NEW! No waiting for an Auction to end! Bid Now = Buy NOW!

Dear Visitor: Welcome to my eBay store fixed-price venue! This format allows you to make your purchases INSTANTLY! No bidding (and no chance of being outbid, no chance of the price increasing, and no chance of losing out on the auction). This is just like making any regular purchase; simply placing your bid, places your order! Order one item or package, and one gets shipped right away; order 2, and both get shipped right away (once you pay for them, of course:).

So just decide how many of these fabulous Starter Strobe Kits you want, and as soon as you place your order (and pay), your new goodies will be on their way to you - right away!

Take Care, gentle photographer - when choosing your lighting equipment. There are many strobes and much lighting equipment of lesser quality, fewer capabilities, and much less versatility being sold online nowadays. Of course, it's you who will make the decision about who you will buy from, and which equipment you will buy; however, before making your purchasing decisions (and forking over your hard-earned cash:), ask yourself a few questions: Do these strobes come with modeling lights? Do these strobes have removable reflectors? Does it come with variable-power capabilities? Is it expandable and are there accessories available for the strobes to easily and inexpensively expand your lighting capabilities? Does it come with a guarantee backed by an American-based manufacturer/distributor to provide warrantee service or replacement? Does it even come with a warrantee? If the kit includes umbrellas, are they appropriately matched to the strobe's output power? Does it come with an American power plug, or does it require adapters just to make it work (at extra cost to you, as well)? And how much help and information can you expect from the seller? If the equipment you're considering buying fits your needs, even without the capabilities I usually like my equipment to have, then make your purchase knowing what you're ordering and what you're going to have to work with when your equipment arrives. I'm not suggesting that you shouldn't buy equipment with lesser capabilities, just that you should understand what you're getting before you spend your hard-earned money. But, of course, you're the customer, and you decide what to buy, and from whom to buy it.

Here's why I like my strobes to come with the capabilities I've described: 1) If a strobe doesn't come with a modeling light, you'll have no way to know what your picture will look like until after you get the prints back! In fact, modeling lights are probably the greatest capability any strobe can have (especially for beginners in studio lighting). See below for details on modeling lights. 2) If a strobe doesn't have a removable reflector, then you can't control the light spread (coverage angle) - you're stuck with whatever output angle the strobe comes with, so it's far less useful to us (sometimes we want a narrow light spread to highlight our subject; other times we want to remove the reflector completely for a broad 180º light spread to light backgrounds, large areas, or groups, for example). 3) If a strobe doesn't have variable power capabilities, you'll need a larger studio area because you'll have to physically move the strobes farther away from your subject in order to reduce the light when needed (with variable power strobes - such as these - we simply flip a switch). 4) If you're only buying 2-3 master strobes, you're much better off having them be of the same power; it makes it quicker and (much) easier to set up your shots and allows you to get perfect exposures more easily. 5) One of the greatest disappointments for new strobe owners is to discover that they cannot (easily and inexpensively) expand the capabilities of their lights (by using color filters/gels to allow us to change the color of our backgrounds and subjects or to direct and modify the light with barndoors because the strobes we bought didn't have the ability to use these helpful accessories, etc.). 6) And finally, if you're buying umbrellas with your kit, the size of an umbrella should be matched to the strobe's output; too large of an umbrella will result in too much light reduction (and consequently forces you to use either a very slow shutter speed, or a much larger aperture, which cuts down your depth of field, and may be out of reach for many zoom lenses), and too small an umbrella will allow light spillover and substantially decreased effect. That's why I always match the correct umbrella size to the strobes' output power in all my packages (if you want larger or smaller umbrellas, just ask; you da boss:).

So use your head, choose your equipment carefully, review the seller's feedback, check out the supplier's web sites, and no matter where you buy your equipment, have fun and make some great pictures! Thank you for visiting this auction, your time and consideration are most sincerely appreciated. You might care to review my business philosophy, if you like.

As we can see from the back view, The New PS-300 is well-stocked with controls and comes with all the extras already built-in.

The PS-300 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!

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 other controls are pretty much self-explanatory.

BTW, a "Modeling Light" is a separate, additional, light (in addition to the strobe's "Flash Tube") that's built into the strobe and throws continuous light over the same area as the strobe's flash tube will (see the picture below for a close-up). You turn on the modeling light (before your shot), so the photographer 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.

This unit can be activated by the PC 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.
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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.

Complete: Each of these PS-300s 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 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

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).

Specifications: PS-300 Pro Studio Monolight

Here's a brief explanation (using, for this example, your (well, it might be yours soon:) new PS-300 strobe, which have a power level of 150WS, and a GN of 150):

The "150WS" (or the 80WS, or 20WS, etc.) is the output power of your strobe and a watt second is equal to the electrical term "joules," a high-falutin power level. The Guide Number (GN) of these PS-300 units is also 150 (for ASA/ISO 100 film), with a standard reflector. Often, the Watt Second power output is close to the guide number. What good is knowing the guide number? Well, the GN gives us a method of calculating exposure (for any strobe and any film) in this way: to calculate the correct approximate exposure for any subject at any distance, simply divide the distance (in feet) that the subject is from the strobe, into the strobe's GN (guide number); the result is our approximate "F" stop.

For example, (presuming you're using ISO/ASA 100 film), our GN is 150, and the subject is 12 feet away, then: 150 (GN) divided by 12 (feet away from the subject) = 12.5, so we'd use an exposure setting of just over F11. If our subject is 8 feet away, then: 150 divided by 8 = 18.75 which would give us an approximate F stop of just over 16. See? Umm, if you don't understand it, don't worry about it (it took me years to fully comprehend). Suggestion: If you're serious about improving your photography, you should consider getting a handheld flash/ambient light meter see links here (sorry, I don't carry any at this time, but I'll be glad to offer some suggestions if you like).

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Here's a fabulous deal on an excellent quality light stand. This Brand New Britek light stand extends to a height of 6 1/2 Feet, and folds down (fully assembled) to only 2.8 feet for easy packing and transport.

These stands have a black finish which reduces unwanted glare; three vertical sections (19mm, 16mm, 13mm), and three double-braced legs (16mm), which provide excellent stability in the studio or on location. They're topped with a standard 3/8" stud with 1/4" thread, type A. Sturdy as all get out, yet only weigh about 3 lbs. (so you can pack up a set of three stands for under 10 lbs. for location shoots - believe me, schlepping around anything heavier can give you a hernia, especially when added to all your other gear). Yet these babies can be folded up and put in the corner of your closet and take up very little space.

I've been using these same stands for over 3 years now, and couldn't be happier! You'll probably love 'em, too. They're sized perfectly for multiple uses: with a low height of under 3 feet, they're great for background lighting; at their full 6.5 feet, they're perfect for lighting standing subjects, lighting from above for kids or sitting subjects, or even hairlights; and adjusting them anywhere in-between, they're perfect for subject-level lighting, whether you're photographing kids or adults (or things)! BTW, as stated above, you'll be buying brand new stands here, NOT my used ones (those are mine! you can't have them; I like them, and I'm gonna keep them; you go buy your own! (hey, at this great price, buy several. :).

Reality Check: Hey, if you're rich, I'd suggest buying a set of bigger, heavier (& more expensive) stands for your pro studio setup, and another set of lightweight stands for location shoots; but my studio is in my house, and I don't have 20 foot ceilings for the 15' stands anyway, so these stands work just fine for me. 6.5 feet is plenty high for most uses, and we have larger stands should you need more height. And they're sturdy enough for studio work, and light enough for location work. Realize, though, that these stands, while certainly a great deal and a marvelous value, are the working photog's Chevys and Fords; not Rolls Royces. Treat them with minimal respect, and they'll see you through to old age; but if you're looking for the Ferraris of light stands, go buy something else. This sturdy light stand is rated to hold a load of 10 pounds (but, personally, I try to keep the load under 9 lbs when it's fully extended) either way, it's likely to be able to hold darn near any lighting unit you're using. Of course, there are bigger and heavier stands, too.

All the sections of these stands are quality tubular stock, NOT the cheapie solid ones (which are heavier and less versatile, as well as cheaper). The only "cheap" part of these stands is the price - not the quality! Bid now, while they're still in stock.
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10 Top Questions about this Auction!

NEW! No waiting for an Auction to end! Bid Now = Buy NOW!

Dear Visitor: Welcome to my eBay store fixed-price venue! This format allows you to make your purchases INSTANTLY! No bidding (and no chance of being outbid, no chance of the price increasing, and no chance of losing out on the auction). This is just like making any regular purchase; simply placing your bid, places your order! Order one item or package, and one gets shipped right away; order 2, and both get shipped right away (once you pay for them, of course:).

So just decide how many of these fabulous Starter Strobe Kits you want, and as soon as you place your order (and pay), your new goodies will be on their way to you - right away!

From whom should you buy your photographic equipment? Hey, it's your hard-earned money, so you should buy from anybody you darn well like! However, one of the advantages of buying from another photographer is that, unlike "salesmen," who just want to "sell" things to you, a photographer will know what you need, and what you don't need; a photographer will know why you'll need something, and why you won't need something; a photographer will have actually used the equipment being sold, and will be able to offer advice based on real-life experience. Of course, the facts that photographers (like us) are usually much better-looking, a lot smarter, definitely kinder, and unquestionably much more creative than other folks, doesn't hurt either, does it? ;-)

Unlike the others who try to cover up their own photographic ineptitude with not-so-vague warnings warning you against buying from anyone else (anyone but them, that is:), I won't stoop to such reprehensible behavior; I guess I'm just not greedy enough to do such things. In addition, I trust you to be smart enough to make up your very own mind, without my self-serving advice, telling you who you should and shouldn't patronize. Sure, I'm in business to sell photographic equipment, but I'd rather lose a few sales than insult my customers' intelligence with admonitions like: "Buy from me! Don't buy from the other guy!" So go ahead and check out what's available, compare prices, quality, and customer service philosophies see links here; see who you think will provide more help and support. Then, check out the feedback profiles; go look to see what the other "photographic experts" were selling a few months ago (that'll be a revelation:). Next visit the web sites of your potential suppliers (especially those who claim to be photographers with "100 years experience," and see how much they really know about photography). Then, in addition to the usual, logical, informed, procedures for making your purchasing decisions, check with the old standby that's almost always right, your gut feelings. Do your homework; make up your own mind. Then, without doubt, you'll surely come to the right conclusion. [However, - just in the interest of saving you time and trouble ;-) the conclusion you'll surely come to is that "PhotoSource3" on eBay (who is also the beloved founder and talented creator of MyPhotoHome.com and Photographer's SupplyStation see links here) is "Da Man" from whom to buy your photographic goodies! =:-) ] Thank you for being kind enough to view this auction (I hope you realize that my humor is intended to be fun, and is meant with kindness), may you have the best of luck, and don't forget, as always, no matter who you choose to honor with your photographic purchases, take (or better yet, "make") lots of great pictures! And remember, you can't get good - unless you get started.
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Point of Information: BTW (btw means "by the way" for any "newbies" paying us a visit), a "Reflection" umbrella is one that reflects the strobe's light back onto the subject, and thereby softens and diffuses the light. This technique is often used in portraits, delicate items, and for photographing reflective surfaces, and performs many beneficial services for all us hard-working, and under-appreciated photographic artists. Keep it a secret from others, though, and let them think we get our beautiful images through some sort of secret and esoteric magic, passed down through the centuries, from master to disciple. It helps increase our value ;-) - and please don't send me any e-mail explaining that photography hasn't been around for centuries, I know that. Duh. Actually, photography (in one form or another) has been around for about 150 years.

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 Black/White Reflection Umbrella: 32"

The Silver/Black umbrella is made of the new P-Satin clothes-PU bonding with high denier Satin. Their Black cover can achieve almost 100% light reflection rate and provide soft almost shadowless light, which is suitable for indirect and diffusive lighting. A wonderful method of softening the light. You get TWO Black/Silver Umbrellas with this fantastic kit!

32" Transparent White "Shoot-Through" Umbrella: The "poor photographer's softbox"

Ah, now here's a truly valuable and versitile addition to every photographer's tool kit! The transparant material of this great umbrella allows us to either use it reflectively (as with the Black/White Umbrella, above), in order to reduce the amount of reflected light, or - and here's the true value - to direct our light through this umbrella, resulting in a truly fabulous way to soften our light - without losing a few stops of exposure (and without costing us an extra hundred bucks or so for a softbox)! This is almost the exact same thing that the softbox does, and this gives us yet another method to control our lighting. When you start using this kit, you'll quickly see the differences between using the reflection umbrellas, and the shoot-through umbrella. The more tools we have, the more creative we can be, and that's why I include the most valuable photographic tools and accessories in these packages. I promise you, studio lighting is a blast, and this package allows us to greatly improve our photography! And with this kit you have the equipment you'll need for both reflective-umbrella and softbox-style Transparent Shoot-Through umbrella lighting!

Where? Photographer's SupplyStation of course!

"PhotoSource3" on eBay

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 Here's a GREAT New Starter Strobe Package! All BRAND NEW!

Here's what you get:

1) One Britek PS-300 Professional Strobe 150WS! (Show me)
---(With Built-in Umbrella Holder, Standard Light stand connector, Flash Tube, Modeling light Bulb, etc.)
2) One Unique Umbrella-Capable Reflector (Show Me)
3) One 6 1/2 foot Light Stand (Show Me) <- Free upgrade to 7'
4) One 32" Black/White Reflection Umbrella (Show Me)
5) One 32" Transparent "Shoot-Through" Umbrella (Show Me) <- NEW!
6) One 10' Power Cord
7) One 10' Sync (PC) Cord (Show Me)
8) All bulbs (flash tube, modeling light bulb, etc.)
Just scroll down or click on a "Show Me" link to jump down. (Kit #9105)