I use the springboard to provide a lot of lighting for my work. Most are large shiny consumables and white foam cores. The CRLS system of the optical bridge through the aluminum reflector changes the way of light reflection. Reflector is usually a very demanding way to add key light or fill to your subject. Obtaining a soft spread is not an easy task. This is the advantage of the CRLS system.

If you need more coverage, use a larger CRLS bounce, however, you don't need to use a very large size to fill an area. Depending on the type of light required, the surface type is as important as the size. Do you need strong light? Use MOD 2. Need super soft? DIF 4 is a good choice. Many options can achieve the look you are after. The light reflectivity of the surface exceeds 97%, providing a large amount of output for the subject. The reflector does not change the color of the light source. It will match if you bouncing overhead is practical.

The Light Bridge CRLS system has a variety of different sizes and surface types to choose from according to the shooting situation. I was surprised that a small 12-inch square with soft surface can reflect enough light to cover the waist to the head.

It looks like a huge cold shoe lamppost receiver, and installation becomes easy. It slides onto the rail system on the back of the CRLS panel and simply locks. Then you can add different receivers, such as an arm with a rotating bracket.

Below are some available kits. Check out The Light Bridge for the complete route and options. It's great to have multiple options, they allow you to easily get the size that meets your lighting needs.

Have a preliminary feeling about C-Reflector.

Comes with a lightweight shoulder bag

Designed for heavy rigging and indoor safe use. 

The set comes with 2 frames

The CRLS springboard installation system also seems to be easy to use and fast. The popular foldable fabric disc reflector tends to shimmer in the wind. Due to the higher output, a solid surface has always been my preferred reflector type. The ability to be soft and bright at the same time on a smaller board is interesting. I look forward to trying out the system. I did a lot of location shooting and lighting talents under the 6×6 butterfly. If I can get a softer, wider output from a smaller bounce, it would be great.

Erik is an 18-time Emmy Award-winning photography director. He has over 20 years of photojournalism experience and works in newsrooms across the United States. Over the past ten years, Erik has turned to broadcast television and film production, where he discovered a passion for visual narrative and production. In addition, Erik is an outstanding educator who teaches filmmaking through Linkedin Learning and courses on Lynda.com.

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