Lens: Fujifilm XC 50-230/4.5-6.7 OIS II
Digital: 26 MP [24Ă16] BSI X-Trans CMOS
Software: Adobe Lightroom
Date: April 2021
Lighting: Profoto D1 500 Air
Other: Optical Snoot
In this Behind the Lens post, I got a little creative with some tomatoesâthree, to be exact. Using an optical snoot, I gave them the moody spotlight usually reserved for jazz singers or film noir detectives. Why? Because tomatoes deserve their time to shine. I grew up eating tomato sandwiches, and to this day, theyâre still a favorite.
Whatâs an Optical Snoot (and why is it so cool)?
An optical snoot is basically a fancy flashlight for grown-up photographers. Itâs a light modifier that I attach to my Profoto mono lights, and it lets me do something magical: control light with laser-like precision. Think of it as the stage spotlight of the photo worldâonly instead of shining on a Broadway star, itâs shining on three tomatoes.
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The snoot works like a mini projector. It uses a lensâyes, an actual lens, just like on your cameraâto focus the light into a tight, shapely beam. No more light spilling everywhere like a toddler with a juice box. With a snoot, I get to decide exactly where the light goes.
Now, about those shadowsâŠ
See that beautiful dappled pattern across the tomatoes and towel? Thatâs not a happy accidentâor the ghost of a Venetian blind. Itâs the result of placing a gobo (short for âGOes Before Opticsâ) into the snoot. A gobo is a metal or glass stencil that shapes the light before it hits the lens. This particular one mimics soft window shadowsâlike sunlight peeking through curtains or tree branches.
So, instead of waiting around for the perfect patch of natural light to wander by, I created it right in my studio. All hail the illusion of sunlightâbrought to you by a snoot, a gobo, and a little photographic mischief.
Studio Setting

[ THREE TOMATOES LIGHTING DIAGRAM ]
Above is a lighting diagram I created using software called Shot Designerâa tool Iâve relied on for years. If visualizing light placement helps you understand setups (or you need to share them with clients, assistants, or students), I highly recommend it.
In this diagram, youâll see two lights at play:
The main light, or key light, is the optical snoot. Itâs doing the heavy lifting hereâdelivering the full output needed to shoot at f/8. Just a reminder: the optical snoot is a specialized attachment that mounts onto one of my Profoto D1 500 Air mono lights. It doesnât come with a light of its ownâitâs simply a projection system with a lens and gobo stencils (templates) that help shape the beam and add drama to your scene.
The second light is another D1 500 Air inside a large softbox, positioned high above and aimed toward the front of the setâbasically right behind me. Honestly, if I could wear it like a hat to avoid dancing around a stand, I would. (Though I doubt itâd be a hit on the runway.)
Why this second light?
Itâs just as important as the main light. Set about 1.5 stops dimmer, it bathes the entire composition in soft fillâjust enough to lift the shadows without stealing the show. From the cameraâs perspective (and the viewerâs), this light controls the overall shadow density, helping maintain texture and detail while the snoot stays in the spotlight.
Think of it as the supporting actor who knows how to deliver the perfect lineâwithout upstaging the lead.
Shooting Notes

[ OPTICAL SNOOT GOBO EXAMPLES ]
Once I had my composition laid out on the table, I picked up my Fuji X-Pro3 and the least expensive lens I own: the XC 50â230mm f/4.5â6.7. I bought it for just $100âwith free shipping! Originally intended for wandering the dunes and shoreline near home, I quickly discovered it also works surprisingly well for quick tabletop compositions in the studio.
The takeaway? Donât dismiss a bargain lens until youâve actually shot with it and reviewed the results. Some sleepers turn out to be studio gems.
Above are two examples of different gobos used with the snoot. As you move the snootâs optical lens in and out, the light pattern transformsâbringing out larger shapes or more intricate details in both highlights and shadows. Itâs all about finding that sweet spot between focus and diffusion.
This isnât meant to be an exhaustive course on optical snootsâjust a light dusting of cinnamon to spark your curiosity. These days, snoot kits are far more affordable than they used to be. In fact, the one I use now costs half of what I paid years ago. (Timing is everything, right?)
I hope this little dive into light shaping was helpfulâor at least got your creative gears turning. And yes, after the shoot, I made a couple of tomato sandwiches and sat out on the porch. One of them even went to a couple of deer who wandered by. What can I say? Around here, even the wildlife knows a good tomato when they see one.