 either
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 focal
plane shutter camera, and 1/500 second with a
These small, handheld devices weigh only 70g leaf shutter camera. Its triggering speed is over
(2.5 oz), including batteries, making them easy to 100 fps.
handle or keep at the ready when shooting formal
66
Air Sync
Air USB
901032
901034
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.
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
Operating from two AAA batteries, at a frequency and running. Visually see the connected heads on
of 2.4 GHz, the Air Sync has a range of 300 m screen and take control over every aspect of your
(1000 ft). It can sync up to 1/250 second with lighting. Turn units on and off, power the flash
a focal plane shutter camera, and 1/500 second or modeling light up or down, change recycling
with a leaf shutter camera. Its triggering speed timeanything your flashes can do, you can
now do from your computer! You can also save
is over 100 fps.
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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Anatomy
of a Portrait
with
TonyCorbell
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
Anatomy of a Portrait with Tony Corbell
Aaron
you just go to the checkout area, and grab another

light, or you go down to check out three more
In this case, I wanted to create a low-key, gritty, lights or whatever you might need. In the real,
black and white image. His face just screams for true working world, we dont all have that luxury.
that kind of a look, I think.
Therere a lot of people that dont have more than
one or two or three lights. Also, not everyone lives
This is a simple studio picture, when you think in a big city where they can go rent gear easily.
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
a
the camera and I have one of them turned a little
bit 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 appear
as if its one, two, three, or maybe even four lights.
b
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 efficient
as 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,
a. Gray Seamless Backdrop

b. Softbox RFi 3x4'
For this shot, I used my Nikon D3, although Ive

recently 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.
70
AAron Tony Corbell
Anatomy of a Portrait with Tony Corbell
Ol Donald
This is Donald Blake. Hes been an actor, a working
cowboy, 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 and
how 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 because
of 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.
b
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
After you determine the exposure for the strobe,

which in this case was about f/16, its just a matter
of 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.
72
oldonald Tony Corbell
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Light Shaping Tools

Softlight Reflectors
he Softlight Reflector also known as The Beauty Dish

gives a soft, yet easily-focused light. Meant to provide
character 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.
74
See video at:

http://www.youtube.com/watch?v=Djoi6hFK35o
MASTER SERIES:
Matthew Jordan Smith's Favorite Light Shaping Tools
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Softlight Reflector Silver

100607
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.
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.

76
Tom Munoz
25 Grid for Softlight Reflectors

100609
Diffuser
for Softlight Reflector
100714
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Whether Im doing portraits

or a beauty assignment, or a
hair assignment, my Beauty
Dish is there... I use the
white most of the time.
Its an incredible light...
a great tool.
MATTHEW JORDAN SMITH
Softlight Reflector White

100608
The Softlight Reflector White gives a softer, wider

light spread for beauty and fashion images with
a softer tone without sacrificing the directional
quality of the light. It is especially suitable for
lighting subjects where diffused, yet distinctive
light is needed.
Softlight Kit
901183
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.
78
See video at:

http://www.youtube.com/watch?v=Qn05BEj3dMQ
MASTER SERIES:
Jeremy Cowart, Favorite Light Shapers
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
beautifullight.
Jeremy Cowart
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PROFOTO UMBRELLA XL
xtra large umbrellas are useful Light Shaping Tools for

portrait-, people- and fashion photography. They create
a 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 umbrella
onto a light stand, or use it with former Profoto headsor even
with products from other brands! All umbrellas come in a rugged
transport bag.
80
Profoto Front Diffuser for

Umbrella XL
254651
Profoto Umbrella XL Silver

100327
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.
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Profoto Umbrella XL Translucent

100328
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 allows
the light distribution to be changed by simply sliding the shaft inside
the flash head.
82
Profoto Stand Adapter

for Umbrella XL
101099
Profoto Umbrella XL White

100326
The Profoto Umbrella XL White is an ideal large beauty light for

full-length portraiture and photographing groups. The white interior
provides a smooth soft light complimentary to all skin tones, making
it the perfect light shaper for every photographers lighting tool box.
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Profoto Giants
In conjunction with the Beauty Dish, I

always use the 7ft Profoto Giant just to fill
everything; light a whole room...

Kareem Black
rofoto's 150 and 210 reflectors, often used with the

photographer standing in front of the reflector, give you
the 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
84
Profoto Giant White 150

100314
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.
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Profoto Giant White 210

100315
Large white umbrella/reflector with a 7-foot diameter, resulting

in a strong, but very soft light output. The low weight and easy
handling 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.
86
Profoto Giant Silver 150

100316
Versatile reflector with 5-foot diameter to create brilliant light on

location. This model is large enough to illuminate a whole person,
but compact and handy for easy transportation and set-up. A
must-have accessory.
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Profoto Umbrellas
ith 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 details
in materials, or if a higher light output is needed.
88
White Umbrella Small
Silver Umbrella Small
Translucent Umbrella Small
100611
100615
100613
White Umbrella Medium
Silver Umbrella Medium
Translucent Umbrella Medium
100616
100616
100614
White Umbrella Large
Silver Umbrella Large
100719
100720
Disc Reflector
100654
Designed for use with an umbrella. It keeps light from spilling off
the edges of the umbrella. Very compact design for easy carrying.
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PROFOTO RFI SOFTBOXES
he 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 ShapingTool.
90
See video at:

http://www.youtube.com/watch?v=G6qsGKEl2Fc
Profoto RFi Softboxes
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This is what makes an RFi Softbox special:
1. Choose the tool you need. Create the light you want. RFi
softboxes come in twelve models and four shapes: rectangular,
square, octagonal and strip.
2. Use your old flash brand in a brand new way. The speedring
adaptors make the RFi softboxes compatible with well over 20
different flash brands.
3. Shape the light with precision. Optional accessories, such as
the Softgrid, the Flat Front Diffuser and the StripMask, allow for
even more precise light shaping.
4. Focus your energy where it is needed. Color-coded speedrings
and Velcro attachments result in hassle-free assembly and
disassembly. No tools or pre-assembly needed.
5. Experience the quality of light that Profoto is famous for. All
RFi softboxes have double-layered diffusers. This creates a softer,
more even light spread. The silver interior provides a higher output
and a crispier character.
6. Stop worrying about your equipment. Each unit is hand-sewn
with heat resistant, high-quality fabrics. Seam lines, edges and
corner pockets are reinforced.
7. Explore the Light Shaping Tool system. All RFi softboxes are
part of Profotos renowned Light Shaping Tool system with more
than 120 unique tools to choose from.
92
Softbox RFi 1x1,3'

(30x40cm)
Softbox RFi 1,3x2'

(40x60cm)
Softbox RFi 2x3'

(60x90cm)
254701
254702
254703
Extra-small softbox ideal for

hand-held use on location or for
lighting small objects or areas
within a larger scene.
Small, compact size makes

it ideal to use on location for
portrait, wedding, editorial,
and product photography.
Softbox RFi 3x4'

(90x120cm)
Softbox RFi 4x6'

(120x180cm)
254704
254705
Great for full-body portraits

and lighting large groups.
Great for full-body portraits

and lighting large groups.
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The medium sized RFi 2x3'

(60x90cm) is suitable for
portrait, wedding, editorial and
product photography.
Softbox RFi 2x2'

(60x60cm)
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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Softbox RFi 3x3'

(90x90cm)
Softbox RFi 1x3'

(30x90cm)
Softbox RFi 1x4'

(30x120cm)
254707
254708
254709
Suited to portrait and people

photography, but also ideal
over-head to draw out extra
detail in shadows with a small,
diffuse source.
Due to its small profile,

this soft box is optimal for
portrait, beauty and product
photography.
This striplight is ideal for many

situations, especially 3/4 and
headshot portraiture. The
exchangeable internal diffuser
ensures extremely low light
fall off.
Softbox RFi 3' Octa

(90cm)
254711
Softbox RFi 1x6'

(30x180cm)
254710
Ideal to light a full length

portrait without spilling light
everywhere, hair lighting, and
as a kicker light.
Ideal for people and portrait

photography, optimal size for
jobs on location. The octagon
shaped softbox can be used as
a key light for portraits since
it is the most efficient use of
light and has a natural fall off.
18.5" depth..
94
Softbox RFi 5' Octa

(150cm)
254712
Ideal main light source

for portrait and people
photography.
SOFTGRIDS
RFi Softgrid 50
1x1,3'
RFi Softgrid 50
3x3'
254620
254626
RFi Softgrid 50
1,3x2'
RFi Softgrid 50
1x3'
254621
254627
RFi Softgrid 50
2x3'
RFi Softgrid 50
1x4'
254622
254628
RFi Softgrid 50 3x4'
RFi Softgrid 50
1x6'
254623
RFi Softgrid 50
4x6'
254624
RFi Softgrid 50
2x2'
254625
254629
RFi Softgrid 50
3Octa
254630
RFi Softgrid 50
5'Octa
254631
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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STRIPMASKS
RFi Stripmask 7 cm 1x3'
254632

254633

254634
96
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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RFi speedring adapter Profoto
RFi speedring adapter Speedotron
100501
100510
RFi speedring adapter Nikon/Canon
RFi speedring adapter Comet
100502
100511
RFi speedring adapter Elinchrom
RFi speedring adapter

Lumedyne/Quantum/Sunpak/Norman
100503
RFi speedring adapter Bowens/Calumet

100504
RFi speedring adapter

AlienBees/White Lightning X
100512
RFi speedring adapter Dynalite 2

100513
RFi speedring adapter Sunstar
100505
100514
RFi speedring adapter Hensel Expert
RFi speedring adapter Broncolor Visatec
100506
100515
RFi speedring adapter Broncolor Pulso
RFi speedring adapter Novatron 2
100507
100516
RFi speedring adapter Multiblitz Profilux
RFi speedring adapter Multiblitz Varilux
100508
100517
RFi speedring adapter Photogenic
RFi speedring adapter Photona
100509
100518
98
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 bySoftbox
pg. 114
Using Softboxes to
Create a Perfectly Even,
WhiteBackground
pg. 116
Creating Hard Light

with aSoftbox
pg. 118
Creating Long and Even

Highlights withSoftboxes
pg. 120

withSoftboxes
pg. 122
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Reflectors
Zoom Reflector
100785
he versatile and compact cornerstone of

most 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 Profoto
heads 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 in

a 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 out
for yourself why the Profoto Zoom Reflector is
the most popular reflector we offer!
100
Grid & Filterholder Kit for Zoom Reflector
Snoot
900649
100651
Attachment for new Zoom and former Standard

Zoom reflector to mount grids, filters and the
Snoot (100651).
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Compatible with Grid & Filterholder
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Reflectors
Magnum Reflector
100624
The Magnum Reflector has long been regarded as

the 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.
102
10 Honeycomb Grid for

Magnum and Narrow Beam
Reflectors
100618
See video at:

http://www.youtube.com/watch?v=dEhzWOzEVwk
MASTER SERIES:
Kareem Black on his Favorite Light Shaping Tools
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
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Reflectors
WideZoom Reflector
100711
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.
104
10 WideZoom Grid
for WideZoom Reflector
100636
TeleZoom Reflector
100712
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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Reflectors
Disc Reflector
NarrowBeam Travel Reflector
100654
100713
The Profoto Disc Reflector is designed for use

with 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.
The NarrowBeam Travel Reflector gives one of

the 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.
106
See video at:

http://www.youtube.com/watch?v=igoU0JpdyZE
Gregory Heisler on Profoto Light Shaping Tools

The other piece I love that I think is the
unsung 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
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SPECIAL APPLICATIONS LIGHT SHAPING TOOLS
Fresnel Small
100789
The Fresnel Spot projects a clean, crisp beam of

light, 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, which

increases efficiency and gives 100% conformity
of model and flash light for total light control.
Active fan cooling allows continuous use, optional
barn doors assist with controlling stray light,
and rigid and stable construction allows heavy
duty use.
108
Spot Small
ProGlobe w/Ring
100790
100673
Ideal for creating theatrical lighting effects, the

Spot 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.
The ProGlobe gives a surrounding light, similar to a

bare 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.
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Choosing the Right Size of Softbox

for the Right Job
Building Your Set,

Softbox bySoftbox
Creating Long and Even Highlights

with Softboxes

withSoftboxes
Using Softboxes to Create

a Perfectly Even, WhiteBackground
Creating Hard Light

with a Softbox
RFi Softbox
Tips and Tricks
RFI SOFTBOX TIPS AND TRICKS
Choosing the Right Size of Softbox

for the Right 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 moreso!
The larger the light source is
in relation to your subject, the
softer the light will be. This
simple fact is one of the most
important 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 a
much 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 RFi
4x6 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 of
the 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
112
with exactly the same distance

between our model and the
softbox diffuser (when using
a softbox, this is the distance
that 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, there
is 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.
Building Your Set,

Softbox by Softbox
If you are used to shooting with just one or two lights then
using several lights might seem confusing. But it is actually
quite easy. It is just a matter of building your set, step by
step, softbox bysoftbox
The main image (1) in this
article was shot using four
lights: one Profoto Softbox RFi
3x3, one Profoto Softbox RFi
5 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 we
are happy with the result, we
moveon
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 is
the 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 course, to see
how the main light and the
fill light work together in the
third image (3). Notice how the
shadows lighten up, how the
eyes are revealed and how the
dress starts to pop out when
we add our fill light. This is
actually a pretty good portrait
set-up. But there is more!
In the fifth image (5), we
add the RFi 1x6 strip softboxes
as our rim lights. The main
purpose of the rim light is to
give increased dimensions and
114
separate our model from the

background.
For instance, take a closer
look at the models arms and
notice how they pop out of the
image. Also, notice the rim
light around her waist and how
effectively it separates her
from the background.
The sixth image (6) is
just to illustrate what the rim
light looks like on its own.
Note that both strip softboxes
were equipped with Softgrids,
which keeps the light off the
background and out of the
camera, and reduces flare.
Finally, let us return to our
main image (1). Look at it once
more, notice how main, fill and
rim light work together to give
life and color to the image,
and remember how easy this
seemingly complex set-up was
when we built it step by step,
softbox by softbox.
Using Softboxes to Create a

Perfectly Even, White Background
Many photographers use umbrellas when they need an
even, white background. Now, there is nothing wrong with
umbrellas but there are other, perhaps even more convenient
solutions.
Let us start by looking at the
main image (1) in this article.
Or more precisely, let us take
a closer look at the even,
white background. This was
not created with umbrellas
but with two Profoto RFi 1x6
strip softboxes. If we had used
umbrellas, we might have
needed three or even four of
them. In addition, the light
from the softboxes is easier to
control, which means that we
do not need any flags on our
set. Some would also argue
that the light from a softbox is
more even than the light from
an umbrella.
In addition to our strip
softboxes, we used one Profoto
RFi 3x4 as our main light. The
second image (2) shows the
effect of just the RFi 3x4. The
image looks good in its own
right, and this setup could very

well be used for a traditional
portrait. But if we are going for
a more high-key fashion look,
we are going to have to add
more lights!
The third image (3) shows
the effect of just the two
strip softboxes hitting the
background. The important
thing to remember here is not
to use too much power. If the
background gets too bright,
you will lose details in the hair,
the fringe details will burn
out and you will get a glowing
effect around your model. That
can, of course, be used in a
creative way, but that is not
what we are trying to do here.
Here we set the background
lights to about f-stop over
our main light and kept the
edge detailintact.
116
The fourth image (4) shows

the effect of both the main
light and the background lights.
This is exactly the same setup
that we used for our main
image (1). As you can see,
the background is as white
and even as they come. Now,
remember that we needed
only three softboxes and about
16 ft wide space to do it all
in. You could set up a shoot
like this in an office, in a hotel
lobby or even in your basement
orgarage!
In conclusion, with the right
set of tools, you can create a
high-key fashion look with just
a few softboxes.
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Creating Hard Light with a Softbox

The softbox is one of the most popular tools for light
shaping. Most of us use it to create a soft, even and
flattering light, but what we often forget is that the softbox
is a versatile tool that can also be used to create a harder
light with sharper shadows. This article will take a closer
look at its properties.
All images in this article were
lit with just one softbox: the
Profoto 3 Octa RFi. The Octa
RFi was standing in exactly the
same place at exactly the same
angle. But as you can see, the
images are quite different. So
how did we do that?
For the first image (1), we
mounted a Softgrid onto our
Octa RFi. The Softgrid reduces
the light spread to 50 and
creates a more directed light.
As you can see, the light is
just as soft and even as you
would expect, but the amount
of spill light that hits the wall
behind our model is drastically
reduced.
For the second image (2),
we removed the Softgrid. This
did not affect the quality of the
light, it is just as soft and even,
but the light spread is much
wider. Compare our model

in the first and the second
image. She is lit almost exactly
the same. The background,
however, is now a lot brighter.
For the third image (3), we
removed both internal diffusers
and this is where things get
really interesting. Removing the
diffusers essentially converts
our octagonal softbox into a
parabolic reflector. Now, the
light is no longer wrapped
around our model. Instead, it
is focused and quite hard. Take
a closer look at the sharper
shadows under our models
chin or around her necklace.
Also, notice how the highlights
are defined and how her
features and skin texture are
richer in contrast. This is not a
light we typically associate with
a softbox.
118
Finally, let us take a closer

look at the hero image (4). This
was shot exactly the same
way as the third image: no grid
and no diffusers. Again, this is
not your typical softbox light.
This light is almost like sunlight
or something you would use
on a fashion shoot focused,
distinct and quite hard.
In conclusion, we have
created three different lights
with just one softbox.
Or, in other words, do not
underestimate the softbox.
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Creating Long and Even Highlights

with Softboxes
Product photography is precision work and certain skills
are required to create the perfect highlight. This article will
shed some light on this subject.
When lighting reflective

objects, often times the light
sources themselves will show
up in the shot. Therefore,
the size and shape of the
light sources become very
important. What we want
are highlights that accentuate
the shape of the subject. For
instance, if we are shooting
bottles of wine, we want long
and even highlights that follow
the shape of the bottle. And for
that we use softboxes.
To create the main image
(1) in this article, we used four
softboxes: one Profoto RFi
2x3, one Profoto RFi 1x3,
one Profoto RFi 1x4 and one
Profoto RFi 1x1.3. The casual
observer will not notice all these
lights and the reason for this
is, of course, that the highlights
follow the shape of the bottle.

So how did we do that?
Well, the first thing we did
was to place the larger RFi
2x3 so that it creates a large,
window-like highlight on the
right-hand side of the bottles
and the glass. The second
image (2) shows the effect
of this. The exact position of
and distance to the softbox is
very, very important. Move the
softbox just a few inches and
the highlight will change size!
We then added the RFi
1x4, which is a strip softbox
that creates a long and narrow
reflection. As you can see in
the third image (3), adding
thicker highlights to one side
and thinner to the other really
helps add dimension to the
bottles and the glass.
120
For the same reason,

we added yet another, even
thinner, light source to the left
side: the RFi 1x3 equipped
with a Profoto Stripmask. As
you can see in the fourth image
(4), we now have a very thin,
almost white highlight running
along the bottles and the glass.
That is the Stripmask in action!
Finally, we added a
backlight. For this we used the
RFi 1x1.3 equipped with a
green gel to pick up the colors
from the bottles.
On a final note, it is also
worth mentioning how even
the light from the softboxes
actually is. Just look at the
highlights in our main image. If
the light was even the slightest
uneven, the highlights, which
are simply reflections, would be
uneven too. But they are not.
1
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withSoftboxes
The fact that a softbox is easy to use does not mean that you
cannot experiment with it. On the contrary, a softbox can be
used in a number of creative ways. This article will show one
suchexample.
In this case, we used three
strip softboxes to create a
giant ring light. We used one
Profoto Softbox RFi 1x3 and
two Profoto Softbox RFi 1x4s.
All three heads were set to the
same power throughout the
entire shoot, and we did not use
any optional accessories.
In the first image (1), only
one of the three lights was
used. If you take a closer look
at the catch light in our models
eyes, you can actually see the
upper-left softbox reflected in
her iris. What we have here is
basically a classic Rembrandt
lighting set-up. The shadows

are intense, our models
features are well defined and
the atmosphere is quite moody
and dramatic.
In the second image (2),
both angled softboxes were
used. Again, take a closer look
at the catch light and see for
yourself. Also, notice how the
second softbox lightens up the
shadows, especially around our
models eyes and cheekbones.
The result is obviously cleaner
and less moody.
In the third image (3), all
three lights were used. The
triangular catch light
is clear proof of this.
Now the shadows are
almost completely
eliminated and our
models features have
122
been flattened out. The light

is flattering and suitable for
everything from beauty and
fashion photography to jewelry
and makeup shots.
Finally, let us take a closer
look at the main image (4). This
was also shot with all three
softboxes. Compare it with our
first (1) and second images (2),
notice the dramatic changes
in contrast and mood, and
remember that we used the
same set-up for all three shots.
In conclusion, we created
three very different images,
ranging from dramatic
portraiture to high key fashion,
with a single softbox set up.
And it was as easy as it looks!
1
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Issue 112783

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The Profoto Advantage:

74 Light Shaping Tools

Profoto D1 vs. Speedlights

Profoto RFi Softboxes90

60 How to Create a Superhero-esque

Movie Poster in Less than Two

SPECIAL APPLICATIONS LIGHT

110 RFi Softbox Tips and Tricks

124 Read More and Join

Building Your Set, Softbox

CHOOSING THE RIGHT SIZE OF

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

hen you cover a face in licorice, it

I wanted a large light source for the licorice shot,

a. Profoto Giant 240 Reflector

Because of this, the set up was quite similar to

Finally, the black flags were also crucial. The

THE ACCIDENTAL LICORICE SHOT DAVID BICHO

LIGHTING INGREDIENTS WITH DAVID BICHO

Hence, the sharper vertical shadows, mixed with

By the way, the fact that the softbox was slightly

The second cocoa shot, the profile portrait, was

LIGHTING INGREDIENTS WITH DAVID BICHO

As was the case for the second licorice shot, the

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

David Bicho is a photographer from Stockholm,

flour SHOT DAVID BICHO

Choosing the Righ

The word photography comes from Greek and

ht Tool for the Job

use our patented clamp mechanism, which makes

PROFOTO D1 VS. SPEEDLIGHTS

| D1 LIGHT SHAPING TOOLS SYSTEM CHART |

Wide Zoom Reflector

LIGHT SHAPING TOOLS

Standard Zoom Reflector

Grid and Filter Holder

Softgrids, masks and diffusers

Honeycomb Grid for D1

Softlight Reflector White

Barn Doors for FresnelSpot

Grid for Softlight Reflectors

PROFOTO AIR WIRELESS SYSTEM

Profoto D1 vs. speedlights

Softlight Reflector White/Silver

Profoto D1 vs. speedlights

Profoto D1 vs. speedlights

Profoto D1 vs. speedlights

Profoto D1 vs. speedlights

Two speed lights at full power.

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

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

Profoto D1 vs. speedlights

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

or more than 40 years, Profoto has

The line of Profoto D1 monolights

Despite their small, lightweight design, D1 units

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

1. Easy-to-use, accessible controls and

12. Built-in reflector.

14. The unique mounting of the Light Shaping

13. The optional glass cover will give you more

3. Display for energy and other functions.