The continuous lighting used in the kit is single-bulb softbox lamps on lighting stands. The softboxes are equipped with remotely controlled LED bulbs with adjustable color temperature and variable bulb power. Softboxes are a basic element of a photo studio, designed to change light properties: size of illuminated surface, intensity and direction of light.

Softboxes soften the tonal transitions between light and shadow. Light is evenly distributed inside the softbox and maintains consistent strength across the entire diffuser surface. The outside of the softbox is matte black, preventing reflection of other lamps' light. Folding and unfolding is exceptionally simple, and the folded softbox takes up little space. High-quality materials ensure trouble-free operation for years. Designed and built to safely work with LED bulbs.

In BaseLStudio™ kits, a minimum of 2 lamps are used due to mutual shadow compensation - one lamp serves as the main light source, while the other acts as supplementary lighting. The power of the bulbs used is specified in the technical specifications (below).

The BaseLStudio™ kit includes classic studio continuous lighting, i.e., single-bulb softbox lamps on lighting stands. Softboxes are the basic elements of a photo studio aimed at changing light properties: size of illuminated surface, intensity and direction of light. These types of lamps are gaining popularity in video productions and serve as an excellent alternative to kinoflo lights. The BaseLStudio™ kit includes 2 lamps due to mutual shadow compensation - one lamp serves as the main light source, while the other acts as supplementary lighting. The fixture's dome is finished with silver material inside. Light is evenly distributed within the softbox interior and maintains consistent strength across the entire diffuser surface. The outside of the softbox is matte black, preventing reflection of other lamps' light.

The kit's strong point is the lighting with remote brightness and color temperature control. It uses innovative LED Bi-Color DaVinci™ bulbs, regulated using included remotes.

Variable color temperature is achieved in the bulb through a classic method known from on-camera lights - by mounting a chessboard of luminescent diodes with two different color temperatures. This solution has an additional advantage: shifts in the spectrum of individual diodes increase effective color rendering for the entire bulb. The range of color temperatures goes from 3600K to 6200K. High luminous efficiency ensures very high luminance, equivalent to 170-watt bulbs, despite low active power consumption.

The LED matrices are protected by a light-diffusing cover (diffuser) with an area of 112cm², ensuring pleasant, soft light distribution regardless of intensity. At short distances, the softened light can match that of a softbox or beauty dish lamp. The bulb produces very nice, relatively large reflections.

The generated light is continuous without flickering effects, enabling filming with higher frame rates. The bulb is designed for indoor use and has an IP20 protection class. It's intended for professional applications in photo studio conditions and not suitable for home use. The bulb housing is not hermetically sealed.

The lightweight and stable stand is designed for use with small and medium lamps, as well as lighting sets in studio and outdoor environments. It works great when configured with flash lights or continuous light sources, softboxes, RedHead halogen lamps, whose easy mounting is facilitated by the 16mm studio head with a universal 1/4" thread. When folded, the stand takes up little space, and its assembly is incredibly simple - it has convenient, profiled section clamps. The maximum height of the stand when extended is 200cm, while the working height is 190cm.

The light sources used in the kit allow for smooth color temperature regulation, providing extensive possibilities to adapt to existing lighting conditions, create moods consistent with the presented theme, and conduct creative experiments using lights of different color temperatures.

There are various reasons why we use color temperature control. One of the most commonly cited reasons is the use of ambient light - it could be daylight entering through a window or artificial light from lamps on the room's ceiling. If we use bulbs with varying color temperatures, this will be noticeable in the resulting frame and, importantly, prevent us from achieving natural (neutral) white, gray, and skin tones. To counteract this, we adjust the temperature of the lights to match that of the ambient lighting or sunlight (warm on sunny days, cool - on cloudy ones). This way, existing light improves exposure without affecting our "white balance" - the equilibrium of color temperatures in the frame.

Another reason why we might want to change the color temperature is to emphasize skin tone. People involved in makeup know that it can look different indoors and outdoors. By adjusting the color temperature of the lights, we can check the makeup in various situations. When taking photos or recording videos, we can enhance the desired effect - warming up the skin tone or cooling it down for people with fair complexions and yellow hair tones.

The background hanging set consists of two CGLS-816B studio stands and a foldable, two-section beam attached to them. The frame allows for the suspension of various photographic backgrounds (cardboard, vinyl or fabric) up to 5 kg in weight and with a maximum width of 165 cm. Backgrounds can be hung at heights ranging from 83 cm to 205 cm.

Lightweight and economical photographic background made of polypropylene fabric ensures high durability and resistance to studio conditions - spills, creases, tears. The cardboard roll protects against creases during transport or storage. Potential creases can be easily removed by steaming the background or wetting it.

The width and length of the fabric on the roll are sufficient to create an entire background without creases (cyclorama) for photographing a silhouette. The perforated texture of the background minimizes reflections from strong light sources.

Note regarding material texture - people encountering photographic polypropylene backgrounds for the first time may worry that the background's texture will be visible in photos. In real-life conditions, objects remain approximately 50 cm away from the background, which, combined with shallow depth of field, causes the background texture to blur.

We sell backgrounds with tubes - this greatly facilitates work, transport and storage.

Material Texture

Note regarding material texture - people encountering photographic polypropylene backgrounds for the first time may worry that the background's texture will be visible in photos. In real-life conditions, objects remain approximately 50 cm away from the background, which, combined with shallow depth of field, causes the background texture to blur. Using an aperture below 8 ensures that the background structure is invisible.

• Inanimate objects don't require strong light.
  If you're photographing an inanimate object, you can freely use single-bulb lamps. In product photography, exposure time is arbitrary and can always be adjusted to ensure proper exposure. A tripod will come in handy.
• Beware of people (and animals).
  When taking photos of people or animals, the exposure time is limited. Especially when photographing children or active pets, a significantly larger amount of light is required. Single-bulb lamps will pass the test at short distances (approx. 0.5 m).
• The wider the frame - the more bulbs.
  You can assume that for portraits, you can use two single-bulb lamps. When photographing with a large close-up, the distance between the softbox and face is small and ensures proper exposure. Increasing the frame quickly requires increasing the amount of light.
• Fashion on live models.
  If you plan to do fashion photography with a model (male or female), choose kits with two or more four-bulb softboxes.