26. Stunning two light beauty set You’ll love this simple and effective two light beauty lighting setup. In fact you’ll find it so effective you’ll want to use it time and time again. Comments July 5, 2017 Log in to Reply Pradeep Somanahalli In commercial shoots do you work with model in similar way as shown in video or do you set it up with an assistant prior the model arrives? July 5, 2017 Log in to Reply Karl Taylor Hi, no I work in this way, you are paying the model so you take as long as you want to get the shot set right. It’s good practise to let the model know what you are doing and why and that you are just testing etc. If it was a client business portrait then I would do or the testing on an assistant. July 5, 2017 Log in to Reply Chick Piper I appreciate the time you spend on the background lighting. It was a great lesson. July 6, 2017 Log in to Reply Mohan Garimella U r depending on ur monitor only . Are ur monitor and camera synced for the colours ? July 6, 2017 Log in to Reply Karl Taylor Hi Mohan, I know that the camera records the colours accurately so I don’t need to worry too much about the colour at the capture stage. I would only need to worry about it at the post processing or retouching stage when I wanted to change something. When I do my post process work I then move to my office where I use an Eizo color calibrated monitor. September 1, 2017 Log in to Reply Mohan Garimella Many thanks. Sorry for late response July 6, 2017 Log in to Reply Svein Arne Grønnevik I do not have a tri-reflector as in the lesson. Can 2 smaller reflectors in an angle or a bigger one somewhat curved do an approx similar job? July 6, 2017 Log in to Reply Karl Taylor Yes but I definitely recommend investing in a tri-reflector if you can as they are more versatile for lighting under the chin and the sides of the face at various levels of brightness as each panel can be controlled independently. July 7, 2017 Log in to Reply Svein Arne Grønnevik Thank you, Karl. Now I really hope Santa Claus see this. Because I have just invested in a Canon 5Ds (50Mp) and still have no ordinary studio. 🙂 July 21, 2017 Log in to Reply MizUniverse oooooh Loved the results of this one. Cannot wait to try it out!! Thanks Karl Kisses XO August 6, 2017 Log in to Reply Lightman Hi Karl, At 6:19 you added a second light octabox on the model. Can we not use the Grids/ Hood to prevent light spilling from the Octabox to the background ? August 9, 2017 Log in to Reply Karl Taylor Hi Lightman, yes you can but grids on softboxes will increase contrast on your subject and make them less ‘soft’ so I avoid using them unless I have to. August 7, 2017 Log in to Reply Andreas Diekötter Hi Karl, do you retouch catchlights in the eyes? In this case: The catchlights of the tri-reflector are a bit “funky” for my personal taste. August 12, 2017 Log in to Reply Pradeep Somanahalli Is it ok to use bckground light on white background or a black background with some color gel? August 13, 2017 Log in to Reply Karl Taylor If you have a white background and your main lights and model are close to it then I’m afraid it will look an unpleasant dirty grey/white. If you are a long way from the white background (big studio/big background) then it will look mid grey and you can light a patch of it for a glow. Black backgrounds are obviously good if you want black and they can saturate coloured gels very well but in a defined area where the light hits. My recommendation is a mid to dark grey background in a smaller studio space. August 24, 2017 Log in to Reply Mark Harris It’s fantastic watching you build your lighting. I learn so much watching you do, what to you is, everyday tasks. I have never worked with professional models, but are Debora’s skills, level of professionalism and the ability to portray almost a different person on each set the norm? I find it amazing what she can convey with her stance, facial expressions and hand movements. August 25, 2017 Log in to Reply Karl Taylor Hi Mark, Deborah is a good model and one who worked very hard during her week with us. But I would expect most professional models that cost a reasonable fee or from an agency to be able to accommodate a variety of poses and nuances. Working with professional models does make a huge difference on commercial shoots for obvious reasons as productivity is much higher. September 9, 2017 Log in to Reply Mark Harris Thank you Karl. October 3, 2017 Log in to Reply Rolando White Karl I saw on the video screen that you were shooting at 5.6 at 160 of a second, can you tell us what was the difference between the background light and the main front light on that shoot, in terms of exposure ?? November 6, 2017 Log in to Reply Mark Glancy Great lesson Karl, i do some times get strange greeny/blue lines on the grey background sometimes any tips on how to reduce this? November 7, 2017 Log in to Reply Karl Taylor Hi Mark, are you seeing these lines from your lights or only in the photo? Is it banding in the graduation in the file or actually on the background? It sounds very odd. November 20, 2017 Log in to Reply Anthony Leurs Great tutorial Karl, very simple yet very effective, nice way to begin and learn the art of learning how to control the light. November 21, 2017 Log in to Reply Karl Taylor Thanks Anthony November 26, 2017 Log in to Reply JAVIER JIMENEZ Hi karl: I am experiencing banding problems in the gradient zone of the background, similar to Mark Glancy. I use a nikon d810 and bowens strobes. The problem gets worse when I export to jpg (photoshop does a better job here than Lightroom, but not perfect). Could you help me please? Best regards November 28, 2017 Log in to Reply Karl Taylor Hi Javier, some important tips. First ensure your light graduation is smooth. Second export your files as 16bit tiffs (expect banding in 8bit jpegs). Thirdly use a calibrated monitor, some of the banding you see may not even be there it may be your monitor. Finally if banding still exists then follow the very important tip in the Photoshop for Photographers course in the ‘Post Production’ section. All the best Karl. January 13, 2018 Log in to Reply Himansh Sharma Hi Karl, I really appreciate the way you explained. Thanks February 1, 2018 Log in to Reply Peter Scully Hi Karl, Great example of soft lighting. It’s also nice to have Deborah on set; gives me a good idea of how a professional, experienced model works during a shoot. May 3, 2018 Log in to Reply Iva Trajkovic Hi Karl , love all your videos and learned tones from them. I remember in one of the previous videos (and I think was live show for business portraits), you explained that key light should be closer rather then further a way from the subjects face. Taking that in consideration just wondering should key light be closer to the model ? Your image came out fantastic even with light further a way but just trying to understand this whole light – model distance relation. May 8, 2018 Log in to Reply Karl Taylor Hi Iva, this all depends of the model, the contrast level you wish to acheive, the hardness of the light and the retouching you are happy to do. No two shoots are the same or need to be the same as you will discover more in the fashion sections. The live show on business portraiture taught you the basic physics for effective lighting, those were the rules but we are free to break them! Comments You must be logged in to leave a comment.