52. High Key Soft

Photographing white clothing on a white background can be tricky, but in this photography class Karl shows you an effective lighting setup to successfully do just that.

In this four light photography tutorial Karl uses the simplest of studio lighting modifiers to produce this beautiful full length high key image. He also shares a number of useful tips and techniques when it comes to achieving a pure white background.

Karl then demonstrates another useful trick for how to create a slight shadow while maintaining the high key light, accentuating the three dimensionality. To end the class, he then clarifies a common misconception about the color white and shows you how to simply adjust this setup to achieve a grey background.

In this photography class we cover the following:

  • Studio photography: How to shoot portrait images
  • How to shoot creative portraiture using four lights
  • Affordable modifiers for studio lights
  • How to create broad, soft light
  • How to avoid lens flare
  • How to create a pure white background

For more techniques how to achieve a pure white background, click here.

NOTE: This course is available with English subtitles


  1. Good morning Karl, first of all thank you for these beautiful courses and I apologize if I speak little but English is not my language. About this, a further thank you for the clarity in expressing yourself, I thought I would not have been able to understand the courses. The videos are well made I wanted to focus on this video because it affects me and the white backdrop is always a challenge in commercial photography. I understand that making chapters with one, two, three and four lights is very useful.. A separate chapter dedicated to the white backdrop and the various ways of doing it, without thinking about the equipment used, would be very useful.. Thinking it as a real work on commission, full length and without post-production intervention. There are dozens of photos to take in one day and the photographer need to be able to optimize time. Thinking, in this chapter, of sets made with all the comforts, for example in a rental studio or as it happens to me, set up on site by the customer, often with little space and without assistant. I hope this does not seem like a criticism, but only a further enrichment to this already very complete course.

    1. Hey Gerry, I don’t know how Karl achieved this result… But I usually can achieve this with a combination of the clone stamp tool, on a separate layer and then using the lasso tool to define the area around my models feet, and then applying a Gaussian Blur in photoshop.

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