Lighting Modifiers and Their Effects

So many modifiers, so many effects. Learn all about lighting from a seasoned pro.

Have you ever wondered about the difference between a softbox and a snoot? Or whether to use an octabox or an umbrella? If so, this class is for you.

You’ll discover the crucial differences between a variety of lighting modifiers as Karl explains how they work, what effects they create, and when to use each one.

You’ll also cover the principles of hard and soft light and optimise your ability to control light.

In this class:

  • Lighting modifiers
  • Hard light and soft light
  • Direction of light and the impact it has
  • Size of a light source and its effect
  • How to further modify certain modifiers
  • Lens flare and how to reduce it

If you enjoy this class, to check out Precision Lighting: Modifiers and Techniques and Beauty Lighting Comparison.

Don’t forget to try our amazing Lighting Comparison Visualiser tool.

Questions? Please post them in the comments section below.

Comments

  2. Hi Karl, just a tip if you can, i have to take some e-commerce shots, which diffuser would you suggest for leather goods as table mats, place mats and some sort of small blankets, some of them have reflective surface.
    Thanks

    1. Hi Davide, I’m afraid that’s almost impossible to answer because I light based on knowing the product, it’s texture, the mood you wish to convey etc. But as you said e-commerce I’m guessing a small Octa 75cm will suffice or through and overhead scrim but I’d probably add a small harder light from the middle of the same direction of the soft light just to pick up a bit of the texture, test each light separately to work out the balance of the two lights.

  3. Absolutely loving the attention to detail in all of these courses. Im coming from a film background and am now pursuing photography as a secondary income.

    Can i ask what Giraffe Boom set up that is? Moving in to a new studio space this week and need to order one in 😀

    Thanks!

    1. Hi, thank you and glad you are enjoying them. I’ll check on the giraffe boom but usually you will find an equipment list on the lower right that details all items used in each module.

  5. Hi Karl, love your work as always! I’m using the siros and wondering generally speaking when using with a softbox (or para which I have on order) if I am fine to simply set my white balance at 5500 or would the softbox/para alter it in studio situation? Also would mixing bron and chimera softboxes cause mixes of WB and cause me problems too? Of course for very high end would use a color checker to make 100% sure but am more thinking generally speaking.

    1. Hi Cameron, Yes all softboxes will give a slightly different colour balance to silver reflectors such as Paras. Even some silver umbrellas can look a bit bluer than others. I find softboxes usually look a bit warmer. There’s not much you can do other than colour balance to which ever is the most dominant light. The flash out put from bron (bare bulb) is actually around 5800-6000K.

  6. It would appear that you tend to favor a darker exposure that does not fill the histogram. Is this simply your creative tendency for this type of subject or across most subjects? Are there situations or with certain subjects where you prefer a lighter-biased image?

  7. I guess this is one of the paramount lessons that we amateurs have always wanted to know about: studio lights and all its contraptions.

    Thank you Mr. Taylor for that comprehensive insight into studio lighting setups!

    Cheers!

  8. Hello Karl,

    A few weeks ago I had an opportunity to try out one of your lighting suggestions. Namely, to use a horizontally-aligned 1×3 strip box for a close-up portrait. I did this outside in brilliant sunlight, with the strip box about a foot or two away from the subject’s face, at full intensity (an 800 W/S Siros L). Speaking of which, that was another of your suggestions, to put softboxes close to the subject. The result was a great-looking portrait that I am happy with. It had another result as well, and that is why I am writing now.

    After taking that photo and seeing the result, all of my photos look different to me. Now, I think I am more sensitive to what “three-dimensional lighting” means. Until I took this shot, I don’t think I quite understood what it looked like. It’s one thing to see it in professionally made images by experienced photographers, because almost all of those photos will have this quality, making it hard to see what it looks like when it isn’t present.

    Armed with this new shot as a comparative, it has become increasingly easy to see lighting problems in my shots. For instance, I did a series of portraits of fire men and EMT workers last week. Most came out well, but a group taken inside an ambulance have been bothering me for days as I try to figure out how to edit them to salvage the images. My “3D” strip box illuminated portrait came to mind and I suddenly saw that the ambulance lighting was washed out and flat. Short of painting in the detail by hand, the images did not have the raw information needed to deliver the shots I wanted.

    My question is this: would you consider making a video where you discuss a gradient of lighting effects, from flat to 3D (or whatever) to help subscribers understand what to look for in their own work when trying to determine whether the photos contain enough information to be worth retouching?

    1. Hi Apaq, very glad to hear that it’s working out for you and you are discovering these things with the help of our platform. I will certainly keep in mind your suggestion on discussing lighting in this way.

  9. Hello Karl! Thank your for these helpful videos!

    I wanted to ask, since I am a beginner and currently into food photography: can I use a speedlight with a softbox or an umbrella? What would you recommend best for food photography lighting?

    Thank you!

    Marlein

    1. Hi, Yes as a first choice I’d use your speedlite with a softbox, preferably something quite large like a 150 octabox to replicate natural window light well.

  10. Well Karl, I think it is safe to say that this course will end up saving a lot of people a l out of money. As a beginner you have the tendency to go out and buy them all, only to realise one year later that you didn’t use half of them. Good for me that I have my external conscience (wife)putting a brake on my purchasing.. haha thanks Karl, great course!

  11. Thank you Karl for these great lessons. You should really call it Karl’s University of Photography.

  12. Hi, congratulations on the lessons can only be upgraded. I like shooting with flash and I want to shoot mostly with sharp lighting what is your opinion on OCF Magnum Reflictor? And whether 400 or 600 should I choose?

    1. Hi, I’d choose 600 if you can. I don’t know the reflector you are talking about I’m afraid.

  13. Hi Karl, Really enjoying your classes – so much valuable information with such a friendly, accessible presentation. You are a great teacher! I shoot mostly dance and defining the three dimensional, sculptural shaping of the body is key. From the look of these demonstrations, the silver umbrella and the deeper (Focus 110) umbrella would seem to be best – I like the heightened clarity they give. What do you think? Thanks, Jim

    1. Thank you. Yes my favourite sculpting modifier is the Para 133 but the focus 110 is a very good economical alternative.

  14. Hi Karl,

    I’m primary shoot lifestyle work. Mostly my shoots are outside but occasionally shoot inside. My question is, if you have to pick one or two of these modifiers what would you choose?

    Thanks
    Nick

    1. Hi Nick, If you had the budget I’d go with the Para133 as it’s very versatile. Otherwise I’d definitely have an Octa 150, a beauty dish, a deep focus 110 and several honey comb grids and standard reflectors.

  15. First of all, thank you so much for an incredible wealth of information presented very logically. One quick question; assuming a sturdy and solid light stand, do you think using a Siros 800L flash head with the Para 133 would be a problem, given the weight of the Siros? Is the focussing tube strong enough to carry the weight of the light and the required adapter? Many thanks and have a great evening!

    Best wishes,
    Joe

    1. Hi Joe, broncolor have designed the Para’s to take any Siros no problem but yes you have to be careful with the stand that it doesn’t tip over so I highly recommend very sturdy stands and sandbags on the stands.

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