Flashpoint Lighting

09/23/2026

Photographers, what's the BIGGEST lighting mistake you see new photographers make?
🤔 📸

09/22/2026

Have you explored Adorama's 42 West blog?

If you’re into photography, lighting, gear, or just seeing how other photographers work, there’s a LOT of good stuff over there — tutorials, behind-the-scenes stories, gear guides, techniques, and ideas you can actually take into your next shoot.

A perfect example: Cristina Santelises went behind the scenes with Gavin Hoey in Amsterdam as he put the Flashpoint eVOLV 200 Pro II through its paces, creating five completely different portrait looks with one light.

You get the gear, the setups, the finished images AND a look at how Gavin actually works through a shoot.

And that’s just one story. Go down the 42 West rabbit hole. You’ve been warned. :)

Read this one here:

This is a behind-the-scenes shoot breakdown of Gavin Hoey in Amsterdam presenting the Flashpoint eVOLV 200 Pro II with the AdoramaTV crew.

09/16/2026

Susan Stripling is teaching at the Adorama Event Space tonight at 5pm, and she's building an entire portrait gallery against one black wall with one lens. No location changes. No second setup.

She'll be working with Flashpoint lighting, so if you've wondered how far you can push a single light in a tight space, this is a good hour to watch.

Free, in person at 42 W 18th St, and livestreamed on the Adorama Events YouTube channel. Links in comments.

09/09/2026

More from my visit to salon.valkyrie.hair with daniellesully_ and make up by mjs.makeup_

09/01/2026

One wall, one lens, one subject. That's the whole setup.

Susan Stripling is taking over the Adorama Event Space on September 16 to show how many different images you can pull out of a single bridal portrait against a black wall.

No location changes, no elaborate builds. Just posing, composition, and light.

If you shoot weddings on tight timelines, this one is for you.

Wednesday, September 16, 5 to 6 PM at 42 W 18th St.
Free, but seating is limited.
Also livestreaming on the Adorama Events YouTube channel.

08/27/2026

Backlight is a POSITION, not a setting. Once the light is behind your subject the rest is just deciding where behind, and how much of it you want the viewer to see.

Directly behind the couple so they block it? Outside the car shooting in through the glass? Outside the window so the room stays dark and the window carries the light? Gridded when the spill needs to stop? Left visible in frame when the flare is the picture? Are you emulating sunset? There are so many decisions to make and all of them can be made with just a little light, whether it’s the sun that exists in the sky or the sun you make.

All of these images by Susan Stripling can be made with either an EXPLOR 100 or a eVOLV 200, all can be found in the Flashpoint line.

08/26/2026

Here’s a good exercise if you’re trying to get more comfortable with off-camera flash: stop adding lights.

These are all one XPLOR 100 in the same location. For each image, Susan Stripling moved the flash and paid attention to what that did to the background, the couple and the shadows.

Behind them, it lights the wall and leaves them in silhouette. Move it off to the side and suddenly you get separation and light across the floor. Bring it in close under the veil and everything outside that little pocket of light disappears.

One light can do a LOT before you ever need to reach for a second one.

08/20/2026

Here’s another reason I love keeping my lighting simple: every one of these first dances was photographed with ONE off-camera flash.

That’s it.

For a first dance, I don’t want to spend my time chasing a complicated lighting setup while the couple is moving around the floor. I want one light that gives me direction, separation and a little drama, and then I can move myself around it.

Sometimes I’m shooting straight into it. Sometimes it’s off to the side. Sometimes it’s barely in the frame and just catching the edge of a face or a dress.

The light stays put. I move.

And because every reception room is different, I can decide how much of the existing light I want to keep and how much I want to let disappear.

One off-camera flash. A whole lot of first dances.

Have questions?

I have answers.

📸Susan Stripling

08/14/2026

How do you light an entire cruise ship deck at night?

Photographer Lionel Whyte has to deal with a huge crowd, people moving everywhere, and not a whole lot of available light. His solution is *multiple* Flashpoint speedlights placed around the deck so he can get consistent light wherever the action happens.

In this article, he walks through his setup, where he puts his lights, how he balances flash with the ambient light, and the gear he uses to make it all work.

If you shoot events and use off-camera flash (or want to start), this is a really cool look at how the same lighting principles can scale up to a MUCH bigger space.

Take a look:

Using Flashpoint speedlights to capture the vibrant energy of a bustling cruise ship gathering under the cloak of night.

08/13/2026

A gorgeous Central Park image from Flashpoint user George Pompilio.

Camera: Canon EOS R5m2
Len: 24-70 2.8 L IS USM at 24mm
ISO: 640
F 3.5
Shutter: 1/1000
Backlight: eVOLV 200 with Magmod 1/2 CTO gel
Key Light (Camera Left): XPLOR 600 with 34-inch Glow Beauty Dish Softbox