Theatrical Light Fashion Shoot

Learn to a tell a story with your fashion images.

Using the same set as in chapters six and seven of this course, Karl again demonstrates how it is possible to transform the same set for completely different results. Detailing each step of the shoot, he experiments with a number of different lighting modifiers before settling on his final three-light setup. All the lights used in this shoot can be seen in the equipment list.

This fashion photography class demonstrates the effect of different modifiers and shows you how to evaluate and balance multiple studio lights.

In this fashion photography class:

  • Creative lighting setups for fashion photography
  • The emotion of light
  • How to simulate sunlight using studio lights
  • How to control shadows
  • How to use colored gels for creative effect
  • Lighting modifiers for fashion photography
  • How to make the most of a single set

Questions? Please post them in the comments section below.


  1. Hello
    I dont understand why anyone is going on about Para 88. It is not used and cannot be used in this shot. Did I miss something?

  2. filippo-72990

    About the main light, the effect of the fresnel footer could be simulated with a Para 88 or 133 in focused position ? In the Para live session you showed the effect of Paras on background placing the light far away and perpedicular . What happens when a Para is placed close and parallel to the background ?
    About the ambient light fill , in case of small space where floor and ceiling are painted with a color not white , what type of solution can be applied to avoid color cast ? Bouncing light from a big panel ? Or neutralising the shadows color cast in post production ?

    1. Hi Fillipo,
      1. The Para 88 in the focused position should be OK but it is not as concentrated beam of light as a flooter.
      2. If the majority of the walls are cream then you could add a light blue gel to the global illumination. If that’s not possible because the walls are say green then you would need to cover the walls and ceiling with as many big white panels as possible or paint the walls.

  3. I finally got around to watching this. Great video and a stunning shot, Karl. Very beautiful work indeed. Out of curiosity, where do you get your music from? I love the music in this presentation and I’m hoping to do some BTS videos myself in future and need some music. Thanks.

  4. Well done. I particularly appreciated that you needed a fill and decided to remove the reflector on the light and raised it out of the image just to even the shadows. If there is no ambient, then create it.

  5. Hi Karl,

    A great shoot; I really enjoyed this series. Concerning the fill light – If you have a less powerful strobe, say about 600W max, would it be beneficial to fire it off some large foam boards (or a white wall corner) or would the different angle cause a less pleasant effect?

    1. Hi Peter, I think you will find in a smaller studio space 600W will be plenty fired into the ceiling (if it’s white) remember for me to get 3200W i’d have to be on power 10 on my packs which is very rare as I often have multiple lights plugged into a pack and it has to distribute the total power between them. For example power 9 is 1600J, power 8 is 800J so power 7 is 400J, therefore power 7.5 is going to be about 600J.


    1. Quite possibly Frank although as I’ve used that before on this occasion I felt a triangle of light would be more ‘scifi’ I guess.

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