In the foggy uncertainty of the pandemic, there was a glimmer of exploration and innovation, an invitation to dance with the unknown. The siren song was sung by Nanlite, pulling me towards their FS-300 continuous lighting system. An invitation to step off the beaten path, trading my trusty strobes for continuous light - an invitation I found too tantalizing to resist.
The unveiling of the FS-300 was an adventure in its own right. Out of the box, it flexed its muscles with a powerful, even light output that would make the sun envious. Using a daylight-balanced FS-300 LED Monolight, Nanlite had unleashed the kraken of COB LED technology, setting a new standard with an illumination capacity of up to 41,040 Lux at a meter's distance, with the aid of the accompanying reflector. But, the real showstopper was the absence of hotspots when harmonized with a softbox, a testament to a consistency that could only be rivaled by the most seasoned artist.
As this saga unfolded, I sought to add a dash of high fashion, a bit of razzle-dazzle. Enter Pedro Juan, my compadre and maestro of fashion design. His elegant clothing line transformed every snapshot into a scene from a glitzy runway show.
However, the plot was not merely about the garments. The backdrop too had a role to play. Eschewing the mundane, I brought a projector into the mix, creating a riveting canvas that not only enhanced the model's charm but underscored the raw power of the FS-300's light.
The FS-300 was no ordinary prop. It was a stage manager, giving the photographer full reign. It came with built-in app control and a 2.4G option for expanded command options. Plus, its integrated, lightweight design encapsulated the control unit, power adapter, and lamp body, all while ensuring optimal heat dissipation.
But the FS-300 wasn't just about playing nice. It was about creating a spectacle with its roster of 11 customizable special effects - the perfect toolkit for any shutterbug looking to replicate complex lighting scenarios. All this power was wielded on my Nikon Z7, with an 85mm 1.4g lens, flowing smoothly into Capture One.
The grand finale was orchestrated by my retoucher maestro, Alex Growd. His meticulous handiwork, retouching the skin and adding the final flourishes, transformed the shots into a masterfully crafted visual symphony.
