EMART Photography Umbrella, 400W 5500K lighting kit for video, Studio-2Pack
EMART builds photography backdrop stands, background support and the lights that stand beside them.
33" Reflective Umbrella Lights with Stand & 2x45W E26 / E27 Spiral Light Bulbs, Continuous Photo Light for Camera Shooting
4.5 1,562 reviews
$5399
In Stock
We put our Photography Umbrella, 400W 5500K lighting kit for video, Studio-2Pack on the floor for crews who need the shot up before the light changes.
The frame is aluminium alloy, which is the difference between a stand that travels and one that bends. It arrives with a portable format. We keep one listing per size so you are never guessing which box arrives.
Key features
- 45W Full Spectrum Bulb. Each CFL bulb delivers 2500 lumen of bright, energy-efficient continuous output lighting. The 5500K daylight balance ensures pure white light that brings out true-to-life colors. Its flicker-free design provides smooth video lighting without annoying banding.
- Shoot Through Umbrella. The white umbrella works as a light diffuser to create flattering, soft lighting. It removes harsh shadows on your subject and background while smoothing skin tones for natural-looking portraits. The 33-inch diameter offers ample coverage, and the durable nylon stands up to frequent use.
- Sturdy Light Stand. These aluminum alloy tripods are lightweight and portable, extending from 33 to 83 inches. The attached e26/e27 lamp holders swivel 180° for precise studio lighting placement, and the standard 1/4 inch screws on the top fit most photography accessories.
- Versatile Umbrella Light. Designed for content creators, this camera umbrella kit delivers reliable photography lighting across video recording, portrait sessions, product shoots, advertising campaigns, podcasts, filming and live streaming.
Specification
| Material | Aluminium alloy |
|---|---|
| Reviews on the listing | 1,562 |
In the box
【Rich Package Content】Includes 2 x 45W CFL bulb, 2 x e26/e27 light bulb holder, 2 x 33” white translucent photo umbrella, 2 x 33”-83” light stand. If you have any questions about our photography umbrella lights, please contact us.
Where it sits in the range
Shoot-through and reflective EMART umbrellas, translucent white and black-silver, sold as single heads and as full studio sets with the light stands photography needs.
What this one is for
Shooting through a white umbrella gives broad light that wraps a subject; bouncing out of a black-backed one is more directional and keeps spill off the background. Most crews carry both and decide in the room, which is why the kits are packed as sets rather than single pieces.
Matching it to a photography backdrop stand
Work out the size from the room rather than from the catalogue. Measure the wall you shoot against, take a foot off each end for the legs, and what is left is the span a frame opens to and can honestly accommodate. Height is the figure people change their mind about later: seven feet suits a seated subject, while a standing full-length shot wants the frame fully expanded so the top edge of a seamless white, muslin, black or green surface stays out of shot. Space behind the subject matters as much as space across it — stood directly against the surface, anybody picks up its texture. In a small room, give yourself a little extra at the back so an additional panel or a prop can go in without everything having to move. As a general rule, choosing one size up costs less than choosing one size down.
Putting it up
Assembly is quick and standard. Pull each telescopic section up by hand, lock the adjustable collar, square the base. The mounting threads are the usual size for this kind of gear, so a fitting borrowed from another stand will do, and the whole setup takes one pair of hands. Stability comes from the base rather than the column: spread the legs fully, position the feet out of the walkway, and it sits stable on a floor that is not quite flat. Anything heavy hanging on the system wants weight at the feet as well.
Hanging it and holding it steady
A spring clamp at each corner secures the top edge and hooks spread the load along the crossbar, so the surface hangs straight instead of scalloping between two points. The same clamp keeps a light cable or a tripod leg out of frame when the kit gets crowded, without needing a second pair of hands.
Carrying it and keeping it
It packs into the carry bag it arrives in — a portable, collapsible package small enough to live in a car boot between shoots, which is the only way gear gets used weekly. Material and durability are the same question here. Aluminum alloy is the light choice and steel the enhanced one, and the quality of a design shows in whether a section still locks after a year. Professional gear is rarely powerful; it is excellent at being predictable, which is practicality rather than polish. Wipe the metal down after an outdoor event, keep the small parts together, and store it standing rather than flat under something heavier. Fabric care is one rule: rolled, not folded — a wrinkle photographs.
