White Blocks Fashion Shoot

Learn how to turn your studio wall into a giant softbox.

In this fashion photography class, Karl Taylor shows you how to create broad, soft lighting with an unusual but effective technique. You’ll see Karl and the team working hard to position the white blocks perfectly and find the right power setting for the lights directed at the wall. He also explains his choice of modifier for these background lights.

Once the model enters the shot, you’ll watch Karl introduce a new fill light, plus some props, as he seeks the ideal exposure for Suzannah, her outfit and her accessories.

Then it’s time for Suzannah to throw some shapes as she and Karl experiment with a range of dynamic poses, including some involving a wind machine.

To wrap up the class, Karl explains how he decided which shot to take forward into post-production.

In this class:

  • Lighting techniques for fashion photography
  • Creating broad, soft light in a white studio
  • Composition in fashion photography
  • Octabox 150 photography
  • Finding the right exposure
  • Working with a model in fashion photography

Check out White Blocks Fashion | Post-Production to watch Karl edit and retouch this shot.

If you enjoy this class, check out A Monochromatic Moment in Time Fashion Shoot and Legs Up Fashion Shoot.

Questions? Please post them in the comments below.

© Karl Taylor


  1. gorgeoussss light! Can this be reproduced in a living room with lower ceiling and all white walls?
    Is there a way to achieve something similar?

  2. Hi Karl/Team,

    Are those blocks handmade or you purchased them?
    I’m just curious as I have seen a lot of cool props across all the classes and I’m wondering if there is a plan to show process DIY – Do it yourself to create those props?

    Thank you,

  3. jeahn

    I was not expecting Suzanna to be so tall. When she came in after Karl I couldn’t believe it 😂 Talk about juxtaposition. Brilliant shoot as always VE team 😊

  4. Simply love everything about this session!! As you were shooting, I was not “feeling” the motion shots, and was so glad that you chose this static image for your final. Love the boxes, and as usual, Ashleigh was the absolute “best assistant” ever.

    1. Thank you Michael. Yes I’m glad I shot a range of the static shots too. Motion ones are always hard to get everything in the right place at the right time.

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