Learn By Doing
Practise your skills and reach your photography goals, project by project
Each project gives you simple step-by-step instructions to follow and direct feedback from Karl along the way, then a chance to display your finished images in the gallery. It's the fastest way to turn what you've learned into real, finished work - and to keep building your skills, one project at a time.
"I'll show you exactly how to do this in easy steps - shot with just one light and a couple of mirrors to bounce the light back. I'm challenging you to create a stylish old-masters-style still life with one light too." - Karl Taylor
How the project works
1
Live Launch Show
Karl walks you through the brief live, with time for questions before you start.
2
Bite-Sized Training
Short, focused lessons will guide you through the key stages of the project, including prop sourcing, light placement, surface choice, composition, colour and post-production.
3
Build and Test Your Image
This is where the learning happens. Move the light, change the distance, adjust the objects, test the shadows and refine the image until it starts to feel intentional.
4
Mid-Project Discussion
We’ll look at progress, discuss common problems and help you keep learning. Rough attempts, lighting tests and behind-the-scenes setups are all useful at this stage
5
Upload to the Project Gallery
Share your results, a work-in-progress shot, or a behind-the-scenes setup. This is not a competition. Every upload helps other members see what was tried, what changed and what improved. You can upload or update any of your images at any time during the project.
6
Review and Peter Lippmann Interview
I’ll review selected member submissions during the project review. Peter Lippmann will also be joining me for a live interview, where selected project images will be shown as part of the discussion around still life, lighting and composition.
WATCH HOW 'RAKING' A SINGLE LIGHT BRINGS THE IMAGE TO LIFE
On this project you will create your own still life image with one light, carefully chosen props, controlled shadow and refined composition.
What You'll Learn
Choose props that tell a story and feel considered
Build a composition around a single light source
Use fabric, surfaces and background texture
Create an old-master-inspired mood in post-production
"These projects bring 30 years of professional lighting experience into simple exercises anyone can try at home."
Curated by Karl TaylorLoved by photographers at every level
What members are saying about the Visual Education projects.
"Just signed up, i have to say this is one of the best live/class i have watched on photography in a long time. Really made me feel really excited to create my images."
Cashfire
"Great class! I’ve learned many new things and revisited others. The project’s direction is very motivating, and I look forward to participating. Thanks a lot!"
Iglika
"Fun! Thanks Karl and team for creating an environment which encourages learning and sharing. This class was a great excuse to get in the studio (aka garage), just start shooting, and now sharing results."
Joe
Start Learning Today
Want to take part in the full project?
Join Visual Education to participate, upload your work, access the project tutorials, take part in the review process, earn badges, and continue learning with the full project. The sooner you join, the more of this round you get - including the live Mid-Project Review.
Launched
29 Jul
Mid-Project Review
Join in time
Closes
27 Sept
Monthly
£19.00/month
Pay as you go.
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ANNUAL - 40% OFF
£11.00/month
£228 £132 Per Year, Billed Annually
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Project Gallery
See what our members are creating for this Project.
Comments
I just want to comment that I don’t appreciate the short shrift that was given to my project in the Project 4 midpoint show. Especially in comparison with the feedback given to other participants. It was not helpful at all. Makes me wonder why I just spent $200+ to join the platform when you give such uninformative feedback.
Hi Wayne, thanks for your feedback. Our midpoint show is not the full and final review show and often we only look at a few entries to give people an overall feeling of what we think is working and what is not. I think we achieved that in this show and covered a lot more images than expected. Unfortunately you annual membership fee can’t guarantee that each individual member will receive an in-depth review of their work every time as this just wouldn’t be possible. It’s also worth noting that we hold multiple projects, critiques and briefs each year so there are plenty of opportunities to submit work and to learn, our platform is also not just about those 3 areas and also includes over 1000 classes to help you progress. Many other platforms don’t deliver anywhere near as much for such a low fee and those that offer personal tuition charge thousands of dollars so we believe we are providing a valuable service but will take your comments onboard.
You speak as if you don’t have any competition and don’t have to try harder. Photigy is only $3 a month more than you folks charge and seems to have a much better selection to choose from. And I am sure there are others. I definitely won’t be renewing.
Wayne, everyone is entitled to decide whether a platform provides value for them, but I think this is a pretty unfair characterization of what Visual Education offers.
The midpoint show is exactly that, a midpoint review of the project, not a guarantee of an extensive individual critique of every submission. One of the things I find so valuable about these shows is that the feedback on other photographers’ work is often just as useful as the feedback on my own.
I’ve been a Photigy member for at least a decade, and personally I don’t think comparing the two simply on monthly price tells the story. The depth of education Karl and the team have built here — the live shoots, projects, critiques, lighting theory, and the level at which Karl explains why something works is extraordinary. There really isn’t much else like it.
You may have wanted more feedback on this particular image, and that’s completely understandable. But I don’t think that makes the feedback uninformative or suggests that VE somehow isn’t trying hard enough.
I also think there’s enormous value in learning from the feedback being given to everyone else’s photographs, rather than judging a group critique primarily by how many minutes were spent on your own.
I’m not saying this to be facetious. I’m saying this because I think that it’s true. Karl doesn’t have any competition.
There’s nobody offering what he offers. He offers hands-on training, Photigy is good.
Kelby-One is good, and many others.
The stuff that I have learned from this platform, for me personally, it’s worth it. I am receiving something that I feel is of greater value than the subscription price. And I’ve been with this platform for going on a decade now. It’s probably my longest subscription.
Wayne be patient. It sounds like you’re a new member. When Karl gets around to critiquing your stuff sometimes it’s not so pleasant lol. 🙂
Hello Karl. I made a completely new picture. Is there a chance that after I upload it, you will give me a 2-4 sentence feedback before the final, so that I can possibly improve?
Hi, Sorry no I’m afraid we can’t provide individual critiques other than what happens in the review shows as it wouldn’t be fair on other members and if we had to do this for everyone in detail there just wouldn’t be time.
Hi Karl,
Yes, that’s exactly what I was expecting. It makes perfect sense, no worries at all. I’ll just take out the old one and put the new one in.
Hi Karl,
I watched the replay and thanks for your comments–my submission is the last set. I didn’t go with the minimalism setups because I somehow got an impression that Renaissance paintings tend to show luxury and complicated richness, so I concerned the initial shots are too simple, so I put my two weeks of fruit supply into the shot. I teared down the setup so I probably have to submit the version of fruity minions finally, but I got you said.😄
Following on from my previous comment, seems to be a Wordpress thing on the site (might be my browser issue?); I’m unable to delete the dark image in question as I get a Wordpress error which is terminal and doesn’t allow me to return back to the site. I attempted to Replace the image (same filename, but different timestamp) but the upload window only recognised the file with the historic timestamp and not the latest one with the current time. To resolve the issue, I had to use the file in a different folder for the upload to work ok. Apologies for long message; my excuse is I used to do systems testing years ago.
Hi, OK thanks for letting us know I will ask our developers to take a look at this.
Just an FYI, the “Image 2” I’m uploading to this page for the ‘out of camera’ jpg shot seems way darker than on my computer, despite Image 1 & 3 matching my files. Bit weird, but certainly no harm. But probably not as weird as my photoshop skills! I get impatient trying to learn the tools and techniques as I’m a slow learner, but that’s why I’m here to learn. I can assure you I am really trying though. I just need more tea, biscuits, and patience.
So cool seeing everyone’s set up! Excuse the dive I am shooting in, mismatched curtains, boxes etc – we are mid house renovation (well 6 years in so hope its more than ‘mid’ but doubt it) Everyine has their challenges I guess.
Nobody tried flowers, so I might 🙂
Very impressed with all the images submitted so far for this project 🙂
After reading the ‘brief’ I looked at several painting of the style recommended. I noted that several artists, including Rembrandt had painted in the window light reflections in their works.
Whilst almost everyone is following Karl’s use of a large soft box to achieve a soft light, I decided on a different approach:
I used an Optical snoot, with a ‘window light’ gobo, projected through Lee diffusion (216) thereby providing a soft directional light but creating the window frame reflections in the bottle and glass.
Reflecting cards directing the light through the glass and giving shape to the fruit.
A black reflector was used to prevent light reflections from the white wall to the right.
I think it works?
please exuse the sqare crease on fabric in the background, I tried to iron, wash and dry but it is some kind of mix of fabric with plastic texture it is so staburn I could not get it smooth…unfortunately…I tried to fix it in editor but it did not happend and I am still trying to figure out lightroom but it not going very well for now. I think I will need to sit and learn that one day ….
Frequency separation is good for getting rid of creases. Think its a Photoshop thing rather than Photoshop though. Worth a google (or maybe Karl has a lesson on it in here?)
Please excuse the laundry cart in my BTS image. I needed a mirror and ran out of places to put it. Laundry cart to the rescue! LOL! I shot the final image at night and used my black out curtains and homemade black V-flat to completely block any light coming in from the neighbors security light. My one light source was a Flashpoint (Godox) Explor 400 Pro TTL Strobe w/grid. Light was bounced back into my scene with a sheet of silver foil stuck to a white card & a mirror concentrated on my grasshopper. A single narrow black card was used as a flag to control the brightness on the cloth closest to the light. I completely changed my props from what I had posted in the Facebook group and am much happier with these! They just felt right. I will be doing more like this to hone my skills! Thank you Karl & Team for offering these projects! I have really enjoyed them & look forward to the next one!
Are we allowed to focus stack the image? It was mentioned in the video but not answered. Or was it just grouped under no compositing? Thank you
Hi, you can focus stack your final ‘retouched’ image.
Hi, are we turning in the actual RAW file or converting it to jpeg first?
Hi, just a jpeg from the raw file will do for now thanks
Thank you 😊
My apologies for duplicate posts but it wouldn’t post the first time I tried.
Hey gang, additionally, I’ve watched all the segments but only two registered. How do you get the rest to register?
Hi what do you mean by get them to register??
One thing is for sure, I need to take a class on Photoshop! How do you all get two or three images in one file? Then how do you keep it under 2mb? Thanks. This was a fun project, not sure if I have it right but we’ll see.
Hi we have some great beginner classes on Photoshop!
It’s nice to see so many great shots here, well done, All, Love Visual Education
Important lesson learned: build in enough time to step away for that cup of tea and fresh set of eyes. Tried to squeeze the project into one afternoon and discovered something unintentionally left in an otherwise very satisfying shot.
Still grew a ton and had a wonderful time with the lessons/project/shoot. Thank you for putting these together!!
What a bummer! When I first read the new topic, I immediately had an idea in mind for a picture using an entirely different set of materials—lots of different finished metals, glass, and mirrors.
However, while prepping my table, I watched the introduction and realized I now need to go find some new props that fit the brief better.
I gave my initial idea a shot anyway because it was just too fun to pass up. I would have loved to follow through with this concept, but I’m pretty sure optical fibers weren’t quite available during the old-master era!
Ha, always a good idea to watch the launch first!
I’ve enjoyed this project. The photos with the fish are replacements for the earlier 3 posted. For these fishy images I used just window light coming from the right hand side. This was also reflected by two silver reflectors to fill in some of the deeper shadows. I dodged a little in PS, particularly the bread and fish. Shot in RAW and processed in PS and NIK Color Efex. I choose a preset and then added a green tinge, although I’m not sure I like this. I did consider adding a digital oil painting look, but have followed Karl’s suggestions apart from adding noise.
This has been a good project for me which has led me into making numerous still life images. using flash and others with fixed lights. I think my best are those using two fixed lights, one through an umbrella and one with a snoot.
Wow, I’m impressed with the images uploaded so far. Feeling proud seeing everyone’s efforts and equally inspired as a member. On my side, I have a story, and my props-gathering are slowly coming together.
Hi, If I may add a post-processing comment I would strongly disagree with any added artificial digital noise – this is essentially a completely alien concept for the old master painters work. This is popular image degradation technique these days, but I promise it will pass just as quickly like blown highlights or magenta tints from 2010s.
I strongly dislike digital noise. But then surely if we wanted it, why not just shoot the master image at ISO 3200, or whatever the desirably noisy settings is…
I enjoyed the class otherwise and looking forward to have some play with some fruit and vegetables!
Hi, adding digital noise is actually a very versatile process and is even used in increasing apparent contrast in images especially prior to printing. Watch this class to see that at work: https://visualeducation.com/class/preparing-your-images-for-print-using-photoshop/
The main reason for adding digital noise in my own example was to introduce the feeling of texture that is apparent from an original canvas. In this class I actually introduce noise and a canvas ‘texture’ to further invoke that mood: https://visualeducation.com/class/painterly-portrait-post-production/
All of this is OK as long as you retain your layers and the original file below before you add noise and then you can choose how much noise to introduce or revert back to no noise.
I love the approach of using just one light source. What was for me especially helpful, were the previous projects and discussions regarding shadow and its quality and especially reflections of modifiers in shiny objects … so much to take care of! One thing is knowing and the other thing is being able to implement it.
Now at least I recognize a lot of issues in my first attempt of doing the still life. I liked the back/above direction of the light, but forgot about the typical light direction of a period painting; as a result not all reflections made sense and I had to doge and burn in post to correct some of the obvious issues. Well the next trial may hopefully improve.
And I also need some more convex reflectors (cosmetic mirror) to highlight parts of the still life (instead in post) , and clamps to hold reflectors in place (instead of books and boxes) and, and, and … 😉 It is an exciting challenge to achieve a light setup that requires just the absolute minimal post production – I did not expect that enjoyment out of a still life (including the historic background of such paintings) … a completely new genre for me.
Thanks Karl and Team
Thank you and glad you enjoyed it.
Hi there, I’m struggling with my upload, because I can see that the image I sent is really different from my exported jpg file as I can see it on my PC (jpg is very similar to my PSD). Let’s say that there’s a massive lost of information, namely in dark tones, which results black. May you help me, or should I modify my image to fit the compression of your site? Thank you. Regards.
Sorry for replying to myself with a new question for you : when I upload the image on Facebook, it is quite darker than my original : but I noticed that when I download it from Facebook and open it with my default viewer (on PC), it is really closer to my native JPG. Karl, is it the same with Visual Education? Does the image on the gallery uploads appears darker and ugly compressed if compared to the file you will open on your Mac? Thank you, Regards.
Hi, it shouldn’t change on our platform. One of the reasons images appear to change on different platforms is the embedded colour profile in the image. For example if your image was using an Adobe RGB profile and then uploaded to a website it may change in appearance because the website automatically recodes the image with an SrGB profile which is common for web display. Generally speaking if you export your images with an SrGB profile before uploading them then they should look the same as long as you are viewing them on the same screen of course.
Here’s a brief rundown of my discoveries so far with this project.
Number one, the light from my garage door is magnificent. I never knew this until I tried lighting my composition with it. I credit you, Karl for this cool thing that’s happened, because you insisted on using one light source.
Number two, is the genre Vanitas, I find it fascinating, and my favorite artist so far is Pieter Claesz.
Number three, the importance of taking behind-the-scenes photographs and doing them a little bit nicely.
Those are just a few of the things that I can think of right off the top of my head, but this is a fantastic project. And it’s just started lol!
Incredible shot. I genuinely thought this was a painting being used as inspiration.
An enjoyable protect, I’m a bit into flowers and people photography and have lots of lights. However this was a challenge and I chose to use only reflected window light ………..The second reflector (the one on the right) in my set up photo I held above the props
I chose window light due to the logistics, I needed to use a certain desk which I could only move a little due to space.
I have watched a lot of your videos since joining a couple of months ago, they are very enjoyable and instructional, Thanks
Ian Crowson. http://www.iancrowsonphotography.co.uk
Hi everybody, I love the challenge of this project. All my advice is to do your best, don’t rush, watch the segments of what is required, and give it a go
Karl T gave a great explanation of what we need to do and how to do it
Cheers
👍
Now I understand why the previous projects were given to us. Whoever took them seriously will have a benefit. Problem with me is I am new in this type of photography (studio based), and I have to get clients to survive. My head is filled with anxiety and tension, and I am not very young. But to create such photographs, we have to be absolutely calm and patient, or maybe a controlled chaos can be very helpful too. It is all about the balance I suppose. Good luck to us.
That’s right sir, our goal here is to help people improve and these exercises are designed to test people and put them a little outside of their comfort zone. Through this you reach the potential of learning through practise.
Right Sir. I see many of us have already submitted lots of works. They look marvelous. I am now watching the classes where Tim sir is showing how to make our own backgrounds. The more I am diving into the platform the more I am getting amazed. I am a thousand per cent sure that no other platform in the world has this kind of recourses, be it ideas or expertise or anything else. I start watching every class with lots of questions in my head, but at the end of the classes almost all the questions are answered. Sorry for the late reply sir, I was busy watching classes and practicing and forgot that I wrote something here.
Kind of confused about what you mean by symbolism. Can you provide some specifics? I’ve never understood symbolism in certain types of images. Ok, I’ll be honest, any painting/ image. I failed that part of art class.
Hi, during the launch show I explain about ‘symbolism’ when I spoke in particular about the old masters example paintings that I put on the blog post page. In those examples is one with a skull in the painting. That skull is a symbol, in particular in ‘vanitas’ paintings. Rewind the launch show to learn what I’m talking about when I look at those paintings during the show.