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100cm Quick Setup Portable FlatPak Octagonal Softbox (Patented Design) - Bowens S-Type — photography studio equipment

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100cm Quick Setup Portable FlatPak Octagonal Softbox (Patented Design) - Bowens S-Type

The PIXAPRO 100cm FlatPak is an octagonal softbox built around a patented rear-hinged folding mechanism: it snaps open and collapses from the back in seconds, with no rods to assemble and no need to reach inside past the diffuser. Folded flat, it takes up roughly half the bag space of a conventional softbox of the same size — the kind of modifier you can carry to every job rather than deciding whether it is worth the space. The 100cm octagon throws a soft, even wrap of light with round catchlights, which makes it a natural pairing for portrait work against painted canvas — one light through this softbox at 45 degrees is a classic backdrop setup. The standard Bowens S-Type mount fits most studio flash heads and many LED monolights, and the quick fold makes it just as practical on location for weddings and family sessions as it is in the studio. Condition: this is an open-box unit in good working order, offered at a reduced price. It shows slight misshaping to the frame, may carry light cosmetic marks, and the honeycomb grid is not included. Checked before dispatch.

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Price£71.00

101.6cm Black/Silver Large Umbrella Photography Studio (Qty 10) — photography studio equipment

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101.6cm Black/Silver Large Umbrella Photography Studio (Qty 10)

A straightforward, hard-working light modifier: the PIXAPRO 101.6cm (40-inch) bounce umbrella has a silver reflective interior with a black outer cover. You point your light away from the subject and the silver lining throws it back as a broad, soft source with a little extra sparkle — flattering for portraits without losing contrast, while the black backing stops stray spill from bouncing around your studio. Each umbrella opens on a lightweight eight-spoke metal frame with an 8mm shaft, so it slots into the umbrella mount of most speedlites, studio strobes, LED and fluorescent heads. The nylon canopy is built to take regular use, and the whole thing collapses down small enough to live in a kit bag. This is a pack of ten — enough to equip a whole studio, a classroom or a rental setup in one go, with spares on the shelf. If you shoot portraits against painted canvas, a pair of these as key and fill is one of the quickest ways to get soft, even light across both subject and backdrop.

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Price£174.99

1.35x10m Photography Seamless Paper Backdrop Kit (Basic Colour) — photography studio equipment

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1.35x10m Photography Seamless Paper Backdrop Kit (Basic Colour)

Six seamless paper rolls in the colours studios actually reach for: white, black, grey, green, light blue and beige. Each roll is 1.35m wide and a full 10 metres long, giving you a clean, even sweep for portraits, product work, interviews and video. The 180gsm stock is heavy enough to walk on for full-length shots, and because there's 10m on the roll, a scuffed or marked end is no drama — trim it off and pull down fresh paper. Each roll has a built-in core that slides straight onto the crossbar of most background supports and works with expansion drive systems too. At 1.35m wide the rolls fit across the back seat or boot of most cars, which makes this kit as useful for location shooters working in homes and salons as it is in a fixed studio. A sensible set of plain staples to keep alongside your painted canvas backdrops — the canvas for character, the paper for clean and simple.

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Price£273.00

100cm Quick Setup Portable FlatPak Octagonal Softbox (Patented Design) - CLEARANCE — photography studio equipment

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100cm Quick Setup Portable FlatPak Octagonal Softbox - Bowens S-Type

An octabox that packs flat and opens in seconds: the patented hinged frame unfolds and clicks locked from the back of the softbox, so there's no reaching inside past diffusion panels and no wrestling eight rods into a speedring. Packed, it takes about half the bag space of a conventional 100cm softbox. A metre-wide octagon is the classic single-light portrait source — soft, wrapping light with round, natural catchlights. The reflective lining and unobstructed interior make the most of directional sources like speedlights and COB LEDs, and the fabric is treated against discolouring and rated to 200°C. You get two diffusion layers (remove the inner one to claw back a stop), a snap-on honeycomb grid to keep light off your backdrop, and a slim carry case. Softbox only — the light isn't included. Supplied with a Bowens S-Type speedring, which fits Godox, PixaPro, Lencarta and the rest of the S-mount world.

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Price£159.99

100x150cm (39.3"x59.0") 5-in-1 Foldable Light Reflector — photography studio equipment

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100x150cm (39.3"x59.0") 5-in-1 Foldable Light Reflector

One folding frame, five surfaces: white, silver, soft gold, black and a translucent core. That covers most lighting jobs in a portrait session — bounce a little fill into the shadow side, scrim harsh sun through the translucent panel, or use the black side to add contrast back when a room is bouncing light everywhere. At 100x150cm it's big enough to light a half-length portrait evenly, which is exactly what you want in front of a painted backdrop: one large soft source, no hard edges. The grip handles are the quietly useful part — an assistant can hold and angle it one-handed instead of wrestling the rim. The sprung steel frame twists down to a third of its size into the included carry bag, so it travels to location shoots without claiming a seat in the car.

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Price£32.99

120cm (4') FlatPak II Portable Octagonal Softbox (Patented Design) — photography studio equipment

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120cm (4') FlatPak II Portable Octagonal Softbox (Patented Design)

At 120cm, this is a serious main light for portraits: broad, wrapping illumination and the round catchlights octaboxes are loved for. The FlatPak II frame opens on its redesigned hinge — lighter and lower-tension than the first generation — and folds back to a flat parcel that slides into its slim carry case. The quick-release speedring is the practical upgrade: fittings swap without tools, so the same softbox moves between Bowens, Elinchrom, Broncolor and Profoto mounts as your lighting kit evolves. Inside, a reflective Profi-Line lining and a clear, unobstructed interior squeeze the most from speedlights and COB LEDs; two diffusion layers even the spread, and the included honeycomb grid keeps light on the subject and off a painted canvas behind them. Fabric is rated to 200°C. Softbox only — no light included.

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Price£74.99

130cm Black/White Photo Studio Parabolic Reflective Umbrella — photography studio equipment

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130cm Black/White Photo Studio Parabolic Reflective Umbrella

A deep parabolic umbrella that turns a bare flash into a broad, controlled light source. Point the light away from your subject and let the white interior throw it back: the result is soft light with enough sparkle to keep skin and eyes lively, and the 16-rib shape leaves rounder, more natural catchlights than a square modifier. Because the canopy is deep rather than shallow, less light spills where you don't want it — a real help when you're lighting a subject a few feet in front of a hand-painted canvas and want the backdrop a stop or so darker than the face. Slide the umbrella along its 8mm shaft to focus or spread the beam. The black outer skin stops light leaking through and bouncing around the room, and the fibreglass frame shrugs off the knocks that bend cheap metal ribs. Works with speedlights, studio flash and continuous LED, then folds down for the kit bag.

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Price£38.99

105x32x32cm PRO Quality Studio Lighting Equipment Roller Bag — photography studio equipment

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105x32x32cm PRO Quality Studio Lighting Equipment Roller Bag

A wheeled equipment case sized for real location kits: 105cm long, so folded stands, softboxes and umbrellas lie flat inside rather than diagonally. The padded interior comes with movable dividers that split the space into up to six compartments, keeping heads, modifiers and cables from grinding against each other in the van. Two large castor wheels and fixed strap handles do the moving. Pull it across a car park or studio floor loaded with stands and strobes — just note the handles are for pulling and steadying, not for lifting the loaded bag by. If most of your kit currently travels in its original boxes, one case like this shortens both ends of every location job: pack once, wheel in, wheel out.

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Price£144.99

2.4x3m Small Adjustable Telescopic Background Stand — photography studio equipment

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2.4x3m Small Adjustable Telescopic Background Stand

A compact background support for spaces where a full-size kit is overkill. Two air-cushioned aluminium stands rise from 75cm to 2.4m, and the telescopic crossbar adjusts anywhere between 1.2m and 3m — wide enough for half-length seamless paper, vinyl or a smaller hand-painted canvas. The details are the practical kind: the air-cushioned columns stop a loosened knob turning into a dropped backdrop, the centre column can drop down as a fourth leg for extra stability, and the removable spigot carries standard 1/4in and 3/8in threads so the stands double as light stands holding up to 5kg each. The crossbar hangs on common 5/8in spigots and carries up to 8kg, so heavier rolls are fine. Everything collapses short for storage or the boot of a car.

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Price£74.99

2.7x10m Beige Seamless Paper Background Roll — photography studio equipment

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2.7x10m Beige Seamless Paper Background Roll

Beige seamless sits in the sweet spot for skin: warm enough to flatter, neutral enough not to fight wardrobe or props. At 2.7m wide and 10m long there's room for family groups, and plenty of paper to sweep to the floor for full-length work. Like all seamless, it renews itself: scuffed floor paper gets cut away and fresh paper pulled down, so one roll survives many sessions. The built-in core slides onto a standard crossbar and lifts onto any background support in minutes. It photographs beautifully next to hand-painted canvas work too — shoot the clean beige set for the everyday gallery, then switch to canvas for the signature frames, all on the same support.

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Price£89.99

2.7x10m Black Seamless Paper Background Rolls — photography studio equipment

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2.7x10m Black Seamless Paper Background Rolls

A full-width roll of black seamless: 2.7m across and 10m deep, enough for group shots and full-length portraits with the paper swept to the floor. Black paper is the quickest route to a true low-key look — it drinks light, so backgrounds go genuinely black without flags or extra distance. Paper's honest advantage is that it renews itself: when the floor section gets scuffed or torn, cut it away and pull down fresh. Ten metres lasts a long time worked that way. Store the roll upright or hung — paper stored flat develops a bend that shows on camera. The built-in core slides straight onto a standard crossbar, so it goes up and comes down in minutes on any background support. Please note, from 1st May 2024, due to the unique design & packaging of this product, this item will feature a 14 14-day return Period if it remains unopened & in its sealed packaging. Once this item has been unsealed and opened, it is no longer covered by our returns policy

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Price£89.99

2.7x6m Wipeable Grey Matte Vinyl Backdrop — photography studio equipment

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2.7x6m Wipeable Grey Matte Vinyl Backdrop

Grey is the most flexible plain backdrop in a portrait studio: light it hard for near-white, let it fall off for charcoal, or gel it any colour — one 2.7x6m roll covers the lot. The 600gsm vinyl has a true matte face, so there are no hot spots under flash, and marks wipe off with a damp cloth instead of costing you a metre of paper. It hangs on a rigid aluminium core that keeps the full width taut and sag-free on an expansion system or heavy background stand — made to stay up permanently in a working studio. Worth doing: a couple of A-clamps where the vinyl meets the core stop the sheet creeping when it's pulled to the floor for full-length work. Keep the painted canvas for the signature setups; this is the roll that takes the everyday sessions.

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Price£199.99

228cm Dual-Riser Stainless Steel Low Mighty Junior-Pin Combo Stand with Levelling Leg — photography studio equipment

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228cm Dual-Riser Stainless Steel Low Mighty Junior-Pin Combo Stand with Levelling Leg

A combo stand is the bridge between photo and cinema kit, and this one carries both fittings: a 1-1/8in junior receiver for big HMIs and cinema COBs, with a retractable 5/8in baby pin for ordinary studio strobes and LEDs. Whatever head turns up on the job, it mounts. The stainless steel build is rated to 30kg — enough for a serious light with a big modifier — and the dual-riser column takes it from 120cm to 228cm. The legs are the clever part: each one adjusts in length independently, so the stand stands truly vertical on steps, slopes and the uneven floors of location work. It collapses to 107cm for transport. For studio owners, one combo stand quietly replaces the wobbly moment of putting a heavy light on a stand that was never meant for it.

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Price£149.99

287cm Heavy-Duty Steel Stand — photography studio equipment

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287cm Heavy-Duty Steel Stand

A tall steel roller stand for the heavy end of studio kit. Three lockable castors let you reposition a mounted strobe-and-modifier combination without dismantling anything — the difference between adjusting a light in seconds and re-rigging it. The three-tier column runs from 130cm up to 287cm, high enough to feather a big source down onto standing subjects or light the top of a tall painted canvas evenly. The fitting is the standard 5/8in baby pin, which takes practically every studio light and grip accessory made, and it suits butterfly frames from 5x7ft up to 10x10ft. Steel where it matters means the stand stays planted under weight rather than skating or flexing. Legs fold to 112cm when it needs to travel, though a stand like this mostly earns its living parked in the studio.

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Price£199.99

30x120cm (1x4') FlatPak II Portable Strip Softbox (Patented Design) — photography studio equipment

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30x120cm (1x4') FlatPak II Portable Strip Softbox (Patented Design)

Strip light is the shape that separates a subject from a dark background: a narrow 30x120cm column of soft light for rims, hair light and edge definition on full-length portraits. In front of a hand-painted backdrop, a strip either side gives the subject shape without lifting the canvas itself. FlatPak's party trick is the patented hinged frame: it opens like a book and locks, no wrestling rods into a speedring in the dark. The second-generation quick-release ring swaps fittings without tools, so one softbox can move between Bowens, Elinchrom, Broncolor and Profoto heads if your kit is mixed. Inside is a highly reflective lining with two diffusion layers for an even, soft column of light, and the included honeycomb grid tightens the spread when you need the light on the subject and off the background. The fabric shrugs off heat to 200°C, so it's happy on COB LEDs as well as strobes and speedlights. Softbox only — no light included. Ships with a slim carry case that fits beside the stands in any kit bag.

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Price£69.99

3m Telescopic Turtle-Based C-Stand with Boom & Caster Wheels — photography studio equipment

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3m Telescopic Turtle-Based C-Stand with Boom & Caster Wheels

The full C-stand package: a 3m stainless steel turtle-base stand, a 50in boom arm with two grip heads, and a set of braked castor wheels — everything needed to fly a light or flag anywhere over a set, then roll the whole rig to the next mark. Turtle base means the legs detach from the column for flat storage and transport, and the nested leg design lets several stands tuck close together along a studio wall. The two-section column runs 145-300cm and the stand carries around 10kg, enough for a large strobe with a substantial modifier on the boom. The 75mm rubber castors behave on carpet and hard floor, each with its own brake. One habit worth keeping: always boom over the tallest leg and weight the base — a C-stand rewards being used the way grips use it.

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Price£202.99

430cm Heavy Duty 2in1 Reclined Stainless Steel Baby Boom Stand — photography studio equipment

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430cm Heavy Duty 2in1 Reclined Stainless Steel Baby Boom Stand

Two stands in one column: used straight, it's a 430cm heavy-duty light stand; pull the top sections over and lock the hinged mechanism, and it becomes a boom that floats a light directly above — or in front of — your subject with nothing in shot. That's the tool for hair lights, clamshell beauty setups, and overhead product work. The stainless steel build carries up to 10kg on a two-section boom arm, and the five-tier column collapses from its full 4.3m down to 163cm for storage. Caster wheels make it possible to reposition the whole rig without unloading it. If you regularly light from above a backdrop set — newborn work especially — a proper boom beats improvising with an arm clamped to a straight stand every time.

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Price£249.99

1.2-3m Telescopic Cross Bar for Adjustable Backdrop Support — photography studio equipment

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1.2-3m Telescopic Cross Bar for Adjustable Backdrop Support

This crossbar extends from 120cm to 300cm, so a single bar handles a narrow headshot setup one day and a full-width seamless roll the next. If you shoot in a spare room or a small hire studio, being able to shorten the bar rather than work around a fixed 3m span is often the difference between fitting the backdrop into the space and not. The tube is aluminium with a black finish, which keeps the weight down while carrying up to 8kg. That covers seamless paper, muslin and heavier hand-painted canvas, and the dark finish stays quiet in frame if you are shooting wide or bouncing light off a nearby wall. Both ends take a 5/8" spigot, the standard fitting on light stands and tripods, so the crossbar works with the stands you already own and your working height is set by whatever you mount it on. It comes apart in seconds and stores flat, which matters when the same room has to be a studio in the morning and something else by the afternoon.

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Price£33.99

Autopoles with Triple Hook Background Drive Brackets — photography studio equipment

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Autopoles with Triple Hook Background Drive Brackets

This pairs two autopoles with a set of triple hook background drive brackets, giving you one span that can carry three backgrounds at a time. The brackets are durable metal and fix to the poles with the included LSA-03 clamps, which lock rather than simply rest, so nothing creeps as a background is rolled up or down. Each autopole adjusts steplessly between 2.35m and 4m and holds up to 15kg. Because the poles are independent of each other, you set them as far apart as the widest background requires. The lever locking mechanism tensions each pole between floor and ceiling, or wall and wall, and the solid rubber suction cups at both ends grip without leaving much behind on the surface. One thing to plan for before ordering: the brackets hold the backgrounds, but the drive system that rolls them is bought separately. Add a pair of expansion drive shafts per roll and you have three backgrounds on a single span, each winding down for the shot and back up out of frame afterwards. The brackets are also wall-mountable, so if the studio later becomes permanent, the same set can move onto a solid wall and the poles go to another corner of the room.

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Price£347.99

Background Expansion Drive & Triple Holder Bracket Set for Vinyl Background — photography studio equipment

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Background Expansion Drive & Triple Holder Bracket Set for Vinyl Background

Three backgrounds on one wall, all rolled and ready. This set combines three pairs of expansion drive shafts with a pair of wall-mounted triple hook brackets, so a white, a grey and a coloured or painted roll can live permanently above the shooting area. The brackets are 32.5cm high, 22.1cm long and 6.1cm wide, and bolt to a solid wall rather than sitting on stands. That is the whole point of them: no legs on the floor, nothing to walk around when you step back for a full-length frame, and the space returned to your lights and tripod. Each pair of drive shafts fits a seamless paper or vinyl roll with a core between 45mm and 72mm and carries up to 10kg. The drive chain rolls a background down to the floor and winds it back up when you are done, and the attachable counterweight holds it exactly where you stopped, so your horizon does not drift between setups. Fixings are the part to check before you drill. The screws supplied may not suit your wall: expansion bolts are for brick and concrete, spring toggles for plasterboard, wood screws for timber. With three rolls hanging from one pair of brackets it is worth asking a local specialist about the load your wall will actually take.

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Price£79.99

Motorised Quad Background Expansion-Drive Set for Seamless Paper or Vinyl Backgrounds — photography studio equipment

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Motorised Quad Background Expansion-Drive Set for Seamless Paper or Vinyl Backgrounds

Four backgrounds, one remote. This set mounts up to four seamless paper or vinyl rolls of up to 2.75m and 10kg each, and switches between them from where you are standing rather than from the top of a ladder. Each pair of hooks on the wall brackets takes a pair of expansion drive shafts, and each of those shafts has its own motor. The rolls need a core between 50mm and 65mm. The wireless remote has 99 channels, so every drive can be addressed on its own and a neighbouring studio cannot accidentally move your background. Mounting is the part to plan first. The brackets go onto a solid concrete wall or ceiling only, not plasterboard and not a suspended ceiling, and this drive set can no longer be used on light stands. Check the supplied fixings suit your surface before you drill, and if you are unsure what load the wall will take with four rolls on it, ask a specialist rather than find out later. Set up this way, a busy portrait or product day stops being a series of interruptions. You light the set once, then change background between looks in a few seconds without anyone stepping into shot to do it.

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Price£329.99

Professional Metal Extendable Autopoles Set (235-400cm) — photography studio equipment

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Professional Metal Extendable Autopoles Set (235-400cm)

A pair of metal poles that tension between two fixed surfaces and carry your backgrounds without a single stand on the floor. Each one adjusts steplessly between 2.35m and 4m, which suits ordinary domestic ceilings as well as taller studio spaces. The two poles are independent of each other, and that is the useful part: set them as far apart as the background needs, and move one without dismantling the other. They work vertically from floor to ceiling and horizontally from wall to wall, so even a low-ceilinged room can carry a wide background. A lever locking mechanism puts each pole under tension so it stays where you put it, and a solid rubber suction cup at each end grips ceiling, wall or floor while spreading the pressure to keep marks off the surface. The black-finished metal construction holds up to 15kg, enough for seamless paper, muslin or a heavier painted canvas, and that same capacity means the poles will take lights and grip arms once the background is hung. This set is the poles themselves, so pair them with the drive shafts, hooks or clamps that suit the backgrounds you run. Most photographers notice the floor first: with the weight overhead, a light can go where a stand leg used to be, and full-length work no longer involves a careful walk around the base of a background stand.

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Price£269.99

1.35x6m Matte Chromakey Green Vinyl Backdrop for Green Screen — photography studio equipment

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1.35x6m Matte Chromakey Green Vinyl Backdrop for Green Screen

When a job calls for compositing rather than an in-camera look, this PiXAPRO 1.35x6m chromakey green vinyl gives you a dependable keying surface. The finish is properly matte, so you don't fight hotspots or reflections when lighting it — the single biggest cause of messy green-screen edges. It's made from heavy 600gsm fade-resistant vinyl mounted on an aluminium core, so it hangs flat and stays taut on a background support or expansion system without sagging — well suited to studios that keep a green screen permanently rigged. Unlike paper, a scuffed or marked section wipes clean instead of being torn off and thrown away. A practical companion to hand-painted canvas: keep the painted backdrops for the shots that matter in camera, and pull this down when a client needs a clean key for video or composite work. We'd recommend a few A-clamps on the bottom edge to keep it from shifting mid-shoot.

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Price£129.99

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2.5" Replacement Stainless Steel Grip Head for C-Stands — photography studio equipment

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2.5" Replacement Stainless Steel Grip Head for C-Stands

The grip head is the joint that makes a C-stand a C-stand: this stainless steel 2.5in head clamps to any stand with a standard 5/8in baby pin and holds booms, flags, scrims and reflector arms exactly where you set them. Its jaws take four common tube sizes — 24mm, 18mm, 15mm and 7mm — so the same head grips a heavy boom arm one day and a thin flag pin the next. Stainless construction means the teeth and thread keep their bite under real load, where cheaper alloy heads slowly strip and slip. Sold as a single head, without stand or boom. Worth keeping a spare in the kit: it's the part that wears first on a hard-working stand, and the part you miss most mid-shoot.

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Price£29.99

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2.7x6m Wipeable White Matte Vinyl Backdrop — photography studio equipment

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2.7x6m Wipeable White Matte Vinyl Backdrop

A studio workhorse background: 2.7x6m of heavy 600gsm vinyl with a true matte face, so white stays white under flash instead of throwing hot spots back at the lens. Vinyl earns its keep in high-traffic studios — footprints, scuffs and newborn accidents wipe off with a damp cloth, where seamless paper would mean tearing off another metre. The roll comes on a rigid aluminium core, which is what keeps a wide vinyl hanging flat and sag-free year after year on a wall-mounted expansion system or a sturdy background stand. Leave it up permanently or roll it away between sessions. A practical tip from use: run a couple of A-clamps where the vinyl meets the core so the sheet can't creep or detach when it's pulled to the floor for full-length setups. Pairs naturally with a painted canvas kept for hero shots — the vinyl takes the daily wear.

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Price£199.99

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220cm Wheeled Column Light Stand with Adjustable Grip Handle Support (Including 1 handle) — photography studio equipment

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220cm Wheeled Column Light Stand with Adjustable Grip Handle Support (Including 1 handle)

A rolling column stand built for the jobs ordinary stands do badly: putting a heavy light low. Remove the centre column and the spigot drops right onto the base, putting your light just 18.5cm off the floor — the classic position for a background light raking a painted canvas, or an up-light behind the subject. The solid metal build carries up to 15kg, so big modifiers, strobes and even wind machines sit steady, and the wide leg footprint with a levelling leg keeps it planted on uneven floors. The fitting is the universal 5/8in spigot that takes almost every light made. Braked castor wheels mean you nudge a loaded stand around set instead of lifting it, the grip handle gives you something honest to steer by, and the legs fold against the column for transport. Full height is 220cm when you need it up rather than down.

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Price£134.99

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240cm 4-Telescopic Light Stand & Caster Wheels Complete Bundle — photography studio equipment

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240cm 4-Telescopic Light Stand & Caster Wheels Complete Bundle

A standard air-cushioned light stand plus a set of proper castor wheels — the cheap upgrade that changes how a small studio works. Instead of lift-shuffle-lower every time a light needs to move a foot, you roll it, then lock the brakes. The stand itself is a four-section aluminium telescopic, 79cm to a full 240cm, with an air-cushioned column: release a knob with a light mounted and it settles gently instead of crashing down. Load rating is 5kg — right for speedlights, small strobes and LED panels with mid-size modifiers — on a 92cm footprint. The three 75mm wheels run on hard-wearing rubber that behaves on carpet and hard floor alike, with cast-iron mounts and individual brakes. Folds to 76cm when the wheels come off for travel.

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Price£60.99

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39.5-203cm Studio Photography Pantograph Ceiling Rail System — photography studio equipment

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39.5-203cm Studio Photography Pantograph Ceiling Rail System

A ceiling rail system moves your lights off the floor entirely: two fixed 3m rails, two mobile 3m rails and gliding carriages cover a 9-square-metre grid, with pantographs that pull each light down anywhere from 39.5cm to 203cm below the ceiling. No stands, no cables at ankle height, no legs creeping into the edge of frame — in a compact backdrop studio, the floor space it returns is the whole point. Each pantograph supports up to 15kg, which covers studio strobes and COB LEDs with substantial modifiers. The system is modular, so the layout can grow or change with the studio. Installation deserves respect: the rails must go into a structurally solid ceiling (never plasterboard or a suspended grid), fixings are not included and must be specified for your ceiling, no single point should carry more than 15kg, and avoid bunching more than two pantographs close together. If in doubt, have a professional survey the ceiling first — a safe installation is the installer's responsibility.

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Price£999.99

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Background Expansion Drive and Holder Bracket Set Photo Props — photography studio equipment

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Background Expansion Drive and Holder Bracket Set Photo Props

This is the straightforward way to get a seamless roll off the floor and under your control: a pair of expansion drive shafts that slot into the ends of the roll, and a pair of hooked C-clamp brackets to hold them up. The drive shafts fit any seamless paper or vinyl background with a core between 45mm and 72mm, and carry up to 10kg. A chain rolls the background down for the shot and back up out of the way afterwards, so a scuffed bottom metre of paper can be wound out of sight rather than trimmed off mid-session. The attachable counterweight stops the roll creeping once you have set your height. The brackets clamp rather than bolt, gripping light stands, tripods and autopoles, and measure 17.5cm long by 6.5cm wide by 6cm high. Two stands you already own become a working background system, and the whole thing comes apart again when the room has to go back to being a room. If you move between painted canvas and paper through a shoot, this is the part that makes the swap quick: the roll stays loaded and hangs ready, instead of being carried in and out for every change of look.

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Price£52.99

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Autopole with 3 Pairs of Expansion Drive Shafts & 3 Pairs of Background Hooks — photography studio equipment

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studio equipment

Autopole with 3 Pairs of Expansion Drive Shafts & 3 Pairs of Background Hooks

Three backgrounds hanging at once, all of them out of the way until you want them. This kit combines two autopoles with three pairs of expansion drive shafts and three pairs of hooked clamps, which is enough for a white, a grey and a coloured or painted background to stay permanently loaded. Each autopole adjusts steplessly between 2.35m and 4m and takes up to 15kg. The two poles are separate, so your span is whatever the widest background needs rather than a fixed length, and a lever locking mechanism tensions each one into place. Rubber suction cups at both ends grip ceiling, wall or floor and are cushioned to keep marks down. Every pair of drive shafts fits a paper or vinyl roll with a 45mm to 72mm core and carries up to 10kg, with a drive chain to roll it up and down and a counterweight to hold the height. Three drives on one span is the point where this stops being storage and starts being a workflow: the background changes in seconds while the lighting stays untouched. The clamps measure 17.5cm by 6.5cm by 6cm and lock onto tubes up to 4cm across, which covers the poles, light stands and tripods alike. If you move rooms, the same parts rebuild on a pair of stands.

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Price£439.99

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Adjustable Autopole & Expansion Drive Shafts Pair Kit — photography studio equipment

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studio equipment

Adjustable Autopole & Expansion Drive Shafts Pair Kit

This kit turns a floor-to-ceiling or wall-to-wall span into a permanent backdrop wall: two autopoles, a pair of hooked C-clamps, and one pair of expansion drive shafts to carry a single roll. Each autopole adjusts steplessly between 2.35m and 4m and holds up to 15kg. Because the two poles are independent rather than joined by a bar, you set them as far apart as the backdrop needs, which is useful if you run a wide paper roll one week and a narrower background the next. A lever locking mechanism puts each pole under tension so it stays put, and both ends sit on a solid rubber suction cup that grips ceiling, wall or floor while keeping marks to a minimum. The C-clamps measure 17.5cm long, 6.5cm wide and 6cm high, and clamp onto anything up to 4cm in tube diameter: autopoles, light stands, tripods. A pair of ordinary stands becomes a background support system in about a minute. The expansion drive shafts fit any seamless paper or vinyl roll with a core between 45mm and 72mm and carry up to 10kg. A drive chain rolls the background down for the shot and back up afterwards, so a scuffed bottom metre of paper can be wound out of sight rather than cut off mid-session, and the attachable counterweight holds it at the height you stopped at.

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Price£324.99

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Autopole Set with 2 Pairs of Expansion Drive Shafts & 2 Pairs of Background Hooks — photography studio equipment

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studio equipment

Autopole Set with 2 Pairs of Expansion Drive Shafts & 2 Pairs of Background Hooks

Two backgrounds, permanently loaded, no stands on the floor. This set pairs two autopoles with two pairs of expansion drive shafts and two pairs of hooked clamps, so a pair of rolls stays hung and ready between shoots. The autopoles adjust steplessly from 2.35m to 4m and tension between floor and ceiling, or wall and wall, holding up to 15kg. A lever lock keeps each pole under pressure, and the rubber suction cup at each end grips without chewing up the surface, which is worth knowing if you are working in a rented space or a room at home. Each pair of drive shafts takes a seamless paper or vinyl roll with a core of 45mm to 72mm, up to 10kg. The drive chain rolls a background down for the shot and back up afterwards, and the counterweight holds it at the height you set. With two loaded, changing background is a matter of winding one up and the other down while your lights stay exactly where they are. The clamps are 17.5cm long, 6.5cm wide and 6cm high, and grip anything up to 4cm in tube diameter, so if you would rather run this on light stands than on the poles, they will do that too. Either way the floor stays clear for lights, a tripod and whoever you are photographing.

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Price£369.99

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Super Heavy Duty Triple Telescopic Background Stand — photography studio equipment

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studio equipment

Super Heavy Duty Triple Telescopic Background Stand

Three crossbars, two stands, one bag. This kit hangs up to three backgrounds side by side on a pair of 300cm air-cushioned light stands, so a session that needs white, grey and a painted canvas can move between them without rebuilding the set each time. The crossbars are telescopic aluminium in 23mm to 30mm tube, and each end takes the standard 5/8" spigot found on most stands. The included crossbar brackets are what let all three sit on the same pair of stands, and each bracket is metal because it is carrying the weight of three bars and everything hanging from them. The stands extend in three tiers from 125.5cm up to 300cm and are air-cushioned, so a section that slips lowers gently instead of dropping onto your crossbar or your backdrop. A 122cm leg spread with twin braces and nut-and-bolt construction gives the whole thing a footprint you can trust in a working room, and the mounts use an interchangeable spigot with a 3/8" thread at one end and 1/4" at the other. Total capacity is 20kg, and that figure matters here: three heavy backgrounds, vinyl or large paper, is more than this stand is built to carry. Three lighter ones is what it is for. Everything collapses into the padded carry bag, which is divided into four compartments so the bars and stands travel without rubbing against each other, making this as workable on location as it is in the studio.

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Price£253.99

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