EMART Photography Umbrella Lighting Kit, 400W 5500K with 85W LED Bulbs Photo Portrait Continuous Reflector Lights for Camera Video Studio Shooting Daylight (2 Packs)
EMART builds photography backdrop stands, background support and the lights that stand beside them.
4.4
$8449
In Stock
We keep our Photography Umbrella Lighting Kit, 400W 5500K with 85W LED Bulbs Photo Portrait Continuous Reflector Lights for Camera Video Studio Shooting Daylight (2 Packs) in the range because most shoots need one dependable frame, not five clever ones.
Everything we list is our own; the price you see is the one on our product listing today.
Key features
- Photography Umbrella Reflector. 33'' Diameter, Translucent/White. Made of high quality nylon, durable and solid construction. Help to soften and spread the light, not longer harsh light when you photography or filming as well as no shadows on the background.
- 85W LED Bulb. The color temperature can be adjusted between 3000K and 5500K. Brightness range goes from 1%~100%. With 90+ CRI, the colors are more vivid, showing the details of the photos.
- Photo CFL Bulb. 45W(equals to 200W Incandescent Light), 5500K, 110V-130V, E26 screw base, energy saving compact fluorescent light - saves energy up to 80%, daylight/pure White.
- Application. Photo Video Studio, and Home Studio for Amateur Photographer, Figure Portraits, Object Photoshooting, Video Shooting, Filming, etc.
Specification
In the box
【Photography Lighting Includes】(2) x 45W 5500K Energy Saving Daylight CFL – Continuous Light Bulb / (2) x85W LED Bulbs /(2) x 33'' Diameter Translucent/White Photo Umbrella / (2) x 83'' Photography Light Stand, height adjustable (Min 30'' – Max 83'') / (2) x Single Head Photo Lighting Lamp Holder, E26/E27 Base.
Where it sits in the range
EMART softbox heads, continuous LED lamps and full two- and four-light kits with stands, grids and carry bags — the light that goes up next to a photography backdrop.
What this one is for
Light is half of a set and the frame is the other half. These heads sit on their own stands, so they do not compete for space with a backdrop stand — which matters in a small room where the support system already has its legs across the floor.
Matching it to a photography backdrop stand
Size is a room problem before it is a shopping problem. Take the wall you shoot against, measure across it and subtract a foot at each end for the legs — the rest is what the frame can accommodate once it is open. Then decide height, because that is the figure people change their mind about the moment the subject stands up: seven feet suits seated work, full-length needs the sections fully expanded so the top edge of a white, black, green or seamless muslin surface never appears. Leave space between the subject and the surface too; stood directly against it, a face picks up every mark behind it. A small room rewards a little extra span, which is where an additional panel or a prop goes. In general, choosing one size up is the cheaper mistake.
Putting it up
Setup is hands only. The sections are telescopic, so you assemble it by pulling up and locking rather than by counting parts, and the adjustable collars let you stop anywhere between the stops. Mounting uses the standard fitting for this type of gear, so it mates with what is already in your bag, and it goes up quickly enough to do alone. Stability is a question of footprint. Open the legs to their stops, press the feet down, and position the base so the heaviest part of the load sits over it — weight in the right place does more for a support system than weight in total.
Clamps, hooks and the top edge
The crossbar carries the hang, the hooks spread it and a spring clamp secures the corners. Keep two spare clamps in the kit: one ends up on a light, one on a tripod tube, and neither is worth needing and not having.
Carrying it and keeping it
Folded, it is compact enough to transport as one piece: the carry bag in the package takes the whole collapsible set, so no extra sections travel loose. The quality worth paying for is boring: metal collars that still grip, a design with no part that only works while new. Aluminum keeps a pro kit portable, heavier metal makes it durable, and durability on gear like this is an argument about joints. We would rather sound dull than claim an excellent finish. Keep it dry and the care budget is a cloth. Grit in a joint wears a section faster than rain does; a rolled surface arrives without a wrinkle, a folded one arrives with a map of itself.
