Muffins Live Shoot (Working to a Brief 3)

It’s not often you get to see exactly how a professional photographer executes a photography brief! After the review for our last photography brief challenge, Karl demonstrates exactly how he would have shot the image if he was working for a client and how you could overcome some of the common challenges associated with the shoot.

One of the biggest difficulties members seemed to face was controlling light fall off, so Karl shows three useful techniques to overcome this common problem. He also explains the inverse square law, how it works and how you can modify your studio to better control it.

Throughout this shoot, you’ll see Karl’s methodical workflow, how he identifies problems, and how he gradually builds up his lighting to arrive at the final image. He discusses what props and backgrounds to use, his camera settings and lens choice, how to control the softness of light and how you can use mirrors if you don’t have enough lights. This is an informative live show that completes our third photography brief challenge. For more of these challenges, please check our live show page.

Topics covered in this show include:

  • How to work to a photography brief
  • Understanding the inverse square law
  • How to control light
  • How to create soft light
  • Equipment and lens choice for food photography
  • Using reflectors for additional light
  • Global illumination lighting technique

If you enjoyed this show, take a look at some of our other recommended classes:

If you have any questions about this show, please post in the comment section below.

Comments

  1. Brian R.

    Hi Karl,

    I wanted to ask your thoughts about global illumination for my studio, 5.2m wide x 7.4m long with a 2.4m ceiling, floor is dark grey, ceiling is black, walls are white. I have tall shelving and things along all walls, storage, props, work area, everything has to be in the same space as I shoot, so I don’t have large open floor to ceiling white areas to bounce off of. I shoot the length of the space. I thought I might try two things, 1) Make a new short white wall of tall v-flats pointing a strobe as wide and tall spread as I can, some things are in the way in between the light source and scene like the camera stand, and work station. 2) I have a Profoto XL white umbrella I could put in the same area in place of the wall of v-flats, it’s pretty big, but the further away the harder the light… what do you think?

    1. Hi, sure – the most effective ‘bounce’ for global illumination is the ceiling so you’re always going to struggle if your ceiling is black. Personally I would have a white ceiling especially if it’s flat because then you can use it as giant reflector for gradient lighting too. If it was me I would paint the ceiling white and then use some black foam board or fabric for when you need to make the ceiling black. Without a white ceiling it’s going to be almost impossible for global illumination without using a ton of V-flats (one in each corner of your space) which means 4 lights and the light won’t be coming from above which is what global illumination really needs to be. If there’s anyway of making your ceiling white that would be the choice. I understand a black ceiling is also useful but you can find ways to make the white ceiling temporarily black when you need to.

      1. Brian R.

        Ah… ok, that’s why it seems like no matter what I do I can’t get the result I think I should. In terms of lighting position, is the idea to make a spot above / near the scene like you did @40:25? Or, now that you mentioned the ceiling, perhaps I’ll test making a large cloud over the scene (for now). Since all of the shelving on the right side of the scene along the long edge of the wall is all on wheels, I can move them away, revealing a solid white wall, point one or two strobes on that big wall and I shoud have a very large bounce off the wall and part of the ceiling relative to the subject. So stick to the ceiling or since I can move the shelving and make a cloud bounce off the wall?

  2. Brian R.

    Another great master class Karl, thank you! There’s something about watching you work through making an image that helps me with my own understanding over time. I’ll watch a series of videos, practice, run into my own issues, and work through solving each one. Then I’ll watch something like this, follow along mentally, and realize my knowledge gap has been getting smaller and smaller!

  3. Thanks Karl, another great video. I have two questions

    The first one is about global illumination, let’s imagine that we do a similar shot in a cafe, let’s imagine a cafe with very high ceilings and no walls.There is a glass frame instead of a wall, so we have no chance to benefit from global illumination, in this case, would you use the softbox and reflector duo for balance between foreground and background?

    Second question, I use Canon, which metering mode do you think it would be better to use in such photos? And where did you mark for focus in this example? The top of the muffin close to the camera?

    Thank you

    Zee

    1. Hi Zee, if there is no option to bounce from around a room for example outdoors then the only other way we can get light into the shadows is with a reflector or another light. In both instances you want to make that big, so either a big white reflector relatively close or a big softbox. However keep in mind that even a ceiling is a good bounce so you might have something you can use (unless the ceiling is black and the walls are glass). Always think about the physics, global illumination is light coming from all directions (you can’t get bigger than that) so if that isn’t and option then you need to replace it with the next best thing. Also keep in mind that you only need global fill when you need it, not every shot needs it, it’s simply another way to control shadow density. Second question: The metering mode is irrelevant because you’re not metering the flash just get you daylight shot and ambient light under control and then add flash and look at the result and work from there. Focus is dependent on where the main point of interest is, that should be the focus point and then you need to consider the amount of depth of field you want either side of the focus point. There is no rule to say it must be here or there – it should be wherever it is best for that particular photo.

  4. David

    Hi Karl,

    I am planning to build a small home studio in my rented flat where I have wood textured laminated floor. Is that going to bounce back some brownish colour into my shots? If yes, what do you think is the most effective and easy way to solve that? Also if I would shoot a full body shot with the floor visible what are some good options to cover the floor with that look good on a shot?

    Thanks

    David

  5. SherryS

    Hello,

    I’m definitely late to the party on this one. I am looking to continuously improve my skills and am looking forward to jumping into a lot of your projects and working alongside your videos.
    I’m going to be doing this shoot in the next day or so however, as the course is now closed for submissions I am going to take some liberties as far as the type of muffins.
    I am going to be using Cranberry Lemon muffins.
    What I am wondering, or rather hoping for, is that when I am finished there might be a way to receive some feedback on what I’ve created? If not then I guess I will settle for my own comparison to what you have provided as your final image.

    Thank you for putting this all together, regardless.

    1. Hi Sherry, It’s great to hear that you are going to take up these challenges, they are a great way to practise. Unfortunately we can’t critique them if they are past the submission date but please check our ‘Live Show’s’ schedule to keep up to date with the current or next challenge that you could take part in and then you can submit for that critique. All the best Karl.

  6. I really really really enjoyed this live session Karl. Thank you for taking the time.
    I really appreciate you saying the comment about ‘physics of lighting’. Sometimes working with some art directors is very challenging because they expect magic, not physics.

  7. Karl, despite some of the questions you got about lighting, I appreciate your taking time to show how you would light items as a professional. Anyone can throw up a single light and shoot; that’s not what most of us want nor expect from your shows. Thanks again!

  8. Hi Karl,

    Would it work if you put the big softbox in the same position but a bit higher and parallel to the surface of the table, and put a scrim between them at an angle similar to how the softbox was positioned originally. Maybe it would create a more balanced light on the table?

  9. Hi karl,

    I did’t get a chance to do the brief but thoroughly enjoyed watching the summary. I learn a few valuable lessons, such as lighting & the mixing of milk & paint to get that cream milk like look.

  10. I didn’t manage to get my image done in time because my kit was still on order….it arrived on Friday. I have done it now though and it was great fun. I am really happy with what I managed to do. Given it was my first time using my new camera, lens’ and lighting kit it went well. Can’t wait to be able to enter more challenges and briefs.

  11. I see an error:
    “Sorry
    Because of its privacy settings, this video cannot be played here.”

    Is that a temporary issue or did I miss this train?

  13. mava2020

    Hello Karl, I learned a lot from this workshop, I was able to ID my weakness (limitations) and also work with my budget to achieve the goal. Thank you very much. 🙂

  14. Thanks, Karl… After watching this, it solidified for me that I had the right idea and used some of the right tools, but did not solve the problems that I had and was relying on my mediocre post-processing skills instead of problem solving while doing the shoot. Your time and energy in educating us to be better photographers is greatly appreciated.

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