My Lighting gear

Godox Witstro AD200

For location photography, I want lighting equipment that gives me creative control without adding unnecessary weight to my setup. The Godox WITSTRO AD200 offers an excellent balance between portability and power, making it a versatile companion for portraits, corporate assignments and creative photography.

Its compact design makes it easy to carry and position, while providing considerably more lighting power than a conventional speedlight. I particularly appreciate the flexibility to shape the light with different modifiers, allowing me to move from subtle fill light to a more dramatic and directional look.

The wireless Godox system also allows me to work quickly and control the flash remotely from my camera. For me, the Godox AD200 is not simply about adding light — it is a creative tool that allows me to shape atmosphere, emphasise my subject and give an image exactly the feeling I am looking for.

GODOX DUO HEAD AD200

Sometimes one AD200 is enough, and sometimes I simply need more light. The Godox AD-B2 Dual Power Flash Bracket, often referred to as the Duo Head, allows me to combine two Godox AD200 units into one more powerful light source.

With two flash units installed, I have up to approximately 400Ws of flash power available. This is particularly useful when I need to overpower bright ambient light, illuminate a larger subject or use a softbox while still having enough output.

Another advantage is flexibility. I can use one AD200 when portability is most important and combine two when I need additional power. The bracket also provides a Bowens-style mount, giving me access to a wide range of softboxes and other light modifiers.

Godox X Pro-C/F transmitter

I work with both Canon and Fujifilm cameras, so I use the corresponding versions of the Godox XPro Wireless Flash Controller. This allows me to control the same Godox lighting equipment regardless of which camera system I choose for a shoot.

From the controller on my camera, I can remotely adjust flash groups, power levels and other settings without having to walk over to each individual flash. That becomes particularly useful when lights are positioned high, inside a softbox or some distance away from me.

The large display and direct controls make it easy to see and change my lighting setup while I am working. With compatible Godox equipment, I can also use functions such as TTL and High-Speed Sync, depending on the camera and flash combination.

For me, the biggest advantage is consistency: different camera systems, but the same familiar way of controlling my off-camera lighting.

Godox V1

For assignments where I need to work quickly and travel light, the Godox V1 gives me a flexible lighting solution in a remarkably compact form. Its distinctive round flash head produces a natural and even spread of light, making it equally useful for portraits, events and documentary-style assignments.

I particularly appreciate the freedom to use it directly on the camera or as part of an off-camera lighting setup. Combined with the Godox wireless system, I can quickly adjust and control the light while concentrating on the subject and the moment in front of me.

Its rechargeable battery and practical magnetic modifier system make the V1 especially convenient when working on location. For me, the Godox V1 is more than a speedlight — it is a compact creative tool that allows me to shape light quickly, intuitively and with purpose.

Phottix Nuada R4 II 70W LED

For portraits and location photography, the Phottix Nuada R4 II 70W LED Light gives me the freedom to shape the atmosphere while seeing the effect of the light before I take the photograph. Its large round LED panel produces a beautifully soft and flattering light, making it particularly useful when I want a natural and subtle result.

The adjustable brightness and colour temperature allow me to balance the light with the existing ambient conditions rather than overpowering them. I particularly appreciate this flexibility when working in interiors or on location, where the character of the available light often plays an important part in the final image.

Its continuous light also makes the Nuada R4 II useful for both photography and video. For me, the Phottix Nuada R4 IIis not simply an additional light source — it is a creative tool that helps me shape mood, depth and atmosphere while keeping the light natural and believable.

Savage RGB Light Painter Pro LED

The Savage RGB Light Painter Pro LED is a different kind of lighting tool in my kit. Rather than simply adding more light, I use it when I want to create with light.

Its elongated design and RGB capabilities make it particularly interesting for light painting, creative portraits, product photography and adding coloured accents to a scene. By moving the light during a long exposure, I can create lines, shapes and patterns that would be impossible with conventional flash.

I also like the fact that I can use it as a continuous light source. This allows me to see the effect of colour, direction and intensity before taking the photograph — something that encourages experimentation.

For me, this is not an everyday lighting tool, and that is exactly why I like it. It invites me to experiment, play with colour and use light as part of the image rather than simply as illumination.

Godox Litemons C30R RGB Pocket LED Panel

For situations where I want to add a subtle touch of light or colour, the Godox Litemons C30R RGB Pocket LED Panelgives me a remarkably compact and creative solution. Its small size makes it easy to carry in almost any camera bag, while the RGB capabilities allow me to experiment with colour, atmosphere and visual accents.

I particularly like using it to introduce a hint of colour into portraits, illuminate small details or create separation between a subject and the background. The adjustable brightness and colour settings make it easy to balance the C30R with the existing light rather than allowing it to dominate the scene.

Its continuous light also lets me see exactly how the colour and shadows will influence the photograph before pressing the shutter. For me, the Godox Litemons C30R is a small but surprisingly versatile creative tool — perfect for those moments when a little extra light or colour can completely change the mood of an image.

Ulanzi VL49 Pro Rechargeable Mini RGB

For situations where I only need a subtle amount of additional light, the Ulanzi VL49 Pro Rechargeable Mini RGB is a compact and versatile tool that easily fits into my camera bag. Despite its small size, it gives me plenty of creative freedom to add colour, atmosphere or a gentle accent to a scene.

The adjustable RGB colours, brightness and colour temperature allow me to blend the light naturally with the surroundings or deliberately create a stronger visual contrast. I particularly like using it for portraits, small details and creative background lighting where a larger light would be unnecessary or difficult to position.

Because it is rechargeable and extremely portable, I can always keep it close at hand when working on location. For me, the Ulanzi VL49 Pro proves that creative lighting does not have to be large or complicated — sometimes a small touch of carefully placed light is all an image needs.

WESTCOTT 26” RAPID OCTBOX

When I want more control over my light without carrying a large modifier, the Westcott 26” Rapid Octabox is a very practical choice. Its compact size makes it particularly useful on location or in situations where I need to work quickly in a limited space.

The octagonal shape produces a soft but more directional light than a large umbrella, giving me greater control over where the light falls. I especially like it for portraits, detail shots and situations where I want to add a subtle, controlled light rather than illuminate the entire scene.

Its rapid setup is another important advantage. I can have it ready within moments, which makes a real difference when working on location.

For me, the 26” Rapid Octabox is about portability, speed and control — a small modifier that gives me plenty of creative possibilities without adding unnecessary bulk to my lighting kit.

WESTCOTT APOLLO MEDIUM SOFTBOX

The Westcott Apollo Medium Softbox is one of those light modifiers I use when I want soft, controlled light without a complicated setup. Its relatively large surface creates a flattering quality of light that works particularly well for portraits.

What I like about the Apollo design is its simplicity. It opens much like an umbrella, so I can set it up quickly without having to assemble separate rods or speed rings. The flash is positioned inside the softbox and fires towards the reflective interior, creating an even and diffused light before it reaches my subject.

Compared with an umbrella, the enclosed design gives me more control over where the light falls and helps reduce unwanted spill onto the background or surrounding area.

For me, the Apollo Medium offers a very useful balance: beautiful soft light, more control than an umbrella and a setup that remains practical enough to use on location.

GODOX ACCESSOIRES KIT AK-R1

Small accessories can make a surprisingly big difference to the way I use flash. The Godox AK-R1 Accessory Kit gives me a collection of compact magnetic light modifiers that I can quickly attach, remove and combine depending on the effect I want to create.

The kit includes tools for softening, shaping, directing and colouring the light. I can narrow the beam, reduce unwanted spill, bounce the flash or add colour without having to carry larger lighting modifiers.

What I particularly like is the magnetic mounting system. Changing from one modifier to another takes only seconds, which makes experimenting with different lighting effects much easier during a shoot.

For me, the AK-R1 is a small kit with a lot of possibilities: more control over my flash, more creative options and hardly any extra space needed in my camera bag.

WESTCOTT 60” + 43” UMBRELLA

Sometimes the simplest lighting tools are also the most effective. My Westcott Umbrellas gives me a large light source that produces beautifully soft and natural-looking light without requiring a complicated setup.

The generous 60-inch size is especially useful for portraits and small groups, where I want the light to spread evenly across a larger area. Positioned close to my subject, it creates soft transitions between highlights and shadows and a very flattering quality of light.

What I particularly like about an umbrella is its speed. I can open it, position my flash and be ready to photograph within moments. After the shoot, it folds down just as quickly.

For me, its strength lies in that simplicity: a large, soft light source that is quick to set up, easy to use and consistently delivers beautiful light.

BRESSER TR-3 BACKGROUND

A good background can completely change the character of a photograph. I use two Bresser TR-3 collapsible backgrounds: a green/blue version and a black/white version, giving me four different backgrounds in a compact and portable setup.

The black and white sides are particularly useful for portraits, product photography and clean, neutral images. The green and blue backgrounds give me additional creative possibilities, including chroma key work when I want to replace the background digitally afterwards.

What I like most is their simplicity. I can quickly unfold a background, position it behind my subject and start shooting without having to set up a complete background system. Afterwards, they fold down again for easy transport and storage.

For me, they are a practical solution for both studio and location work: four very different looks, quick to set up and compact enough to take wherever I need them.

SAVAGE MUSLIN BACKGROUND

When I want a more classic and natural-looking background, I use my Savage Muslin Background. The fabric creates a softer and less clinical look than a completely smooth paper or collapsible background, which makes it particularly suitable for portraits.

Because it is a large fabric backdrop, I have more freedom in positioning my subject and creating anything from a tight portrait to a wider composition. By changing the distance between subject, background and lighting, I can also make the backdrop appear lighter, darker or more textured.

I particularly like the fact that muslin does not have to look perfectly smooth. A few subtle folds can actually add character and depth to the photograph.

For me, it is a simple but versatile studio tool: a large, reusable background that gives portraits a natural, timeless and slightly more organic feel.

Kenko KFM-1100

The Kenko KFM-1100 Auto Digi Meter is a reliable handheld light meter that gives me precise control over exposure when I want to work independently of the camera’s built-in metering system. It can measure both ambient and flash light, making it useful for a wide range of photographic situations.

When using flash, it also helps me balance artificial light with the available ambient light more accurately. Although modern cameras have excellent metering systems, a dedicated meter encourages a more deliberate approach to understanding and shaping light.

For me, the Kenko KFM-1100 remains a valuable tool whenever accurate exposure and complete control over light are essential.