26. Lingerie shoot

A good location and studio flash were key to capturing these sexy lingerie shots. Using interesting locations instead of just sticking to a studio or a plain paper roll background can add that extra, important level of detail in your shots and turn them from looking like catalogue images to something a whole lot better. Follow Karl through setting up this shoot and how he contends with mixing studio and non-studio lighting on set.

NOTE: This photography class is available with English subtitles.



Comments

  1. Hi Karl,

    Can you provide details on how you worked with the colour differences between the existing florescent light and the strobes?

    Thanks!

    Mark

  2. Hi Karl,
    Great shots, but ça you please tell me why did you get se 2 different cameras? Aren’t big differences between 35mm and medium format? Thank you

    1. Hi Andrei, I think I was just testing the results of the Hasselblad at higher ISO, I can’t quite remember now. Back then when the Hasselblad sensors were only CCD they were very good and 50 or 100ISO but not good above that, now they’ve changed to CMOS chips they can now shoot at higher ISOs very well.

  3. Hi Karl,

    Unfortunately, I understand English very slowly and you may have talked about it in the film, and I did not understand it – I wanted to ask about the measurement of light in such a difficult place.
    All the lights in the niches are suppressed, and the studio lamps bring out the models from the background. Could you reveal the secret how you measure the light? And how do you match it to the whole scene then? Is all this later corrected in post-production?
    Thank you for your answer

    Darek

    1. Hi Darek, the answer is that I don’t actually measure the light! I shoot the first few test shots without the flash light and then I adjust my camera settings until the existing (ambient) light drops down to a level that I like. I then add my flash to the scene and gradually increase its power until I like it. In essence I don’t measure light as that would often be futile, I simply adjust light until I like the look of it. See this chapter to understand why https://www.karltayloreducation.com/course_video_page/measuring-light-and-achieving-correct-exposure/

  4. Hi Karl. Love the contrast of the hard geometric shapes and the soft feminine curves. You didn’t mention the lighting detail too much. I notice the umbrella facing the ceiling. Was this for increasing more soft light into the shot where the model was laying down? The flashes using grids where producing the harder directed light for the other two images? Even so with grids and harder shadows (distance from model maybe) those two images still retained a softness on the skin. How?

  5. Hello Karl.

    Do you use a full body make-up (ie. Blush or powder) for such a shoot or is it just the face?
    also how would you treat an oily skin is the event that the model chosen by the agency or client have such a skin? Thank you

    Cheers.

    1. Hi, The make up is mostly just the face unless there is a particular area that needs attention. As for the skin I’ve not come across the problem of oily skin on a model, sometimes it’s too dry and we use body butter to add a nice sheen. If there are any skin issues then these would be dealt with in post production.

  6. Hi Karl, what are those square grids on the two Eli monolights, in the shot where the model is lying in the alcove? How do they differ from the round gridded reflector attached to the third monolight? Are all three of those gridded, forward facing strobes firing here? What is each doing? Presumably one is lighting the face, that much I get, but the other two? Something to do with the texture or sheen on the lingerie? (yes, there is a fourth one that bounces fill from the ceiling, of course, but that one is clear to me). Cheers, Martin

    1. Hi Martin, they are just honey comb grids, they don’t need to be square it’s just the shape elinchrom made them.

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