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Studio Lighting - The Power of Control

Lesson 25 of 30

Shoot: Two Light Fashion

Tony Corbell

Studio Lighting - The Power of Control

Tony Corbell

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Lesson Info

25. Shoot: Two Light Fashion


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2 Mono Lights & Pack Lights Duration:29:32
3 Light Controls & Shaping Duration:30:36
6 Tools of Light Q & A Duration:13:59
8 Shoot: Painting with Light Duration:26:01

Lesson Info

Shoot: Two Light Fashion

I just kind of want us I just want to lighten this background up a little bit more and I'm gonna pull back a little bit zoom out just a little bit wait good while we're doing that just roll your hips a little bit that way and bring your head back this way a bit more yeah yeah right there good good good your eyes right at me right here good great little sparkling around this one little bit of a smile you're as writing me good, good, good good okay for fun let's just turn you the other way let's just let's let your hips go that way just a little bit uh that's actually pretty good but can you can you rotate just spinning to the right further I'll tell you what actually if you have a good spot there gridley believe was telling you over there okay? Okay okay described the grid and let's put a girl is going to show you real quick I like this with with only one life and I would probably use this and do this whole shoot with one light but I want to say what you can do with a grid which is kind...

of fun and it might be it might apply first don't like this let's put a grid on it and we're gonna put the grid up really really high and really, really close and down at a really sharp dagnall and it really kind of wakes up the shot so to speak it makes it sort of come to life a little bit so we'll get get gwen tip it down further john tip it down quite a bit more sharply there you go down down down down down more more more more more yep now move the sti stand right against a brick wall more more more more more more more more more more more more more more more now spin it to the left very slightly and then take the c stand up considerably higher yeah yeah there we go now we're cooking now let's try that give me reading right behind her head sorry yeah yeah john let's go get that way yeah you're there right there good eleven okay so move to your left about two feet hman read it again right there eleven and a half oh fine okay that's good I'm shooting at six eastern I believe so that's kind of fun good, good good good good turn your head to the light just a little bit right there yeah yeah yeah good little bit more little bit more right there in your eyes ratted me great great so on this one and again of course I might zoom in on this too and come in a little bit closer but you can start to see what happens is you end up with a shot where you've got a lot more you know a little something something going on let's turn your shoulders around this way to me a bit and and bring your head back this way just a bit right in your eyes right here don't move don't move don't move right there great I like that so it's just kind of variations on a theme you know it's one one way to look at it it's kindy zoom in on this mike had someone look at this like quality one more time on her face yeah now pulled back just a little pretty sharp but it's not quite like we had yesterday because of the monitor there you go there you go now just drive around there just a little bit down a little bit yeah. Good okay, any questions about this? You guys get any questions on this people like you know they sure are so you know I'm going to go with this one from fox graphics miami wondering would you ever use the seven foot umbrella for this full height shot? Yeah yeah and in fact during the break I set up the seven foot umbrella and I broke it. So how is that to answer your question nice over here in the corner and it's broken and the answer is yes I would because I know a lot of this you know, when you showed that seven foot umbrella the other day we all went out in bottom including with anyone and it's a great choice for this one in addition to that here's what you can also do let me just lower this guy for a second let's just bring this guy down this octo bank and simply pull off the front skin and it gives me that same basic effect so sorry for the noise audio guys just screaming at me right now but yes so we could pull off that front skin and do the same thing and I'll show you the difference in the and the look awesome yeah okay so then take it back up camera can see and that's a good idea spinning around so they can see what the inside of a spending a little bit further that whether you he's got right there there you go so you can see it's got that suspended baffle in the middle and some people do like to not use the battle went with the front skin without you and you kind of get the option you can use with or without with the front skin if you pull the front skin off you have to use the baffle you've gotta defuse that light it's gotta go around the inside of that bell and before it comes out so I think it works really well to do it that way so yes so this is the same thing we are like I just got a lot more hot probably by stop stop and a half so when we bring the pallet because we're at sixteen oh yeah let's just drop it if you this year five point one on the power output just change it down there for thinking making three find five or six yeah I'm like that's that's great so we'll take a new reading and get that and we're just trying to bring it down to compensate for the density of the fabric funny question from photogs seventy nine can use an eighteen percent gravy flat on what would be the effect I am so glad for that question let me let me let me address this I love this question and I hope this guy whoever this person is loving this ok? So I was working on the set with a guy named douglas do blur in new york one of top fashion guys there is in the city of new york he's the first guy we saw dua fooling fashion with one light and doodler had on eighteen percent great reflector he had one part of the flat covered with eighteen percent great paper and I and I'm standing I've never seen this before and I've been doing this a long time and I said douglas why the eighteen percent great he said, well why was a little bit too much phil and black was too little but that was the right size for the reflector so I need to split the difference if you if you simply blow back a y reflector up it will get less phil but you're also if you think about it you're also making the source smaller relative to its distance even if it's just a reflector so the answer is absolutely you can use an eighteen percent great but reflector and or piece of paper over that and it's beautiful and thank you for asking the question let me talk about it I think it's brilliant a lot of graves aren't neutral so you really needed like if using a background gray make sure you one that's neutral otherwise you may be getting bluer yellow it's kind of it's a great point john it's also the sort of the same point why I would never use a great card to do white balance and the reason is some great cards aren't there a little green or a little blue I use a white card for white balance if you're gonna white balance use white says white bones that doesn't say great balance great cards were used for density non color and the same thing with white typewriter paper usually is bleach is in it so it may be blue blue blue ing agent saying with same with paper samos paper use white seamless paper for going by rolls of seamless paper don't buy super white super white has blowing in it to make it appear whiter than white and photographically it's not true why it's a little bit cooler than white I think it's savage, the paper company has on their block recently she compared all their whites and what colors they actually are great! Great idea love questions you don't now ok, so I'm going to do the same picture without the front skin and illustrate this as if it was one of the big umbrellas. It's fine, if that's what you wanted, bill backgrounds, that was eight that's it eat now, so we're down. Yes. So that's what? You're already hot. So which one? You want to go up with this or down? Let's, go up with this. I get my remote control. I'm killing for john today I'm killing uh, actually go through this, folks, we're going to roll out a keyboard for me and I'm gonna do a quick light room demo on some of the stuff we did yesterday, so we'll get that going here pretty quick. Yeah that's a real good. Okay, let's, just turn you a little bit that way and bring your head back to the light a little bit this way. Just turn your head this way right there you're here I was going to right about here great and you take a look where we're way perfect perfect, nobody moves and look at this light it looks just like it looked before because we changed and moved are exposed a little bit except that now I'm going a little bit more light onto the background so it was contained a little bit more with the diffuser and now it's not quite as contained as it wass okay let's do one more shot and finished office flip this background to wine and we're going to one more I'm going back up a little bit and get this thing a little bit more full length and then we'll we'll regroup a little bit here oh, sorry I should help you with that. Sorry it is kind of a challenge here let's you still like that? Just keep that just keep that wing right there that's great glenn come up just a half step this way right there. Yeah great that's good and with your hips point frustrated me perfect and I was just gonna bring your head around keep your shoulders over here though, yet on just your head there you go and your chin down just a tiny bit yeah, there you go. Great, great. Here we go. Here we go. Check up just a tiny bit right there. Great, yeah, so now that we've got that whole shadow, see that shadow there and now it's different completely covered this time great let me do that let's not the top of your head to straighten up a little but not just turn it right there don't move that's it perfect perfect good I like that that's pretty usable in fact I wanted the same picture but I just want your eyes this time going right here so yeah just looked right up there toward that window for just a second right there right and just let your head tip that way slightly to your shoulder no shoulder right there that's it great so by tipping her shoulder all it is introduce a little bit of a bend which gave me a little bit of a curve which gives it a little bit more feminine feel to it see it right there compare those two if you could mike and I think that and I think we got that great so it's just a little bit of a head tilt give her just a little bit more of a feminine feel but again when you step into the studio you guys don't be afraid to try a full length with a with a big source like this you'll be you'll be amazed at what happens I mean you get some good stuff it works so okay when I think we're good for you for right now well let me throw it to the boys while we reset this a little bit I'll get this keyboard out here questions in these studio audience lee has the question it looks like I hope this is not a dumb question feels like it but does your shutter speed control the ambient light at all on the shutter speed is really not a big deal in the studio at all we've got an awful lot of light bounce around here and I'm said it one time I think I'm at one twenty five one twenty five is my standard that's that's just where I tend to go all the time one sixty today it's ok on that that picture if there wasn't one sixty but that's pretty much what I do in terms of just having an automatic default in my brain but there would be subtle difference at a thirtieth a sixtieth one twenty fifth but very little very little and especially a big output if you're low output you might see little difference but it big output you're probably not going to see much difference tony question from steven tyranny from the uk and actually a few other people would like you to reiterate a little bit more explaining the use are not using a great card for white balance again because I think a lot of people are taught to use that on dh I would love to hear two things one for people that maybe have an x right and made people that don't yeah so so let me be real clear that a kodak eighteen percent great card that you buy in the store was designed for exposure control it was designed to take a spot meter reading off of it and get a true exposure it was never designed for white balance almost every great card I know is a little bit green or a little bit blue almost all not all but almost all and you never know and plus well, I have a whole issue with using a great card for exposure anyway, because how do you know when you're off access to the light and you're getting a little bit of a specter that you can't tell? So I have a little bit of a problem using the great card for exposure anyway for color balance it with the x, right? I do use the x right will use the passport uh, and and there are great swatches in there and those are absolutely neutral and they ask you when you buy one, do not touch these because you're going to change the color over over time, the holes in your skin are going to change that tone ality so don't you know don't touch him those are neutral and true and they're made to be that way, but I thought place one of those in the scene then I'm going to use their software to kind of find that and make my d n g preset anyway uh that's about the only way that I would use gray for an exposure but that but I've also got the white and I can use it I can use a color picker and go to the white and established my true color what I love more than anything jim is to open a file, hit the color picker on the white balance and find something white to place and see no shifting color it's like ok great then I did it right you know and and that does happen from time to time I do get lucky sometimes I go for igo for pleasing color I'll look at the accurate color and I'll go for accuracy and if it's dead on great if I'm shooting fashion for a catalog I gotta use accurate color because what they published had better match what the client buys and gets in the mailbox makes sense so so the fashion work of any kind you passionate as medics fashion cosmetics however it's always like the difference between glamour and fashion with fashion it's all about the clothing with glamour it's about the face so you know what do you what what is it intended? Purpose and as I said they won I always think with the end in mind what's the overall ended up ending up use of this picture and that's kind of what I want to do so great. Thank you. Leave. You have a question. Yes, when you're using the colored checker passport, do you do you, like kind of fill the frame when you're shooting it, or do you have it? You know where you don't have to fill the frame. This is having in the shot, if such even hold it, if you want, okay, and the software will find it and zoom into it and find it and do its own, it'll do its own correction based on it, if it finds it for you in this awful it's, great it's. Remarkable, actually.

Class Description

Get ready to learn how the lighting secrets every sought-after photographer needs to know. Join creativeLIVE for an in-depth immersion into understanding and controlling in-studio light.

Taught by award-winning photographer Tony Corbell, you’ll explore how to work with a wide variety of lighting tools. Tony will explain how a photograph’s look and feel are influenced by the size, shape, and placement of its light source. You’ll learn about correct light metering techniques and the role logic and physics play in metering and working with light. Tony will cover basic, subtle lighting adjustments that transform photos. You’ll have a front-row seat as Tony applies his one-of-a-kind lighting techniques live in-studio as he shoots both portraits and still-life photos.

By the end of this course, you’ll have a new and improved skill set for working with light and achieving jaw-dropping results.


AJ Photography Ireland

Watching this Course from Ireland live, and at my leisure having purchased the course, I cannot praise Tony Corbell enough. I felt I was right there in the Classroom with him and gained so, so much from stunning course. He really does explain the techniques he uses so well and is one of the greatest Educators that I have seen in photography. Worth every Euro ( Dollar ) !.. Thank you Creative Live and Keep up the good work ! Andy Jay Cork Ireland.


I learned a lot from Tony´s class. Very experienced, talented, smart tips and funny comments. Generous on sharing his knowledge. I am passionate about learning portraiture since about a year or two, had bought a couple of flashlights, stands, modifiers and now the most difficult part, to have my wife and kids be patient and let me practice with them. John Cornicello did an excellent job helping with the lights and bringing his own comments too. They both did an excellent match. This is a class I will watch again from time to time. This is the second course I watch from Tony and about the 15th course I watched from Creative.

a Creativelive Student

This is just a tremendous class. I love Mr. Corbell's teaching style and appreciate his levity. Most of all, I value the expertise he brings to the subject matter. After watching the entire class, I have been able to make adjustments to my lighting that I love and feel like I have a better idea of what I am looking for with my lights. This is a terrific value at any price.