The NEW PS-300 Professional Studio Flash

Show me several views of a monolight strobe:

The bottom of a MonoLight strobe, with the parts labeled for easy identification. BTW, for those of you who have strobes that screw into Tilt/Swivel Bulb Holders, the light stand connectors, umbrella holders, tension knobs, etc. are all built into the bulb holders, and work the same way as those which are part of the strobe bodies, such as the PS-300 MonoLight strobes. See the "Bulb Holder" instructions for details on strobes which use bulb holders (such as the AS-90/ AS-27/ AS-120/ AS-66 and other AS-series Strobes (which use bulb holders) .

Here's another view of the bottom of a strobe, and in this shot you can see the umbrella slot in the strobe's reflector. This allows it to be used with an umbrella, so you don't have to buy a special umbrella holder as is required with many other strobes. The term "Umbrella Reflector" sometimes causes confusion; actually, it's an umbrella- CAPABLE reflector, but all pros and manufacturers just call them umbrella reflectors. Back to top

Here's a front view of an umbrella reflector attached to a strobe; actually, it's an "umbrella- capable" reflector, since it has that unique slot in it which allows us to slide an umbrella stem through the slot and into the umbrella holder hole in the strobe's base. The name "umbrella-reflector" sometimes confuses beginners who (logically) think it refers to an umbrella that reflects rather than a reflector with an umbrella slot. This is a picture of a strobe that has a halogen modeling light, instead of the round bulb found in the SM-1250 Pro Strobe illustrated above. Back to top

Here's a top view of the new PS-300 strobe, with the parts labeled for easy identificat- ion (the reflector has been removed for this shot). Back to top

Here's the back of the PS-300 Pro Strobe, showing most of its controls. Most other monolight strobes have similar controls, so once you understand this unit, you'll have a pretty good idea of how all the other strobes work. After we've plugged our strobe in, and turned it on, the "ready" light goes on to let us know when the strobe is charged and ready to fire; the "test" button lets us fire the strobe to test its proper functioning; the "sync" terminal lets us attach a sync (or PC) cord to the sync terminal on our cameras to control the firing of the strobe with the shutter button on our cameras; and the "optical slave sensor" lets us fire the strobe automatically with the flash of any other strobe or flash unit. The Safety Fuse protects us and our strobe from electrical spikes or shorts, the On/Off switch turns the unit on and off; and the Power Plug is where we plug in the power cord.     Back to top

Here's a picture of a MonoLight strobe on a light stand with an umbrella attached (remember, the umbrella goes through the slot in the monolight's reflector, and slides into the umbrella hole in the base of the strobe or the bulb holder). Back to top

The NEW PS-300 Monolight This is the new Britek PS-300 Monolight Why are photogs so in love with their studios? BECAUSE (in our studios) WE CAN CONTROL THE LIGHT! And a "studio" can be a corner of any room, as long as we can CONTROL THE LIGHT. In our studios, we can play God! We can make it daytime or evening or night; we can shoot 24 hours a day, 7 days a week. We can CREATE anything we can imagine - as long as we can CONTROL THE LIGHT!

After all, the word "photographer" itself (from Greek) actually means Light Writer, or "one who writes with light." The term is meaningful because those of us who make photographs are slaves to light. Light is both our nemesis and our salvation (when we can control the light). Without the right types of lighting equipment, we can never progress to professional level studio pictures. Or location pictures. Sure, we can make beautiful photos with available light... when the light's just right, at the exact time we need it, and at exact place we need it, if it's not raining, if it's not snowing, if it's not too cold, if it's not too hot, if it's not too dark, if everyone we need to make the photographs are available at the exact time the light's just right for our needs, under all the right conditions.... beginning to see now? When we can control the light, we can make the best photographs.

PhotoSpeak: BTW, did you notice, above, that I said "make" photographs, and not "take" pictures? Well, here's your first lesson in how pros speak about photography (photospeak): "Snapshooters" or "point and shooters," who don't think and plan their shots (e.g., most of us) are the ones who "take" pictures (the rank amateurs). Photographers "make" great photographs by careful thought, detailed planning, and, most of all, scrupulous attention to lighting. Before they even think about pressing that shutter, they "design" their photos carefully. Soon, with a little effort, you'll be "making" great photographs! It's not that hard, believe me. But ya gotta CONTROL THE LIGHT! Back to top of page

	This little beauty cranks out a full 150 watt seconds* for mamma or poppa (or both)! Why do photographers want powerful flash equipment (strobes)? Because (both indoors and outdoors) with strobes, WE CAN CONTROL THE LIGHT! Sound familiar? Starting to get the picture, now? (sorry, I just couldn't resist ;-) BTW, did you realize that both the photo above, and the photo on the left, were both taken against the same background? Yup. The backdrop was a pure white canvas. Why does the picture on the left look like it has a brown background? BECAUSE I COULD CONTROL THE LIGHT. Even with a cheapie old (really old) digital Fuji (no speed control, no slr, no aperture choice, etc.). How? See the "technique section below). Hmmm... Light! What the heck is a "Watt Second?" And what's a "GN?"
Technique: How was I able to make the background that's in the top picture pure white, and the very same background, in the picture above, appear brown? It's easy - when you know how (it's sorta like this: What kind of question is a hard question? Answer: One you don't know the answer to. And what kind of question is an easy question? Answer: That's the one you do know the answer to). Here's how it's done: In the top picture, I lit the background with a backlight strobe (it's own strobe), so it received enough light to expose properly, and consequently it came out pure white. In the picture above, I did not light the background; I just used the tiny little built-in flash on the digital Fuji, which was enough to (barely) light the strobe I was photographing, but too weak to reach or brighten up the backdrop to white; therefore, the background underexposed and looked brownish, even though it was really a pure white canvas! Carried to an extreme, I could even make a white background look black, if I wanted to. How? By lighting the subject so brightly that the (unlit) background would underexpose (i.e., not receive enough light) so badly it would come out black. It's all in the LIGHT folks; it's all in the light! Remember, a photographer is a LIGHT writer. Back to top of page
The Power fallacy: Wouldn't I be better off buying one more powerful strobe instead of 2 or 3 less powerful strobes? It's often common for beginners in studio photography to confuse the value of power output (watt seconds) with efficacy. True, we should buy the most powerful set of lights that we can afford, and that will fit our needs, but what's much more important than simple power is our ability to position multiple strobes to produce the best possible image. If you can afford a set of two or three (or more) powerful MonoLight strobes with modeling lights, then that's absolutely the way to go! But if money is an object for you, then you should seriously consider the following information. As an example, if we're doing a portrait session, a couple or three 40-50WS strobes will do the job just fine. It's more important to have 2 less powerful strobes to light our victims than it is to have one much more more powerful strobe (because in portraiture, we need at least 2 oppositely-placed light sources (strobes) - and preferably 3 - to give us the best results). Ideally, for portraits, we'd like at least 3 strobes; we have the main light (to light the highlight side of our victim's face), the fill light (to light the shadow side of the face), and the background light (to light the backdrop, which not only gives us the depth and separation between our subject and the background, but more importantly, to blow away all the ugly shadows! The backlight is the "secret" of eliminating the shadows that plague our amateur images. Far more important than power, is having the ability to appropriately light our subjects to get the best images. Sure, 3 or 4 powerful strobes will eventually be more useful to us than 3 or 4 less powerful units (and if you can afford 2 or 3 or more powerful strobes, definitely go for it)! Ideally, at least two MonoLight strobes - with modeling lights - and a third strobe for a backlight, would be an ideal starter package. If you can afford the MonoLight strobes with modeling lights, absolutely go that route! It will make your photographic life much easier. But if you can only spend a certain amount of money, and can afford either one powerful monolight strobe, or 2 or 3 less powerful strobes (for portraiture, or small to medium product photography, for example), you'll be better off with the 3 less powerful strobes, than you'd be with the one more powerful unit, for lighting your subject. Look at it like this: Sure, a big 18-wheeler truck is much, much, more powerful than a passenger car; but if all you need a vehicle for is to take you to work or school, and on your way around town, you're much better off with the passenger car - ever try to park an 18-wheeler on the street, or in the mall or supermarket parking lot (or anywhere else, for that matter)? Do you really need a gigantic, smoke-belching, 900 horsepower diesel engine and a10-gear manual transmission? See? Beginning to get the picture now? ;-) So basically, if your budget will allow for it, get the most powerful set of strobes you can comfortably afford, and try to get as many strobes that come with modeling lights as you can. But there are lots of us who would love to get started in studio photography, but just can't afford the more expensive units.

Technique: BTW, I purposely made the photograph above to show you an example of a photographic situation that often plagues some of our amateur images. I used this technique to distort the relative size of the strobe body and the reflector. Look at the picture at the top of this auction description or the small one to the left; then look at the image above. The reflector in the image above appears larger than it really is, in relation to the body of the strobe (compare the relative sizes of the strobe and silver reflector). Why does this happen? It's called "perspective distortion" and I'll spare you the physics of the explanation, but whenever one part of an object is closer to the camera's lens than the other part of an object, the perspective is distorted (it's due to the rendering of a 3 dimensional object into a 2 dimensional image). For fun, try this: come in really close to someone's face with your camera, and with the person's nose closest to your lens, take a picture. When the print comes back, you'll see the nose looks huge (compared to the rest of the face). Of course, you can do the same with almost any object you photograph. The lesson? Beware of holding the camera too close to your subject (unless you want perspective distortion for some reason, like this example, or for fun). This most often happens when we're using wide angle lenses (since we can fit more into the frame, we sometimes bring the camera too close to our subjects), but it happens with all lenses. For portraiture, use somewhere between an 85 to 135mm lens (the short telephoto range makes most faces look better). The opposite of the perspective distortion effect is a compression of space caused with long telephoto lenses. If a subject really does have a large nose, shoot your victim with a longer telephoto lens; it will compress space, and make the nose look smaller. Just a couple more tricks up the professional photographer's sleeve. Read on, and learn more.... Back to top of page

More about the new PS-300.....

As we can see from this top view (with the reflector removed), The variable-power strobe allows us to control the power level output (full or half power), and lets us choose whether or not we want to turn on the modeling light.

The variable power switch lets us shoot at full power or, with the flip of a switch, automatically drop the strobe's output to 1/2 power (why would we want to reduce a strobe's power? See Here)! The Modeling light switch lets us turn the modeling light on or off. The other controls are explained just below this part. Back to top of page

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Here's another great feature on these dynamite units that's not found on many competing strobes costing 3-5 times the price of these: when you set these units for 1/2 power, the modeling lights ALSO dim to 1/2 power! What a great feature (what's a "modeling light?" see the explanation just below this picture)! [Why, you may ask, would we want to reduce a strobe's power output? see the "technique" section, below. The "On / Off" switch turns the strobe on or off (duh!); the "Optical Slave Sensor" automatically fires the strobe from any other flash unit (see below for an explanation); the "Ready" light tells us the strobe is charged up and ready to fire;" the "Test" button lets us fire the strobe to test its functioning; the "Sync" terminal (also called a "PC" terminal) is where we plug in our sync cord (when we want to use it); the "Safety Fuse" protects our strobe from power surges; and the "Power Cord" plug is where we plug in - guess what - our power cord. The PS-300 shown here is a "Monolight," which means that all the required components are included in the one package (as opposed to other strobes which may have the flash head in one segment, and then need an additional and separate power supply in order to get it to work; at an additional cost, too). With these units, everything is included; just plug them in, and fire away! Back to top of page

N.B: As with all things, items with greater capabilities usually cost more than those with lesser capabilities. For the novice photographer, I would recommend purchasing strobes that come with modeling lights (you can't "add on" a modeling light to a strobe that doesn't have one); they make our job so much easier. Why buy strobes without modeling lights? Because it's better to own even one strobe without a modeling light than owning none. Owning 2 or 3 strobes without modeling lights is much better than owning one strobe without a modeling light. ANY pro strobe will increase your capabilities, and improve your photography significantly. The reality is that some folks just can't afford to buy the more expensive strobes that come with modeling lights (as well as coming with variable power capability, removable & interchangeable reflectors, and the ability to use light-modifying accessories such as softboxes and softcases, etc.). Other times, a photographer might need some additional lights for uses that don't require modeling lights, so why pay for something you don't need? My recommendation to the beginning photographer who doesn't already own any pro strobes? IF your budget will allow you to buy the better and more powerful strobes that come with modeling lights (and lots of additional features, too), then go for it; that's what you SHOULD buy if you can. But for folks who can't afford the more expensive strobes, buy what you can afford now; it will dramatically improve your ability to make good pictures, as well as giving you much more creative latitude in your photography. In other words, if you can afford a Cadillac, hey, go for it. If you can't afford a Cadillac, get a Volkswagen (or even a Yugo:)- it's a whole lot better than walking (especially in the rain, sleet, and snow:).

BTW, a "Modeling Light" is a separate, additional, light (in addition to the strobe's "Flash Tube") that's built into some strobes and throws continuous light over the same area as the strobe's flash tube will (see the picture below for a close-up of a modeling light). Of course, strobes with modeling lights (like the PS-300 Pro Strobe in these pictures) cost more than strobes without modeling lights. While strobes without modeling lights are also great tools, and will improve our photography in many ways, IF you can afford strobes with modeling lights, definitely go for them! Modeling lights make our jobs much easier, and are especially valuable for beginners.In use, the photographer turns on the modeling light (before the shot), so the we can see what the modeling will look like, as s/he adjusts the lights before he takes the shot and fires the strobe ("Modeling" is PhotoSpeak for the highlights (light areas) and shadows (dark areas) that fall upon the subject, giving it the depth and texture necessary for professional results). This great feature (modeling light) is usually only found on much more expensive lights, but with my discount pricing, lots more folks can afford strobes with these advanced capabilities; the least expensive strobe that comes with a modeling light is this PS-300 model (see more on the PS-300 Pro Strobes here). This unit can be fired by the PC or Sync Cord (included, of course), the Test Button, or the Slave Sensor (which means that any other flash, even your camera's little built-in flash, can automatically fire this unit by it's light alone, so you don't even need to use a sync (PC) cord unless you want to). BTW, a "PC Cord" (Push Contact), also called a "Sync Cord" is a wire that connects the strobe to your camera, and fires the strobe when you press the camera's shutter button. All pro-level cameras come with sync terminals, and some amateur-level cameras also have them. If your camera doesn't have a sync terminal, and you want one, there's a little accessory that fits on your hot shoe and gives you a sync terminal to use. Back to top of page
	We can see the difference between the Modeling Light Bulb and the Flash Tube (the circular tube surrounding the modeling bulb) in this close-up shot of the PS-300's business end (with the reflector removed, of course). The modeling light is especially valuable to the amateur, because it let's us "see" exactly where the light will fall when the strobe flashes. This feature alone is worth at least a hundred rolls of ruined film (which you'll save by having a modeling light)! One of the major questions (and hesitations) I had when I was beginning to learn photography, was "If you use strobes, how do you know what the subject will look like, or how and where the light will illuminate the subject, if you don't have continuous lighting to judge by?" The answer was really simple: You don't. UNLESS your strobes also have MODELING LIGHTS! With modeling lights, you can see exactly where the strobe's flash will illuminate the subject, because the modeling light falls on the subject the same as the strobe's light will fall on the subject (less intensely, of course)! And this is why the pros pay lotsa money for good strobes that come with modeling lights. That's why the professional photographer's pictures look so much better than ours do: they have the right equipment for the job! They can CONTROL THE LIGHT! And now, so can you.
PhotoSpeak: What's a "Slave Sensor?" Well, if you had to use a PC Cord for every strobe, just think what a mess of tangled wires you'd have if you were using 5 or 6 or more strobes to light your subject (as many pros do)! So, science came to our rescue with slave sensors. It's a tiny little sensor built into most good strobes, that sits & waits for a short, intense burst of light. When it detects this burst of light (the flash from another strobe), it automatically sets off the flash tube in the strobe its built into. Voila! Now, with strobes that have slave sensors (often just called "slaves"), we can connect only one strobe to our cameras (with the PC or Sync cord), usually the strobe closest to our camera, and when we press the shutter button, firing the one connected strobe, that flash will automatically set off all the other strobes we may be using for that shot! Ah, ain't technology wunnerful (sic)? Even most of the little flashes built into most modern cameras can set off most strobes with slaves. A strobe that has PC socket, or both a PC Socket and a slave sensor is called a "Master" strobe; a strobe that only has a slave sensor and no PC socket (usually less expensive units) is called a "Slave." Whichever strobe you're using with a PC cord is referred to as your "master" strobe for purposes of that shot. Most of the better strobes have both PC sockets and slave sensors, so they're more versatile and useful to us (however, there are many very good slaves out there today, and you won't need all your strobes to be masters, so don't hesitate to buy some decent slaves when the time comes - and, believe me, if you stick with photography, the time will come). Back to top of page
Complete: Each of these PS-300s from Photographer's SupplyStation or "PhotoSource3" on eBay comes complete with umbrella-capable reflector, sync cord, AC cord, Flash Tube, Modeling Light, built-in umbrella holder, and standard light stand connector; it's ready to plug in and fire away! Since these strobes are A.C. units, they're ready to rock! No batteries or powerpacks or light heads or connector cords are needed; just plug 'em in, and (just like Elvis) you're ready to rock and roll. As with all quality strobes, these are capable of using many additional custom accessories, of course (e.g., snoots, barn doors, softboxes, stands, unbrellas, honeycombs, gel holders, etc.). BTW, pros use umbrellas to "bounce" the strobe's light off of (or sometimes through) to make the light softer, reduce or eliminate shadows, and "mellow-out" the picture. Softboxes (and SoftCases) and umbrellas are specifically designed for this purpose (and yes, these are able to use custom-fitted softboxes & softcases). These are brand new, 100% guaranteed, with the manufacturer's full one year warrantee . These are NOT seconds, blemishes, or anything other than brand new, absolutely perfect, current 2001 models! Just 'cause the price is great, doesn't mean these are in any way less than perfect! Questions? Requests? just e-mail any questions or requests, to me at PhotoSource3@pss3.com or check out-my web site HERE.-These strobes and other photographic equipment also come with an "extra" that's not available anywhere else, at any price whatsoever: FREE photographic education, advice and training from MyPhotoHome.com (coming soon to a computer near you)! MPH Members also get FREE web space (to post your own pictures), and much, much more (when MyPhotoHome.com comes online, shortly).
Point of Information: Why, you might be asking yourself, have virtually all photographers switched to using strobes, when "regular" continuous lights (photographers call them "hot" lights) are everywhere, and it's easier for us to see how the lighting will look with them? Well, the continuous lights, like the ones in our houses (tungsten lights), or halogen (and similar) are called "hot lights" for a reason: they get hot. Really hot! And the special photographic hot lights get twice as hot as household bulbs! This tends to make certain things, like flowers, foods, animals, and those darn pesky models, wilt. Especially models. They get very, very, unhappy when they wilt. Whine, gripe, groan; you'd think a little melting makeup, and running mascara, limp hair, and sticky lipstick, and beads of sweat running down their lovely curvaceous (umm, let's say noses) was a big deal or something, the way they complain! ;-) Next, there's a little problem with the "color temperature" being way off with hot lights, so we have to use special films (3200K or 3400K) or filters, or special photographic bulbs, when using them (strobes are perfectly balanced at 5500K to simulate sunlight, so we can use all the regular daylight films we've come to love/hate over the years). You'll notice that most of your pictures taken indoors without using a flash turn out with a yellowish color cast; that's because household lights are loaded with yellow and red light. The solution is to either use special films, or special filters. But why create more problems for yourself? Using strobes eliminates all these headaches (and heat!). Also, with continuous lights, they're always shining; usually right in our subject's eyes, causing squinting and annoyance (and ugly looking pictures). With strobes, nothing is shining in their eyes, and the flash is too short to cause any of this discomfort to our beloved subjects (until AFTER the flash, when they might be chasing all those little light blips around the room:). Additionally, with strobes, we can control the light much better! We can adjust the power output with the flick of a switch. We can modify the light with umbrellas, softboxes, softcases, filters, scrims and gobos, doo-dahs, and thingamajigs, etc., etc. We can direct the light with barn doors, snoots, honeycombs, and many other accessories. In short, with strobes, we can play God with our photography; WE CAN CONTROL THE LIGHT! And we can do it 24 hours a day, 7 days a week, whenever we want, no matter what the weather is, and without regard to daylight or night. There are yet other, more esoteric, as well as mundane reasons why strobes are the preferred means of photographic lighting in the modern world, but we'll pass on those things for now. You've probably had enough information shoved down your throat already (sorry, but I can't resist trying to educate everyone about photography).
BTW, technically speaking, all professional photographic flash units, even though nearly all pros call them "strobes," are not technically strobe lights. A real stroboscope is capable of dozens (or hundreds or even thousands) of flashes per second, and many can maintain that flash rate for hours on end. Our photographic strobes would die a dozen deaths if we tried to set them off 25 or 50 times a second! However, since photographers almost always call these lights "strobes," we'll just stick with the term; but, technically..... Well, you get the idea ;-> Back to top

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Technique: Why would we want to dim a strobe to 1/2 power? Because in order to get great pictures, we have to be able to control the light (sound familiar?) in a number of ways. Sometimes a full power flash is too powerful for the effect we're after; other times we may want to reduce the illumination to create a different mood. In people pictures, for a head shot (that's what photographers call a picture of a person's face, often the face and shoulders), we often want part of the face highlighted, and the other part of the face in a light to medium shadow. This interplay of light and shadow is called "modeling," and is a hallmark of good photography. Anyway, as an example, a common lighting ratio for people pictures is a 1:2 (also 1:3, 1:4, or even 1:5) ratio - full illumination on one side of the face, and 1/2 that amount of light on the other side of the subject's face (we rarely want full frontal lighting, because it gives the face a flat and unappealing look, as well as other negative aspects). The 1:2 (full/half) lighting combination can give us an interesting and often flattering image, with a good ratio of light and shadow - revealing the character, and giving us depth and texture (but be sure to play around with other lighting ratios, too, for even more creativity). Whenever we have two strobes to work with, we can achieve this 1:2 ratio by moving one strobe (the one providing the shadow side lighting) twice as far away from the subject as our main light (the strobe providing the full illumination). But often things get in the way, like walls and such; not all of us have lots of room in our studios (especially living room studios :) to move our lights as far away as we like. Aha! The scientific wizards devised a most convenient solution! A variable-power strobe (like this great PS-300)! Now, instead of moving lights all over the place, all we have to do is flip a switch, and Voila! 1/2 power without any hassle at all! In some very powerful strobes, we might even find variations from full power, all the way down to 1/32 power. Another way to achieve a lighting ratio (when we only have one strobe) is to use a reflector to "bounce" some light onto the shadow side of the subject's face. You can buy a "professional" reflector for as much as $100.00 or more, but I just use a white poster board, which you can find at any art supply store for under two bucks. You don't have to spend a fortune to make great pictures, just use your equipment to its fullest extent - and use your head! Back to top of page Back up to the PS-300 description

BTW, if you should ever outgrow this light (unlikely, because photographers can always use all the lights we can get), but if you do, you can either trade it in on the new ones, or sell it (maybe even right here on eBay) - and at the amazingly low price you'll get these strobes for in this PhotoSource3 auction, you'll almost certainly be able to sell it/them for much more than you paid for it! So unlike that great computer we're all using right now (which will be almost worthless, for resale purposes, in 6 months or a year), these lights will retain a good portion of their value if or when you're ready to move on. This auction is for individuals only! No dealer sales.

Guaranteed! EVERYTHING I sell equals or surpasses equipment with retail list prices far higher (like TRIPLE what I charge or MORE!! Go ahead, check with your local photo store(s). Buy responsibly, but with confidence. EVERYTHING I sell is 100% guaranteed to be brand new, with the manufacturer's full one YEAR warantee! You may return any purchase (in new and undamaged condition, of course) within 7 days of receipt for a full refund (excluding shipping), if it is not exactly as described in every way. Trust me, you'll love it! For literally hundreds of more objective opinions, check my feedback; and see what every other customer has had to say about this strobe (as well as every other item I've ever sold), and about my service, and my commitment to 100% customer satisfaction! Hey, us struggling photogs have to stick together, y'know (and all of us are always struggling - to make that elusive "perfect" photograph, huh?). Thanks again for viewing this auction, and best of luck to you; feel free to e-mail any questions to me, and may the photographic Gods smile upon you! Umm, a nice present from the Lottery Gods wouldn't hurt, either, huh? :-) For answers to common questions, read my FAQ.

For more information, explanations, additional pictures, etc., click on the title you're interested in learning more about, below.
Technical Information - Answers to many common photographic questions		See my eBay Feedback <- Must See!
Strobes / Flash Units - All the parts & controls of pro strobes explained in detail, with pictures and illustrations		Business Philosophy
Exposure - Issues & explanations	Setting up your new equipment	Backgrounds
FAQ - Many common questions answered!		Softboxes / SoftCases
What kind of lighting equipment do I need?		Strobes
Customer Safety	Accessories	Carrying Cases
What's a flashmeter?	Umbrellas	Photography Books
Learn to "think outside the box."	How I learned to "see" Beauty....	Photography Magazines
Photo Gallery with educational comments on the images...		Online Order form
Updated! TONS of great Photography Links - camera manufacturers, newsgroups, suppliers, online photo sites, photo mags, and much, much, more		Payment & Shipping Options
Photo Tips for real beginners! Some helpful hints for better pix		Photography?
Photo Filters - and how to use them & improve our photography today!		more's coming soon...
What equipment do I need?	Photography - art and craft	Stupid questions
What's "ambient" light?	Continuous lighting ("hot lights")	Edison's failures
Books for photographers	Books on Portraiture	Books on Lighting
After ordering one of your packages, what else do I need (in addition to the strobes, etc.)?
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