PetaPixel

SpinLight 360: The Jack of All Trades of Flash Modifiers

Spinlight 360 is a relatively young startup company that makes modular flash modifier systems for speed lights. Its products are based around a ring assembly attached on the head of flash units that various modifiers can be mounted to, allowing it to be a “jack of all trades” of sorts when it comes to controlling light and shadows.

Attachments include opaque bounce cards, translucent white domes, and a snoot. The direction of your light can be controlled by twisting the ring assembly, which rotates a complete 360 degrees (hence the name of the product).

Here’s an 8-minute-long video that gives a introduction of the system and a demonstration of what the modifiers can do for your resulting photographs:

In addition to being modular, the SpinLight is also pretty universal. Most standard-size shoe-mount flashes can be used with the system, as the head attaches using a simple Velcro strap.

The SpinLight 360 comes in three flavors — Original, Event, and Extreme — that cost $89, $99, and $149, respectively. The basic version comes with the most basic components, while the Extreme package includes extra attachments and an integrated gel system.

Spinlight 360 (via Fstoppers)


 
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  • JosephRT

    Looks and sounds cool, but I wasn’t all that impressed by it in the video demonstration.

  • Jason

    And I thought people that use the Fong were people to laugh at. Now when at a event, I can watch someone fumble around trying to find which attachment to stick on for that moment….

  • Mark

    After trying out, and subsequently throwing into my gear closet, almost a dozen or more of these modifiers, I’ve come to the realization that the only time I need precise light control is in my studio or when I do editorial work. I’ve really tried to justify these modifiers, but the difference between using one like this and using an index card rubber banded to the flash head is negligible. Certainly not enough for any customer to notice. I bet that if we took a series of photos using every single speedlight modifier available and asked photographers to identify which one was used, the miss rate would be astronomical. On the other hand, if we took a series of photos using various soft boxes, umbrellas and other studio modifiers, we could all identify the type (not brand) used simply by looking at the quality of light.

    In other words, it only counts when you have the time to make it count. These days I’ve gone back to the old index card and try a lot harder to bounce off of the ceiling and walls. There is no quick fix, but photojournalistic photography is not meant to look like it was taken in a studio—else it looks like micro stock. If that’s the look you want, then you will never achieve it without wasting a lot of time and money, as well as pissing off the customer because you missed the “money shot” while you were wasting time fiddling with your SuperModifierSpinBounce 2000.

    I do carry a CC gel when the fluorescent lighting is just too crappy to deal with, but even then, I wonder if it’s worth the effort in run-n-gun situations. I mean really, how did we all manage to run successful photo businesses 15 years ago without all this crap?

  • Shooter

    Did anyone else notice the flipped 5D @1:01?