The Profoto Ad PDF

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
Softlight Reflectors74
30 Profoto D1
PROFOTO UMBRELLA XL80
46 BatPac
Profoto Giants84
48 Getting the Shot
with DixieDixon 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 SPECIAL APPLICATIONS LIGHT
SHAPING TOOLS108
66 Air Remote
110 RFi Softbox Tips and Tricks 124 Read More and Join
theConversation
CHOOSING THE RIGHT SIZE OF
SOFTBOX FOR THE RIGHT JOB112
Contents
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
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...
2
Licorice Shot
W
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
b had just started to apply the licorice, when I
realized how cool it looked and that I had to shoot
it. So I just tweaked the setup and pushed the
releasebutton.
Because of this, the set up was quite similar to

the other licorice shot. I had a D1 with a Giant
a
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
a. Profoto Giant 240 Reflector
get with the Giant Reflector. That kind of broad
b. Softbox 1x6' RFi
highlight detail that you can see all the way from
c. 10 Grid.
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 make-
can 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.
6 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
a
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.
b
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 c
stripes, are created by the same piece of foam core
board that I had in the licorice shot, but in this case
a. Zoom Reflector
Id attached several pieces of black gaffer tape to
create the white stripes. The table with the foam b. Softgrid for 1x4' Softbox
core board was also positioned much further away c. White foam core board with black gaffer tape
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.
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
Stay connected! profoto.com Find a dealer

LIGHTING INGREDIENTS WITH DAVID BICHO
FLOUR SHOT
As was the case for the second licorice shot, the To be honest, Im not very happy with either of the
flour shot happened almost by accident. The flour shoots, laughs David. But I still think that
make-up artist had just started to apply the flour its nice to show them. If nothing else for the fact
by throwing it onto the models face, and David, that they remind me of the importance of simply
who was standing right beside with the camera in going with the flow from time to time.
his hands, thought: rather than just standing here,
why not take some pictures? 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

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:

PROFOTO D1 VS. SPEEDLIGHTS
| D1 LIGHT SHAPING TOOLS SYSTEM CHART |
TeleZoom Reflector Magnum Reflector D1 Spillkill Reflector Wide Zoom Reflector Zoom Reflector Grid Reflector Disc Reflector
10 07 12 10 06 24 10 07 94 10 07 11 10 07 85 10 07 05 10 06 54
7 Grids
LIGHT SHAPING TOOLS
5 10 06 35
10 10 06 34
Standard Zoom Reflector
10 06 10
10 Grid Pro Tube Barn Doors 10 WideZoom Grid Grid and Filter Holder Barn Doors
10 06 18 10 06 70 10 07 15 10 06 36 90 06 49 10 06 71
PROFOTO BATPAC
BatPac 230V / 120V
901124 Snoot 5, 10, 20 Grids
10 06 51 10 06 46, 10 06 05, 10 06 06
Softgrids, masks and diffusers

available for softboxes.
Softbox Rectangular Softbox Square Softbox StripLights Softbox Octa

Softbox RFi 1x1.3' (30x40 cm) 25 47 01 Softbox RFi 2x2' (60x60 cm) 25 47 06 Softbox RFi 1x3' (30x90 cm) 25 47 08 Softbox RFi 3' Octa (90 cm) 25 47 11
Softbox RFi 1.3x2' (40x60cm) 25 47 02 Softbox RFi 3x3' (90x90 cm) 25 47 07 Softbox RFi 1x4' (30x120 cm) 25 47 09 Softbox RFi 5' Octa (150 cm) 25 47 12
Softbox RFi 2x3' (60x90 cm) 25 47 03 Softbox RFi 1x6' (30x180 cm) 25 47 10
Softbox RFi 3x4' (90x120 cm) 25 47 04
Softbox RFi 4x6' (120x180 cm) 25 47 05
16
Honeycomb Grid for D1 ProGlobe Softlight Reflector White ProFresnel Spot Barn Doors for FresnelSpot
10 06 73 10 06 08 10 07 06 10 07 58
Softlight Reflector Silver
10 06 07
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 Spot Small

10 07 89 10 07 90
Grid for Softlight Reflectors

Silver Umbrella White Umbrella 10 06 09
S 10 06 15 S 10 06 11
M 10 06 16 M 10 06 12
L 10 07 20 L 10 07 19
PROFOTO AIR WIRELESS SYSTEM
Umbrella XL
Umbrella XL White 10 03 26
Air USB Air Remote Air Sync Umbrella XL Silver 10 03 27
90 10 34 90 10 31 90 10 32 Umbrella XL Translucent 10 03 28
STAY CONNECTED! PROFOTO.COM FIND A DEALER

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.

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?

Profoto D1
F
or more than 40 years, Profoto has Despite their small, lightweight design, D1 units
been the leader in lighting solutions also offer ultra-fast recycling times and short
for portrait photography. Their flash duration. The unique built-in reflector gives
consistency, reliability, durability you full control and minimizes stray light while
and quality of light have made them also protecting the flash tube and modeling light
the standard worldwide. during travel. Its designed for use with
the entire range of Profoto Light
The line of Profoto D1 monolights Shaping Tools.
maintain that same philosophy
with the quality and features The fan-cooled units are
imp or t ant for t o day s offered with a white light
digital portrait and wedding slave for triggering, while
photographer. Controls are models designated Air
easy to use, freeing your also offer a built-in radio
mind, eyes and hands, so you receiver for use with the
can focus on the image youre Profoto Air system. This
creating. provides full control of power,
modeling light and triggering up
Available in 250, 500 or 1000 watt-second to 300 m (1000 ft) away, making on-the-
versions, they offer an extensive power range fly adjustments simple from your camera or
from full to 1/64th in increments of 1/10th of computer.
f-stop intervals with the most consistent color
temperature and light output available. Dial in high The unit can be used with any worldwide voltage,
light output to overpower the sun at the beach from 90-130 and 200240 volts without having
and low power setting when you want the lens to change the modeling lightso take those
wide open. international gigs. Youre ready to light anywhere!
30
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.

11
12
1
3
10 4
2
5
14
9
6
13
8 7
20
15
19
17
18
16
34
1. Easy-to-use, accessible controls and 12. Built-in reflector.
displays on the back. Direct digital control
for precise images, its far more than just a 13. The optional glass cover will give you more
digital display. light spread.
2. Setting knob. 14. The unique mounting of the Light Shaping

Tools gives the versatile zoom function.
3. Display for energy and other functions.
15. Locking knob, well balanced and strong to
4. Slave mode selector, set to Radio or IR. hold large and heavy accessories.
5. Ready signals; Off or Beep and/or Dim. 16. Quick and easy to mount, with Profoto
Stand adapter.
6. Modelling light selector. Off, Proportionally
or Free. 17. Mains Socket.
7. Modelling light Free setting. 18. Ergonomic handle lets you redirect the light
in an instant.
8. Channel and group settings for
Profoto Air system. 19. Synchro interfaces. Sync socket, antenna
and IR lens.
9. Test button.
20. Built-in radio for remote control
10. On button. or triggering.
11. Umbrella tube/mount.

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

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: 2-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
3-Light Portraiture: 4-Light Portraiture:

Tony Corbell & ProfotoD1 Tony Corbell & ProfotoD1

D1 Studio Kits
T
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 D1 Studio Kit 250/250
901059 901050
D1 Studio Kit 500/500 Air D1 Studio Kit 500/500

901053 901052
D1 Studio Kit 500/1000 Air incl. Air Remote

901074
D1 Basic Kits
D1 Studio Kit 1000/1000 Air Kit Contains: 2 D1 Monolights, 1 Basic Kit Bag,
901054 Power cables
D1 Basic Kit 250/250

D1 Air with Sync Cable 901060
D1 Studio Kit 250/250 Air w/o Air Remote D1 Basic Kit 250/250 Air
901055 901061
D1 Studio Kit 250/500 Air w/o Air Remote D1 Basic Kit 500/500
901075 901062
901056 901063
901076 901064
D1 Studio Kit 1000/1000 Air

w/o Air Remote
901057

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
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
Need to travel light, but still Limits stray light from spilling Fits 2 Profoto D1 units, ballistic
want soft, beautiful light? The over edges of your umbrella. nylon exterior, thickly padded
white umbrella collapses to Integrated clips for heat resis- interior, two carry straps,
be smaller than a light stand, tant filters and gels make this removable shoulder strap.
yet opens to be a large, soft accessory even more valuable.
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
Trolley Bag L Bag M
the white interior, while the 330220 330212
black outer material prevents
any stray light from passing Trolley Bag L is a large, soft, Fits Profoto D1 Studio Kit,
through. This increases the padded kit bag with wheels replacement item, ballistic
control you have, putting light and shoulder strap, suitable for nylon exterior, thickly padded
only where you need it. D1 Studio Kit 3 Heads. interior, slip pocket with ID
window, two carry straps, and
removable shoulder strap.
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
Glass Plate D1 -600K

flashtubes 331527
Flashtube D1 250
331522
Flashtube D1 500/1000
331523

BatPac
BatPac
901124
Power your Profoto anywhere! The BatPac is The BatPac has safety features offering protection
a portable power-in-a-bag unit, and comes from overvoltage and overtemperature, low power,
complete in a comfortable backpack for easy low battery voltage, etc. This prevents damage to
transportation. Featuring a dedicated inverter and the BatPac and connected flash units. The Profoto
a high capacity battery, the BatPac is safe and BatPac complies with CE regulations and fulfills
very easy to use. With its compact size, this power all international safety requirements. It gives up
source is ideal for location shoots on the beach, to 600W constant power from two integrated
park, or in any location where you do not have separate mains outlets. The BatPac will power
electricity. Shoot with it across town or around the your D1, Acute lighting systems as well as many
world. Its innovative design delivers power with older Profoto systems. In addition, your computer,
exceptional stability. 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.

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
D
ixons father was a hobbyist photog- Since her first camera at age ten, at the ripe old
rapher, and provided her first camera. age of twenty-seven, Dixon already has a long list
Her grandfather was a landscape of clients and the television show Get Out under
photographer. 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 The basic concept of this photo session was to create
photo practice. She launched her business while natural looking beauty images. I wanted to highlight
still attending school. The business background the beautiful features of the model, make her skin
definitely helps in accounting, she says. 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
MODEL: KAYLIN ROGERS WITH KIM DAWSON AGENCY

MAKEUP/HAIR: ROCIO VIELMA
50
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
b
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,
a
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 c
really have to get the right angle on the person. I
tend to shoot and crop in-camera as opposed to a. Softbox RFi 1x3'
cropping in post later on. It can get you in trouble, b. Umbrella
especially when you work with art directors and c. Softlight Reflector White
they want room for text, but this was a personal
shoot so I got to choose the way I wanted it. I so not technical. I just get in there and I know
took some shots with her whole face and, for how to use the lights. Luckily, Profoto lights are
some reason, they werent impactful, so I ended really user-friendly. I dont do a lot of measuring.
up going to one side for a half-face shot. 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
I love shooting strobes in the studio because youre things, I move them around or try changing to an
able to make sure that everything is really crisp Octa. Profoto is super reliable and Ive been really
and focused and you can see every eyelash. Im blown away by them every time.
52
Guy Portrait
For this shot, I wanted to create a masculine I used a D700 on this shot and a micro 16mm
beauty image in black and white. With color Nikon lens. The exposure was at f/14, 1/126, and
images, your eyes can be more distracted by the ISO 100.
clothes and everything else thats going on, but
with black and white, I feel that youre able to get I look at a lot of pictures for inspiration and its
more to the soul of the image and make a deeper all about getting the right team together. When
connection. If color isnt adding to the shot, try youre shooting beauty, you have to focus on
making it black and white. 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 makeup artist I knew to get that look and to make
1x3s closer to the subject than on the womans his skin look flawless. The fashion industry is such
portrait. I like shooting guys this way because it a huge illusion and it takes a huge army of people
really highlights their great jaw line. Bringing the to make it happen.
strip softboxes in closer gives you that spillover
of the light onto his nose and the side of his face.

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 a
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
b
endless what you can do with lighting, especially
with all the light-shaping tools Profoto has.
I picked up the D1 monolight and it was so user- c

friendly; its super consistent and has a fast recycle
time. Ive used other lighting gear and its not
nearly as reliable so Ive definitely been happy with a. Umbrella
the results. Thats why anytime I rent I say, Give b. Softbox RFi 1x3'
me the Profoto. I dont want to have to get on set c. Softbox 5' Octa
and my lights dont work. Ive never had an issue
with Profoto lights over five years of using them.
I love the Profotos Light Shaping Tools. They are

really what I feel sets Profoto apartall the great
softboxes and beauty dishes. Theres just so 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

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

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, The most advanced and reliable rechargeable
there is also a special lamp head: the AcuteB batteries available! These Lithium Ion Iron
Head. At a mere 1.5 kg (3.4 lbs), gives you 600 Phosphate (LiFePO4), in short LiFe batteries.
Ws flashes and an innovative modeling light, using They have a lifetime four times longer than
a high-performance halogen lamp that, at 65 W, lead acid batteries and can be used in a wider
gives you the brightness of 90 W. Combined with temperature range. With 20% more flashes per
its fan-free cooling, it translates to longer lasting charge than older battery types and integrated
batteries. The AcuteB Head includes: disc reflector, electronics protecting them against deep-discharge
flash tube, 65 W halogen lamp, removable frosted and overheating, the Profoto LiFe batteries offer
glass cover, protective transportation cap and a long life and trouble-free operation.
10-foot lamp cable.

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
1 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
think its important to have some sort of reference 4 Set The Lights
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
an experienced model. b
a
2 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
c
image.
3 Do The Styling
You can, of course, add as many details as
you like during postproduction, but my advice is
a. White Backdrop
b. Softlight Reflector White
to get as much as possible right in camera, says c. Softbox RFi 5' Octa
andrew macgibBon

How to create a superhero-esque movie poster in less than two hours
The key light is the main light in the image. In needs to be right. You cant fake that. So, Id
this case, its the light that looks like sunlight. For recommend a technique I learned from the writer
this I used a Profoto D1 monolight, equipped with Constantin Stanislavski: the magic if technique.
a Softbox RFi 5 Octa, standing camera left. The
softbox is very close to the subject, and I am so It works like this: ask the person youre shooting
close to the softbox that Im pressing against it. that if they were in this or that situation, what
would they think and feel? Their emotional
We then have the clip light. Some photographers response will then be conveyed through their eyes.
call it rim light or hair light, but I prefer the name In this case, I asked the guy to imagine what it
clip light. The clip light is the light that hits the would be like to a superhero that the whole city
side of his face that is turned away from the looked up to. Once he started thinking about that,
sun. The clip light helps define the shape of his everything else just followed.
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,
6 Insert Background
Whenever I do a job outside and theres a
nice enough sky, I shoot it, says Andrew. By
but for me the Beauty Dish works really well. now I have a pretty good library of sky images,
It gives me quite a hard light, but not too hard. which I find often comes in handy, such as in this
Neither does it burn out the hair or the small yet case.
importantdetails.
So, I cut out the portrait with the help of the
5 Shoot!
There are basically three things you need to
get right in camera: the lighting, the styling and
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
the energy, says Andrew. Weve already talked yellow on the left hand side and a bit bluer on the
about the first two. Now, when I say energy, Im right hand side. I then burned out the image at the
talking about the eyes. The energy in the eyes
64
Original shot Final image
bottom. Finally, I did some minor tweaks, removed Andrew McGibbon is currently busy wrapping
a few blemishes, pulled out a few highlights, etc. 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

Air Remote
Air Remote
901031
Our specially-designed digital radio system allows events. They pack a lot of function and reliability
complete flash control at your camera or in your into an easy-to-use control panel. Operating at
hand, including trigger, flash energy control and 2.4 GHz, they are approved for worldwide use.
modeling light control. Set up your lights at the Profoto Air is a transceiver, so it can serve as either
venue and dial in the exposure power as you need a transmitter to fire your lights, camera or operate
it. The Air Remote mounts on your cameras hot as a receiver when used with non-Air flash units.
shoe or syncs to your flash terminal and has eight
channels which it uses to control an unlimited Operating from two AAA batteries, at a frequency
number of power packs. Whether shooting at of 2.4 GHz, the Air Sync has a range of 300 m
a VFW hall or a cathedral, Profoto Air Remote (1000 ft). With range like that, youll never need
gives you the power and flexibility to create another system for a wedding venue or reception
perfect exposures. 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 Profoto Air USB offers all the advantages of the
groups of Profoto D1 Air units with the same high Air Remote, and then some. You can still control
performance as Profoto Air Remote. The Profoto all your lights from up to 300 m (1000 ft) away,
Air Sync provides a simple solution when you only but now, you can control all of them from your
need to trigger your flash. Its a faster, simpler computer keyboard.
alternative for the more fast-paced portrait
environments. 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
is over 100 fps. now do from your computer! You can also save
an unlimited number of frequently used lighting
set-ups for fast, easy recall later.
Operating at 2.4 GHz, they are approved for

worldwide use.

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
the camera and I have one of them turned a little a
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 a. Gray Seamless Backdrop
had somebody hold up a Plexiglas mirror over his b. Softbox RFi 3x4'
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 For this shot, I used my Nikon D3, although Ive
as I can with the number of heads I use. Its a recently become a convert to the world of Canon.
technique I try to teach students, because it makes I used a 70-200mm 2.8 lens. The focal length was
them better photographers. In other words, if probably set to 200, and the exposure was shot at
youre a photo student at a school, lets say, and f/16 and ISO 200.
youre doing a shoot and you need another light,
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
a
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
c
brightness to the light outside. In this case, I used
a Softbox 4x6 with a D1 500 Monolight.
b
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 a. Window
reason its so rich and deep and black is because b. Profoto D1 with Softbox RFi 4x6'
of a black gobo that I put up, just a black panel on c. Black panel Gobo used to eliminate the influence of any
his right side, camera left, to make sure I didnt get ambient light from right side of face
any influence from the ambient light in the room.

I really wanted the drama of the light falling off
on the left side of this face.
After you determine the exposure for the strobe,

which in this case was about f/16, its just a 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

Light Shaping Tools
Softlight Reflectors
T
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

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.
Tom Munoz
76
25 Grid for Softlight Reflectors
100609
Diffuser
for Softlight Reflector
100714

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

PROFOTO UMBRELLA XL
E
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.

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.

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
P
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.

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.

Profoto Umbrellas
W
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.

PROFOTO RFI SOFTBOXES
T
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

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' Softbox RFi 1,3x2' Softbox RFi 2x3'

(30x40cm) (40x60cm) (60x90cm)
254701 254702 254703
Extra-small softbox ideal for Small, compact size makes The medium sized RFi 2x3'
hand-held use on location or for it ideal to use on location for (60x90cm) is suitable for
lighting small objects or areas portrait, wedding, editorial, portrait, wedding, editorial and
within a larger scene. and product photography. product photography.
Softbox RFi 2x2'

Softbox RFi 3x4' Softbox RFi 4x6'
(60x60cm)
(90x120cm) (120x180cm) 254706
254704 254705
60x60x47 cm. Can be used

Great for full-body portraits Great for full-body portraits
as a hairlight, fill light and for
and lighting large groups. and lighting large groups.
bringing out small details in
portraits. (23.6x23.6x18.5 in)

Softbox RFi 3x3' Softbox RFi 1x3' Softbox RFi 1x4'
(90x90cm) (30x90cm) (30x120cm)
254707 254708 254709
Suited to portrait and people Due to its small profile, This striplight is ideal for many
photography, but also ideal this soft box is optimal for situations, especially 3/4 and
over-head to draw out extra portrait, beauty and product headshot portraiture. The
detail in shadows with a small, photography. exchangeable internal diffuser
diffuse source. ensures extremely low light
fall off.
Softbox RFi 3' Octa

(90cm)
254711
Ideal for people and portrait

photography, optimal size for
Softbox RFi 1x6'
jobs on location. The octagon
(30x180cm) Softbox RFi 5' Octa
254710 shaped softbox can be used as
(150cm)
a key light for portraits since 254712
Ideal to light a full length it is the most efficient use of
portrait without spilling light light and has a natural fall off. Ideal main light source
everywhere, hair lighting, and 18.5" depth.. for portrait and people
as a kicker light. photography.
94
SOFTGRIDS
RFi Softgrid 50 RFi Softgrid 50

1x1,3' 3x3'
254620 254626

1,3x2' 1x3'
254621 254627

2x3' 1x4'
254622 254628
RFi Softgrid 50 3x4' RFi Softgrid 50

254623 1x6'
254629
RFi Softgrid 50
4x6' RFi Softgrid 50
254624 3Octa
254630
RFi Softgrid 50
2x2' RFi Softgrid 50
254625 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.

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

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

100503 Lumedyne/Quantum/Sunpak/Norman
100512
RFi speedring adapter Bowens/Calumet
100504 RFi speedring adapter Dynalite 2
100513
RFi speedring adapter
AlienBees/White Lightning X 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 Building Your Set, Using Softboxes to

Softbox for the Right Job Softbox bySoftbox Create a Perfectly Even,
pg. 112 pg. 114 WhiteBackground
pg. 116
Creating Hard Light Creating Long and Even Creating a Giant Ring Light
with aSoftbox Highlights withSoftboxes withSoftboxes
pg. 118 pg. 120 pg. 122

Reflectors
Zoom Reflector
100785
T
he versatile and compact cornerstone of It is perfect for simulating direct sunlight in
most Profoto owner's Light Shaping Tool a small studio or for pumping a tremendous
collection is the newly redesigned Zoom amount of light on a background. They also work
Reflector. Why? In a word: versatility. well controlling any stray light when using a large
umbrella or when bouncing light from a wall or
This standard reflector adds functionality to ceiling.
your lighting system without adding significant
size, weight or cost. The unique Profoto head For even more control, add Profoto grids or
zooming feature incorporated into all Profoto barndoors to further shape the light. Find out
heads allows you to slide the reflector forward for yourself why the Profoto Zoom Reflector is
and backward on the head. The result is nearly the most popular reflector we offer!
infinite control the spread of light and intensity
over a wide range, which also can eliminate the
need for additional reflectors or grids.
100
Grid & Filterholder Kit for Zoom Reflector Snoot
900649 100651
Attachment for new Zoom and former Standard Compatible with Grid & Filterholder
Zoom reflector to mount grids, filters and the
Snoot (100651).

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 Honeycomb Grid for
10 Grid or Barn Doors. The crisp character and
Magnum and Narrow Beam
high output make this reflector very popular as
Reflectors
fill-in light source against direct sunlight. 100618
102
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

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 10 WideZoom Grid
fast fall-off. With the light characteristics of a for WideZoom Reflector
wide angle and normal reflectorand everything 100636
in between. The WideZoom Reflector can be used

in combination with umbrellas to reduce stray
light as well.
104
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.

Reflectors
Disc Reflector NarrowBeam Travel Reflector

100654 100713
The Profoto Disc Reflector is designed for use The NarrowBeam Travel Reflector gives one of
with an umbrella. It keeps light from spilling off the highest light outputs of all Profoto reflectors.
the edges of the umbrella. Without an umbrella, Used on Profoto flash heads it great for the location
it gives a low-lighting effect. Very compact design photographer since it is compact, lightweight and
for easy carrying. Standard accessory to go along produces a narrow spread of light.
with AcuteB flash heads.
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

SPECIAL APPLICATIONS LIGHT SHAPING TOOLS
Fresnel Small
100789
The Fresnel Spot projects a clean, crisp beam of The Fresnel Spot has built-in flashtube, which
light, similar to that of natural sunlight. Filters increases efficiency and gives 100% conformity
can be attached to the front of the Fresnel for of model and flash light for total light control.
additional lighting effects. A flash head can Active fan cooling allows continuous use, optional
mount directly to it, without requiring an adapter, barn doors assist with controlling stray light,
and is easily adjustable with its built-in iris control and rigid and stable construction allows heavy
which adjusts the diameter of its projected beam duty use.
and can also be used with all Profoto heads. This
light shaper is excellent for location interiors.
108
Spot Small ProGlobe w/Ring
100790 100673
Ideal for creating theatrical lighting effects, the The ProGlobe gives a surrounding light, similar to a
Spot Small projects a controllable, hard edged bare bulb effect or, if mounted high up, like a street
spotlight. This high-quality optical focusing spot lamp source. It can also be used as background
can be used to project patterns or masked shapes lighting or placed underneath a photography table.
onto your set. It attaches to any Profoto flash Cinematographers call this a Chinese lantern. Its
head and accepts M size (7 cm) gobos. 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.

Choosing the Right Size of Softbox Building Your Set,
for the Right Job Softbox bySoftbox
Creating Long and Even Highlights Creating a Giant Ring Light

with Softboxes withSoftboxes
Using Softboxes to Create Creating Hard Light
a Perfectly Even, WhiteBackground 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 Take a closer look at the with exactly the same distance
in relation to your subject, the two smaller images in this between our model and the
softer the light will be. This article. The first image (1) was softbox diffuser (when using
simple fact is one of the most shot with the larger Profoto RFi a softbox, this is the distance
important lessons to learn 4x6 while the second image that actually matters not the
about light, and for this reason, (2) was shot with the smaller distance between the model
choosing what size of softbox Profoto RFi 1.3x2. While the and the flash head).
to use will be one of the most first image looks almost as if a In conclusion, by choosing
important decisions that you window was in the room, the between a large and a small
will make prior to a shoot. second image looks more as if a softbox, we can drastically
For instance, if you choose lamp is turned on. The lighting change the light and the overall
a larger softbox, you will get a also affects the overall mood of mood. Needless to say, there
much more open, softer light the image. The second image is is no right and wrong. It all
that more closely resembles undoubtedly moodier and more boils down to deciding on what
daylight. If, on the other hand, dramatic. you want to achieve, and then
you go for a smaller softbox, Note that we used only one choosing the right softbox to do
you will get a harder light with rectangular softbox for both the job.
richer contrasts, reminiscent of images. Also note that the light
interior light. was standing in the same spot
112
1
2
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 is that the fill light should not separate our model from the
article was shot using four add to the character, and background.
lights: one Profoto Softbox RFi instead just blend harmoniously For instance, take a closer
3x3, one Profoto Softbox RFi with the main light. That is look at the models arms and
5 Octa and two Softbox RFi the reason that we chose to notice how they pop out of the
1x6. Again, some might be work with the RFi 5 Octa a image. Also, notice the rim
intimidated by the amount of large light source that creates light around her waist and how
lights but the fact is that as a soft and even light. The effectively it separates her
long as you build your set one fourth image (4) shows just from the background.
light at a time, it is almost as the fill light, but what is really The sixth image (6) is
easy as using just a single light interesting is, of course, to see just to illustrate what the rim
source! how the main light and the light looks like on its own.
Let us take a closer look at fill light work together in the Note that both strip softboxes
the second image (2). This was third image (3). Notice how the were equipped with Softgrids,
shot using just the RFi 3x3. shadows lighten up, how the which keeps the light off the
The image is dark, moody and eyes are revealed and how the background and out of the
admittedly not very inspiring. dress starts to pop out when camera, and reduces flare.
But that is not the point. The we add our fill light. This is Finally, let us return to our
point is that we begin with actually a pretty good portrait main image (1). Look at it once
our main light, and when we set-up. But there is more! more, notice how main, fill and
are happy with the result, we In the fifth image (5), we rim light work together to give
moveon add the RFi 1x6 strip softboxes life and color to the image,
to the third image (3). as our rim lights. The main and remember how easy this
Here, we add the RFi 5 Octa purpose of the rim light is to seemingly complex set-up was
as our fill light. Now, the give increased dimensions and when we built it step by step,
important thing to remember softbox by softbox.
114
2
1 6
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 right, and this setup could very The fourth image (4) shows
main image (1) in this article. well be used for a traditional the effect of both the main
Or more precisely, let us take portrait. But if we are going for light and the background lights.
a closer look at the even, a more high-key fashion look, This is exactly the same setup
white background. This was we are going to have to add that we used for our main
not created with umbrellas more lights! image (1). As you can see,
but with two Profoto RFi 1x6 The third image (3) shows the background is as white
strip softboxes. If we had used the effect of just the two and even as they come. Now,
umbrellas, we might have strip softboxes hitting the remember that we needed
needed three or even four of background. The important only three softboxes and about
them. In addition, the light thing to remember here is not 16 ft wide space to do it all
from the softboxes is easier to to use too much power. If the in. You could set up a shoot
control, which means that we background gets too bright, like this in an office, in a hotel
do not need any flags on our you will lose details in the hair, lobby or even in your basement
set. Some would also argue the fringe details will burn orgarage!
that the light from a softbox is out and you will get a glowing In conclusion, with the right
more even than the light from effect around your model. That set of tools, you can create a
an umbrella. can, of course, be used in a high-key fashion look with just
In addition to our strip creative way, but that is not a few softboxes.
softboxes, we used one Profoto what we are trying to do here.
RFi 3x4 as our main light. The Here we set the background
second image (2) shows the lights to about f-stop over
effect of just the RFi 3x4. The our main light and kept the
image looks good in its own edge detailintact.
116
1
2 3 4

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 wider. Compare our model Finally, let us take a closer
lit with just one softbox: the in the first and the second look at the hero image (4). This
Profoto 3 Octa RFi. The Octa image. She is lit almost exactly was shot exactly the same
RFi was standing in exactly the the same. The background, way as the third image: no grid
same place at exactly the same however, is now a lot brighter. and no diffusers. Again, this is
angle. But as you can see, the For the third image (3), we not your typical softbox light.
images are quite different. So removed both internal diffusers This light is almost like sunlight
how did we do that? and this is where things get or something you would use
For the first image (1), we really interesting. Removing the on a fashion shoot focused,
mounted a Softgrid onto our diffusers essentially converts distinct and quite hard.
Octa RFi. The Softgrid reduces our octagonal softbox into a In conclusion, we have
the light spread to 50 and parabolic reflector. Now, the created three different lights
creates a more directed light. light is no longer wrapped with just one softbox.
As you can see, the light is around our model. Instead, it Or, in other words, do not
just as soft and even as you is focused and quite hard. Take underestimate the softbox.
would expect, but the amount a closer look at the sharper
of spill light that hits the wall shadows under our models
behind our model is drastically chin or around her necklace.
reduced. Also, notice how the highlights
For the second image (2), are defined and how her
we removed the Softgrid. This features and skin texture are
did not affect the quality of the richer in contrast. This is not a
light, it is just as soft and even, light we typically associate with
but the light spread is much a softbox.
118
1
2 3 4

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 follow the shape of the bottle. For the same reason,
objects, often times the light So how did we do that? we added yet another, even
sources themselves will show Well, the first thing we did thinner, light source to the left
up in the shot. Therefore, was to place the larger RFi side: the RFi 1x3 equipped
the size and shape of the 2x3 so that it creates a large, with a Profoto Stripmask. As
light sources become very window-like highlight on the you can see in the fourth image
important. What we want right-hand side of the bottles (4), we now have a very thin,
are highlights that accentuate and the glass. The second almost white highlight running
the shape of the subject. For image (2) shows the effect along the bottles and the glass.
instance, if we are shooting of this. The exact position of That is the Stripmask in action!
bottles of wine, we want long and distance to the softbox is Finally, we added a
and even highlights that follow very, very important. Move the backlight. For this we used the
the shape of the bottle. And for softbox just a few inches and RFi 1x1.3 equipped with a
that we use softboxes. the highlight will change size! green gel to pick up the colors
To create the main image We then added the RFi from the bottles.
(1) in this article, we used four 1x4, which is a strip softbox On a final note, it is also
softboxes: one Profoto RFi that creates a long and narrow worth mentioning how even
2x3, one Profoto RFi 1x3, reflection. As you can see in the light from the softboxes
one Profoto RFi 1x4 and one the third image (3), adding actually is. Just look at the
Profoto RFi 1x1.3. The casual thicker highlights to one side highlights in our main image. If
observer will not notice all these and thinner to the other really the light was even the slightest
lights and the reason for this helps add dimension to the uneven, the highlights, which
is, of course, that the highlights bottles and the glass. are simply reflections, would be
uneven too. But they are not.
120
2

Creating a Giant Ring Light

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 lighting set-up. The shadows been flattened out. The light
strip softboxes to create a are intense, our models is flattering and suitable for
giant ring light. We used one features are well defined and everything from beauty and
Profoto Softbox RFi 1x3 and the atmosphere is quite moody fashion photography to jewelry
two Profoto Softbox RFi 1x4s. and dramatic. and makeup shots.
All three heads were set to the In the second image (2), Finally, let us take a closer
same power throughout the both angled softboxes were look at the main image (4). This
entire shoot, and we did not use used. Again, take a closer look was also shot with all three
any optional accessories. at the catch light and see for softboxes. Compare it with our
In the first image (1), only yourself. Also, notice how the first (1) and second images (2),
one of the three lights was second softbox lightens up the notice the dramatic changes
used. If you take a closer look shadows, especially around our in contrast and mood, and
at the catch light in our models models eyes and cheekbones. remember that we used the
eyes, you can actually see the The result is obviously cleaner same set-up for all three shots.
upper-left softbox reflected in and less moody. In conclusion, we created
her iris. What we have here is In the third image (3), all three very different images,
basically a classic Rembrandt three lights were used. The ranging from dramatic
triangular catch light portraiture to high key fashion,
is clear proof of this. with a single softbox set up.
Now the shadows are And it was as easy as it looks!
almost completely
eliminated and our
models features have
122
2

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14 Challenge: 74 Light Shaping Tools

56 AcuteB2 AirS Profoto RFi Softboxes90

60 How to Create a Superhero-esque Reflectors100

Using Softboxes to Create

Creating Hard Light with

Creating Long and Even

Creating a Giant Ring Light

As with most experiments, David did not know

Obviously applying flour, cocoa or licorice

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

I wanted a large light source for the licorice shot,

I then had a second D1, equipped with a Softbox

Finally, I had a third D1, equipped with a 10 Grid

In addition to the monolights, I had a large foam

licorice SHOT DAVID BICHO

Because of this, the set up was quite similar to

6 THE ACCIDENTAL LICORICE SHOT DAVID BICHO

When David and his crew had finished the licorice

COCOA SHOT DAVID BICHO

Hence, the sharper vertical shadows, mixed with

By the way, the fact that the softbox was slightly

The catch light in the models eyes is also worth

The second cocoa shot, the profile portrait, was

profile COCOA SHOT DAVID BICHO

Stay connected! profoto.com Find a dealer

During the flour shoot, I also experimented with

flour SHOT DAVID BICHO

Stay connected! profoto.com Find a dealer

The word photography comes from Greek and

But some things are different nowadays. The

Savvy photographers choose the right tool for

Profoto offers the widest selection of Light Shaping

use our patented clamp mechanism, which makes

When your job is on the line and you are looking

Here are some of our most essential:

Stay connected! profoto.com Find a dealer

| D1 LIGHT SHAPING TOOLS SYSTEM CHART |

Softgrids, masks and diffusers

Softbox Rectangular Softbox Square Softbox StripLights Softbox Octa

Fresnel Small Spot Small

Grid for Softlight Reflectors

PROFOTO AIR WIRELESS SYSTEM

STAY CONNECTED! PROFOTO.COM FIND A DEALER

Softlight Reflector White/Silver

Photographers often refer to our Softlight Reflector as the Beauty

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

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

Two speed lights at full power.

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

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

As you probably know, having multiple speedlights with external

Stay connected! profoto.com Find a dealer

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

Stay connected! profoto.com Find a dealer

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

Compact and lightweight.

Choose from the vast variety of Light Shaping Tools available.

Built-in microprocessors ensure the output consistency 0.05

Short flash duration to stop action.

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

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

Connect to your PC or Mac with Profoto Studio software.