The first thing that will strike you about a Photoflex TritonFlash when you first see it is how small it is. I’m probably not alone in saying that as a Photographer I don’t want to carry heavy gear but I also don’t want to compromise my creative capabilities. Up until […]
Unlike most battery operated lighting systems the TritonFlash behaves more like a monoblock head rather than a pack system. This means that when you plug in each head into the battery the controls for output are on the head itself not on the battery. I prefer this method because I […]
When I first had a chance to get my hands on a Photoflex TritonFlash I was pretty excited because I like shooting outdoors and that had always been a challenge due to the limited power and battery capacity of speedlites. Whenever you’re shooting with speedlites many times you’ll find that […]
Trevor Sherwin brings us along on an adventure through the Don Valley Mountain Bike trails in Toronto, ON. Utilizing the Photoflex TritonFlash kit, Trevor explains the benefits of the system while showcasing some real world lighting setups. Over the next month, we’ll be featuring some blog posts from Photoflex on […]
The Photoflex Triton is a product we’ve fallen in love with over the past few months. The folks at Professional Photographer magazine have listed the Photoflex Triton Kit as one of their “Hot One” products. We couldn’t agree more. This kit is truly one of the best mobile lighting solutions […]
The Lesson: In this lesson, fine-art photographer Miss Aniela demonstrates how to create compelling fashion portraits using flash on location. This shoot took place in an abandoned building in Kent, England, with a model, hair stylist and assistant, and was shot with a Photoflex® TritonFlash™ Kit. The portraits were done primarily […]
Sure, you know what a soft box is, and you may already own one, but it’s helpful to take a step back and get a fresh look at the world’s favorite lighting accessory.
Mission Impossible? Take a sharp photo of action that’s so incredibly fast, the human eye can’t see it. That’s the assignment photographer Ben Clay gave himself.
Simple is good. Paul Markow shows us why as he revisits classic high key lighting reminiscent of Irving Penn’s series of Vogue Magazine covers from 1943.
