EMART Softbox Photography Lighting Kit, 16"x16" Pull Soft Box, 50W 3000K-6000K LED Bulb, 105W CFL Bulb with Remote, Professional Photoshoot Equipment for Studio Lights, Portrait, Video Recording
One of the photography backdrop stands, lighting kits and support systems EMART makes.
4.4
$8054
In Stock
We put our Softbox Photography Lighting Kit, 16"x16" Pull Soft Box, 50W 3000K-6000K LED Bulb, 105W CFL Bulb with Remote, Professional Photoshoot Equipment for Studio Lights, Portrait, Video Recording on the floor for crews who need the shot up before the light changes.
You also get a handheld remote. Specifications here are read straight off our own listing — no rounding, no best case.
Key features
- 【One-Second Installation-16"x 16" Pull Soft box】Upgraded Soft Box, Open- Press the button and pull out the rod. Close- Press the button and push the rod in. 16"x 16" soft box silver reflective inner lining,the removable front diffusion spreads light into a homogenous soft light. The soft box is equipped with a 3-meter power cord to increase the range of movement of the softbox light kit
- 【Remote/APP Wireless Intelligent Control Bulb】Each 50W LED soft box light can be individually controlled for color temperature and brightness by APP Control, CRI≥93, color temperature can be adjusted between 3000K and 6000K. The remote control can be adjusted within 15M(49FT) range
- Bright White Light. 】The photo bulb gives off a nice bright white light, provides soft no shadow results. This light blends well with indirect sunlight to create 5500k daylight. The photography bulb provides enough light to create the effects you need when shooting video and photos
- No Noise and Flicker. The photography light bulb will not make any noise, there will be no noise in your video, and the light bulb emits constant and uniform light, so the video screen which you shoot will not have strange light and flicker.
- Multiple scene applications. This softbox lighting kit is suitable for photography art,and meets the different needs of photography lighting,recording studio,live broadcasting,video fill light,etc. It can be applied to advertising products, industrial technology photography,children's photography and small product photography, photographic reproduction,etc
Specification
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.
The job it does
A softbox turns a small bright lamp into a large dull one, and large dull light is what makes a face read as a face. A kit like this covers portraits, product photography and interviews; put a third head on the background and the subject stops being stuck to the backdrop behind them.
Sizing it against your photography backdrop stand
Choosing the size is arithmetic rather than taste. Measure the wall across, subtract roughly a foot at each end for the legs and the fittings, and you have the span the frame has to accommodate when it is fully open. Height comes next, and it is the figure that changes once a subject stands: a seated portrait is happy at seven feet, a standing one wants everything expanded so the top edge of a muslin, seamless white, black or green surface stays above the shot. Keep a step of space behind the subject rather than putting them directly against the surface. In a small room, buy a little extra width — that is where an additional panel, a light or a prop ends up living. As a general matter, one size up forgives more than one size down.
Getting it standing
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 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.
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.
Travel, bag and care
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. Aluminium alloy keeps the weight sensible; the metal that decides durability sits in the locks and the joints, not the finish. The design is pro in the only sense that matters — practicality over appearance — and the material trade is plain: aluminum travels, steel survives. 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.
