Innocence Fashion Shoot

Get your fashion photography swinging.

A touch of movement can often introduce an interesting and eye-catching element when it comes to fashion photography. However, it can be tricky (and very time consuming) to make this movement look natural. Creating the movement itself isn’t always the challenge — it’s making sure every other element comes together for that perfect moment.

In this two part fashion photography class, Karl works with model Kariss Craig to demonstrate how to work with multiple lights to achieve the perfect lighting and how a single set can be transformed to achieve completely different results.

In this series of fashion photography classes Karl teamed up with Next Model Management’s Kariss Craig, professional fashion stylist Bianca Swan and makeup artist and hair stylist Shanine Levrier for an intensive week of filming high-end fashion photography. The results form part of our newest fashion course, a new series, that details each and every step of fashion photography.

In this fashion photography class:

  • How to use multiple lights — lighting your subject vs lighting your background
  • Ideal lighting modifiers for fashion photography
  • Parabolic modifiers and their effects
  • How to create mood — influencing colour and tone
  • How to work with, style and pose your model
  • Inverse Square Law – what is it and what are the effects
  • How to make the most of a single set

Questions? Please post them in the comments section below.


  1. Hello
    Why all the faffing around? Elsewhere this platform advocates CG1 and doom of photography.
    Why not cut to the chase? Why not CGI the background and composite the model?

    1. Hi Simba, just to be clear and for your information going forwards – I’m a very straight forward person but I’m not enjoying the disruptive and dictatorial tone of your messages. They have an autocratic tone that isn’t conducive to good debate and conversation on valid points, if they continue without justification I will block all your comments faster than a Scoro pack flash because they do not benefit our other members, they only benefit your requirements to vent.

      In answer to your question, as was explained in the video or the one before it, the wall was already there to use from another project. The second reason is for the pure enjoyment of it. We got 3 or 4 shoots out of this one background that was used for another project so we might as well benefit from it and there is nothing more pleasurable than working and creating in the real world.

      You can take this as a first warning, if the tone of your comments doesn’t become more reasonable you will be blocked, removed from our platform and refunded. Kind regards Karl Taylor.

  2. Hi Karl!
    I review your lessons many times and each time I have a source of inspiration and new knowledge.
    Going to shoot a model in motion. Goes towards you, Goes to the side, etc. What is the best way to focus? Use focus tracking or manual mode? If manual, how to determine the moment of descent? I can see that you shoot confidently and focusing doesn’t seem to bother you much. Your swing footage can also be taken as an example.

  3. I wonder what is the total cost of such shoot, if one is just having a studio to themselves, never mind the cost of the set build. But the model, hair, makeup, stylist, outfit – I’m guessing a single image like that – without the photographer’s fee, is already in thousands.

    1. Hi Gregg, yes it would be and it would also depend on the client and usage fees which we discuss in our business section. However it has to be said that you’d probably only be going to such lengths of such a set if it was a big campaign shoot. The model would be getting paid several thousand, the photographer even more, the hair and makeup may be towards 1K for a day and the set build would be whatever the carpenter rates would be for a couple of days work so yes this type of ‘big production’ shoot can run into many thousands. This particular shoot we actually made use of the set, as we built it ourselves (well Tim and his dad did) for another project we were working on for The One Show on BBC1 – You can see that here – it’s the Dali Atomicus video after we finished we thought we could re-purpose the set for a couple of fashion shots.

  4. In the wide shot of the behind the scenes, on the left side of the studio it looks like there’s a projector with something hanging from a C-stand in front of it. Is that serving a purpose in this shot?

  5. Great Karl! But Karl, you’re using a very large soft box, can someone achieve same result with a smaller soft box in a small studio space?

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