Chimera Lighting
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Perfect Lighting, for 40 years. How it all began. It takes the right equipment. He envisioned creating a collapsible soft box that could be fitted on lights.
Every photographer, videographer, cinematographer and lighting specialist knows it takes more than vision to create a masterpiece. And for more than 30 years, Chimera has developed and invented innovative products that have changed the way the industry creates perfect light. It all began when photographer Gary Regester grew weary lugging foam core boxes on location. When he and mountaineering engineer Tom Frost started sharing ideas, the result changed lighting forever. Their first invention was the Illuminata Lightbank, which could be attached to strobe lights with an innovative “feet and strap” set. A legacy of innovation. Chimera continues to innovate and invent solutions for photography and film—from the creation of the famed Illuminata, to the development of Speed Rings and Pancake Lanterns, to the 2009 introduction of the F2X for large area lighting. You can count on us to give you the solutions for tomorrow’s projects! Our lighting essentials and accessories are lightweight, portable, durable and heat resistant—making it easy for you to turn your vision into a masterpiece. Born in the USA
We’re proud to manufacture the vast majority of our products here in beautiful Colorado. Our products are handcrafted by a team that’s commited to exceptional quality. Every Chimera Lightbank is individually inspected and initialed, every step of the way. These stringent quality control standards have been created with one thing in mind: your peace of mind
08/27/2026
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𝘊𝘓𝘐𝘌𝘕𝘛
Shobha Pillai Coutinho
By God its Authentic
𝘗𝘏𝘖𝘛𝘖𝘎𝘙𝘈𝘗𝘏𝘠
The Collective Depot
𝘗𝘖𝘚𝘛 𝘗𝘙𝘖𝘋𝘜𝘊𝘛𝘐𝘖𝘕
The Collective Depot
𝘊𝘙𝘌𝘈𝘛𝘐𝘝𝘌 𝘚𝘜𝘗𝘌𝘙𝘝𝘐𝘚𝘐𝘖𝘕 | 𝘊𝘓𝘐𝘌𝘕𝘛 𝘊𝘖𝘖𝘙𝘋𝘐𝘕𝘈𝘛𝘐𝘖𝘕 | 𝘗𝘙𝘖𝘋𝘜𝘊𝘛𝘐𝘖𝘕
The Collective Depot
𝘈𝘙𝘛 𝘋𝘐𝘙𝘌𝘊𝘛𝘐𝘖𝘕 | 𝘍𝘖𝘖𝘋 𝘚𝘛𝘠𝘓𝘐𝘕𝘎
Nikita Rao
𝘌𝘋𝘐𝘛𝘖𝘙
Sugaatha Menon
𝘝𝘐𝘚𝘜𝘈𝘓 𝘊𝘖𝘕𝘊𝘌𝘗𝘛 𝘈𝘕𝘋 𝘋𝘌𝘚𝘐𝘎𝘕
Radhika Amrite Tipnis
𝘊𝘖𝘗𝘠 𝘌𝘋𝘐𝘛𝘖𝘙
Rama
𝘊𝘈𝘔𝘌𝘙𝘈 | 𝘓𝘐𝘎𝘏𝘛𝘚 | 𝘌𝘘𝘜𝘐𝘗𝘔𝘌𝘕𝘛𝘚 | 𝘚𝘖𝘍𝘛𝘞𝘈𝘙𝘌𝘚
Nikon India Pvt Ltd. Nikon Asia Elinchrom Elinchrom India & Asia Chimera Lighting Tether Tools Manfrotto Imagine More Sekonic Adobe Capture One | Photo Software Srishti Digilife - India
Creating delicious stories.
See the entire original post here: 🎥
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Ever wonder how to make food look good on camera?
The first thing you’ll want to do is hire a professional food stylist. That’s the hardest part for sure.
The next thing you’ll want to do is put your lights in the right position to accentuate texture and color.
I like to start with a big soft source to backlight the dish. Shooting into the shadow side is just a lot more interesting. For this project we chose the .lighting XT26 as the key because we needed the output for slow motion and probe lens shots. The OctaPlus 6 wrapped the light beautifully and gave us a great base exposure to work with.
Next we used a LiteMat Spectrum 4 as a fill from the left. This was obviously much less bright than the XT26, so double shadows weren’t an issue. It just helped lift the low end of our waveform a little bit. This is a commercial, afterall.
Soft light can be pretty but it’s also boring. So we added a 600C with Spotlight Max to bring in some hard shadows to the environment and more texture to the plate. Mixing hard and soft light is always a good idea. It’s the spice of life. Fight me.
My absolute favorite tool to use for tabletop shoots is the CRLS Move Kit. The cine reflectors are like a secret weapon once you learn how to harness their power. We had a 50 diff 3 catching the soft light from the XT26 on the fill side. And the absolute hero of this whole spot was the 15 diff 2 bouncing a 60C with 19º spotlight right into the center of the plate. Absolutely gorgeous quality of light and really made the dish come to life. The falloff is so natural and reads much better on camera than a direct source.
So much of tabletop and food lighting follows a similar formula. It really just comes down to adjusting values and balancing the exposure to make the product sing. If I can do it, so can you!...
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06/25/2026
The "OP" at the end of a Chimera Speed Ring item number stands for OctaPlus.
9305OP Ring for the Cineo R10 can fit your 8-pole Chimera Octa Lightbank, PLUS the 4-pole Daylite and Quartz Lightbanks!
Chimera F2 . Build, raise, ready for Action!
🎥 https://www.instagram.com/mhamad___faiaq/
Chimera has an Octa 5 for your Aputure fixture!
06/16/2026
BASIC Kits include:
TubePro + storage sack
STANDARD Kits include:
TubePro + storage sack + louvers
PRO Kits include:
TubePro + storage sack + louvers + barn doors + front screen
How to attach your Chimera Panel Frame to a light stand.
🎥BBP Light, Amsterdam
06/08/2026
From
Tom Hanks has made five films set in WWII and has another one in the works…and a week ago, on Memorial Day, the History Channel dropped a MEGA, 20-part documentary series about the war narrated and executive produced by Tom Hanks
This is the making of the Key Art for “World War II With Tom Hanks” for the History Channel!
Back on a cold, rainy morning in January, we set up shot in a corner of one of the stages at Orbital Studios in Downtown LA, where Tom Hanks was shooting the promotional material and last few on-camera narrative pieces for the History Channel’s epic, 20-part docuseries on World War II.
Our mission was to create two lighting looks on one set; one for marketing and one for publicity…and get reportage coverage of the making of the promo videos and on-camera narrative pieces…all in one day, with no pre light!
So… and intern .co built and rigged eight strobes:
For the marketing set up we went with a grided octobank with a 40dgr grid (from the fabulous folks at ) as the main, at about a 45degr angle on camera right. The side fill came from a 12x unbleached muslin at camera left, with just a bit of help from a small strip bank up high, at back camera left.
For the PR set up we put a large umbrella right over the camera and the fill came from two more octobanks directly behind the camera. We added a medium, gridded strip bank as a hair light.
For both set ups, the 12x day grey muslin backdrop was lit by a gridded 7” reflector aimed downward at the muslin, but not before trying a collapsed umbrella, which just didn’t work.
And that other small strip on camera right, up high and in the back? We never used it.
And the fog? That’s digital tech attempting to control the hazer/fogger because we shot plates of ground fog with the left side gelled warm and the right side gelled blue that were never used!
And the bonus pix? Just to show that he is an incredibly good sport as a stand in and as a fog wrangler...
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3540 State Highway 52 H14
Frederick, CO
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