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Studio Lighting 101

Lesson 15 of 39

One Light Set-ups: Pop Quiz


Studio Lighting 101

Lesson 15 of 39

One Light Set-ups: Pop Quiz


Lesson Info

One Light Set-ups: Pop Quiz

I photographed children is there uh, different setups that you would do towards people that will not over your lights and that kind of thing? Wonderful question okay, so first of all I will preface with I'm not a good children's photographer but that's more because I can't make them do what I ask so that the defense of people still kind of thing however lading lies yes, first of all, I sandbag the crap out of anything that's around so the sandbags we had on before you're putting it on the legs so that things don't move don't use stands with wheels because those will go go all over in general with children I am for large and soft light sources like a three by four soft box or four by six soft box and more to the front for a couple reasons one if it's more to the front and they move they're always in almost always indecent light. Ok, if I had a big like I'll be the category ah big soft box to the front and then a big phil card to this sign, they're pretty much going to have acceptable li...

ght no matter where they move and the other reason I like that set up is the one I used in particular had the big soft box and then v flats, which will talk about but big white foam core and then they couldn't get out they're stuck right there's they couldn't run away and they couldn't mess things up so that's what I used but if you watch there's tons of classes on creative live on photographing children several classes and they tend to use just big large soft boxes all right so are wonderful behind the scene guy mego has opposed to that put together the ten images of the ten different lighting set ups that we have just learned how to create so we're wondering lindsay if we could go through and review maybe even use it as a little pop quiz for these guys in the room and the folks at huh? And I talk about because what you talked about earlier was really learning how to see light and looking at the shadows looking at images that already exist on how to determine where that came from it's such an important exercise when you're learning that so what do you say guys guys at home because I'm ready tio put pressure on people okay all right so here's what I want to say first of all leading into that um when I was first trying to embrace photography as a professional without a doubt I could not see like I don't know if anyone else has had that experience when people would say to me I mean literally they say to me look at that highlight I didn't really see it and I don't know why it just I couldn't I couldn't process it so what? I started to dio as I started to go around with the camera and then whenever I'd see light that I thought was nice like I would just my head I'm like ok that's that looks decent I would ask whoever I was with can I take your picture and then I would try to look at and say, why do I like it and look around so in other words, I wanted to be I want to be encouraging because I absolutely for years could not see ah highlight and what's the difference between high contract like it took me a lot of practice so now I've kind of gotten better at it, so let me, uh let me quiz you on a couple of these. All right? So let's see let's, tio all right, so first of all, I wanted to know who once retirement ok, you want to be tormented? Good. Okay. So for this, like, first of all, I want to ask, um, how would you describe that lately? Give me a couple words that we use to describe that type of light and then tell me how we did it and how you know, well, I know it was done with the beauty box or the yeah, but the folded right and I think it's soft and chloe, I like that word globally. Yeah, so if I went into the what we talked about, I would say it's soft light, because again there's not much grady in from shadow to highlight it's flat because there's not this is very flat light, the lightest centered and no shadows. If this is nico, nico can use him into the eyes for me. How I would tell if I didn't know how this was lit as I look into the eyes there and go ok, so I see the octo ball octagon shape center, so I know it's a knock to box centered and then I feel the weight. I don't know what they are, but because they're not speculate because they're not bright. I know it's got to be a reflector, and I know it's got to be a white reflector and I can see they're kind of wrapping around that's how if I didn't know as I could see the catch like they would look at it and then nico, if you want to back back out the other way that I would know if I'd say, ok, so the lightest center I let it couldn't see those catch lights in the eyes, I could only see the one but couldn't see these reflectors, I also know that there's minimal shadow so it's got to be reflectors underneath, but it's not sparkly so would have to be white. I might not know for sure, but I'd say, you know, there really isn't much shadow anywhere somebody gases it's a least one right white reflector underneath. I could get that close even if I couldn't see the catch lights. Okay, ready for done. All right, so how would you describe let's do this one someone who wants to describe it and tell me what it wass both students have you? I know you all know it. Okay, region for the I guess the region for the microphone. Ok, although so be a split light would it be? Would it constitute as high key? If it was let in this way, they wouldn't be soft. Ok, so the first part, split light is perfect. Definitely because there's like only on one side of the face. How about I was talking about where the shadows air coming and I had two words for it broad light and the other one was short, light show e I think of it like this teo, I think of it like her face looks shorter, right? Like it's to face a shorter because there's less there's, less light illuminating the states, the shadows or towards the camera um the other thing you could do to this is this is also like I said I'm just adding to that it is split light but it's almost like a rim light on her face like it's it's room light split lights whatever you want to call it um the light this was okay and so this is where we get all complicate when people talk about things the light is it's technically kind of soft because it is a soft box from behind but the scene has lots of contrast what I mean by that is like there's highlights in their shadow so it looks dramatic so how I would describe this is I would say it's split light short light and this one low key because it's mostly shadows there's just a sliver of high like with the rest of it you know I was right it's that is a softer light source it is split light and so on. All right, you where did we have the octagon? You know worked about. Okay, so too I want to pretend this is her she's gonna minister here. Okay, that is in kind of a back forty five or more more than forty five degree angle back sixty or so and what I'm looking for the whole time and I'm just looking for where that light is and if if I start to get the light too far in and it starts to show up in my photo, I kind of move her head to see if that helps to get the split light. So it's a mixture of like, where can I put that light? Where can I move her head to get it? And, uh, usually anything. Anything where the light is from? If this is where she is, anything with the light from here back gives you split like that's. What? Start short, like anything from sideways back when she's facing towards camera and then the rest is going to be more broad. Light from the front. I had another question, actually on that image. That was just up. Which was what if I wanted to have split lighting, but remove the harsher highlight that's on the forehead there. What would you d'oh? Okay, so if you want to bring that back up, all right. So this is what I showed in the examples of what happens when you have directional light when you have. And we had the example of the older gentleman with the light off to the side and light breaks across and you see wrinkles and you see textures and that's, what happens because you're casting shadows, so I do see texture that did anyone see it looking at her now like it she's gorgeous perfect skin so that's the danger of going dramatic is it brings up all sorts of things that you didn't want to see if you were looking to soften that up if you wanted it to be not quite as texture you want to be a little smoother you could do a couple things first of all retouching okay, but that's cheating okay, you could try to put more there's a diffusion panels like little slag little things you can stick in front to soften the light even more what do you what do you call them? John there's a little diffusion borden if you they're just trying to cut down on the light like to tryto tio just another piece of fabric or something yeah, like it would literally just be one of the peace of the fusion so we can take yes, never the expensive kit that I was just talking about when you buy that they have called vellum think it looks like that this is pelham is like a tracing paper that's made from animal it's it's an animal product villain tracing tracing paper like see through transparent trans lux is a brand name on one home that one that one trans lux that one I never use this stuff so that's why I'm like I haven't used it in college yeah, the camera guys probably know it better than still guys they're like we're not talking quiet but it's it's basically looks like a piece of diffusion but it's paper and you can put it in between light on the subject and it softens it even more if you're going with that much of wrapping light like that far raking across the skin it's you're going to have to retouch if you wanted to be perfect we need some final q and a in the day yeah yeah so let's say when we were shooting earlier in the segment and somebody had asked if I only have eight foot ceilings could I used to smaller soft boxes one above the other to cover the entire figure if you couldn't get the south box up high enough definitely there's something that I call stacking the light and I'll use that a lot where all used well let's pretend on the subject ok I use one light to light the subject's face and so maybe if you have short ceilings it's not going to be a four five foot soft blocks it's going to be maybe a beauty dish and then a soft blocks from below but the key is to make sure that soft box isn't too strong because if it's too strong it search filling in from underneath and we showed you how it would give those upward shadows so I call it stacking the light get beauty edition of soft box would work great or an octo box and a soft box would be fine because that everyone has a tv dish but that requires two lights great. I like how people are getting creative though with their small rooms because there's a lot of people out there you know how how that's where you start? Okay, uh yes alright. Grab the mike, please. Background e I noticed you didn't mention history rams at all. Okay, so the question was they didn't mention history when you say I'm assuming I'm going to make the assumption that everybody more less knows where history graham is, but I'll go into it a little bit when you look at the back of your camera and I hit the info button okay, a few times I'll actually get a graph and the graph is the history graham and the history ram is showing me the distribution of pixels in my image, which basically means hoops so they're gone far left hand side is going to be the blacks and the images, the dark tones and then on the far right is the white. This is a perfect this image is actually the best image average demint demonstrate this if you could look at the history graham that history tells you almost nothing and it looks completely wrong because that white light behind her it has no detail I was in this image we were shooting with the soft box behind her head it was blown out white and it's not even it doesn't even show up because it's beyond with graph shows because it's pure white and then if you look on the very far left there's a little peek of black well there should be no correct image that looks like that except for it is or if you even just drink back ah couple more to what we did before if you go back to the one where she was split light in short when I look at that history graham there's a couple peaks on the very far dark side and then like looks like nothing else except for tiny peek at the far right so that is what my image looks like, but I could never look at this this distribution of pixels this graph and no with it were right or wrong what it's useful for and what it's really good for is if you're taking a picture and you don't have a light here is really important for this if you're lighting a background white to know whether it's pure white if you really got that background white or to know ifit's way overblown way overexposed and also talk tomorrow but a couple things you can look for think it's day three some things that you can look for to see by looking at your history grams is my background to over exposed is it giving me lens flare and you can actually just tell by looking at the history and so in other words, it's useful to see if you have pure blacks were blown out highlights but in a lot of creative stuff like can't quite tell what it's supposed to look like anyway, ok all right we have a question about your beautiful image that you're using for the class hero image yeah and folks want to know how you live that ok perfect so this was lit with a soft box but it was a square soft blocks no particular reason that's the one I had that day it was about a three foot square soft box and if you notice see how narrow the depth of field is okay, I don't usually do that in the studio but I did want to demonstrate or two give you an example of why that's not easy right now if I have our subjects it and actually if I could wrap this up with this damn all I'll show why this is not easy to do and what you have to consider based on everything we talked about today so if you want to come sit here all right, so if I shoot really wide open if I'm shooting at two pointing john, can you change my lens too the other seventy, two hundred second go to pointing so I'm I'm not going to be able to do this, I'm just warning you like it's not going to work and I want it, but I want to explain why it wouldn't work. Ok, so here's the deal if I want to shoot really wide open like to pointing what happens at two point eight? I'm going to start with my camera one two hundredth of a second, the highest, fastest shutter speed possible so I can cut out all ambient light because at two point eight it's probably going to start picking up some light in this room even though it's not supposed to it's just you're letting in so much light, it probably is going to pick up something the next thing is at two point eight that hole is so large, I need to turn this down as far as it goes and then he turned it down to its lowest power still probably going to be pretty strong for two point eight, but I probably can do it here, so so I go through my head and say, all right, so went to one, two hundred the second to try to cut out all ambient light, all right, not to point I need to be a I s o one hundred as low as possible all right, got that power of my light down as far as possible, if I need this to go even more, even dimmer than it already is a couple things I could do back it up as I back it up, it changes the quality of the light, so you start to run into that problem, but I can back it up a bit. The next thing I could go in my head is like, all right, so I backed it up a little bit to turn down the power. If you were shooting with a silver dish and trying to get to pointing, you cannot get that's work because it focuses all the light and it's super contrast e it won't be able, no matter how hard down you turn that light and you're trying to pull it back. It's not going to work. A lot of fire like this helps me because it spreads out the light and it diffuses in it softens it. So all of this is working to cut down on light for me. I would also go ahead and put an inter baffle in it, the diffusion cause that cuts down on line, so I'm trying to think I want this light to be his weak it's possible I don't want to see any of these lights, so so far have done everything in my head. That I can all right we got to three point two so far it's still probably will be fined under stand considering what I shoot but I'll show you the problem we're gonna have two point one ok so let's so yeah he got it all way down once I pulled this further back I would like to be a little closer but it's fine I pulled this further back it's a diffused light source I'm shooting at one, two hundred of the second I s o one hundred all of that however I'm guessing we'll see a little be up a little bit not too much. Well, it's still pretty good um sorry for the my friend's ok, so I'm shooting at two point eight there it actually isn't too bad but what I told you to do with the beginning of the day let's test it take off your trigger before you ever start and based on the settings you have do you see ambient light and so if you look it's going to show me what is recording in my frame that is not the strobe right now I'm seeing a little bit of highlight from those lights and a little bit from the modeling like so we're actually able to do pretty well that was pretty close so as soon as I pop this on it actually does get me really close there but what will happen a lot of times I kind of did it look like I felt like it didn't, but I agree it felt like it didn't, um, but notice some of the pictures a little warm because it's picking up that modeling like so then you got to go, okay? So, it's, getting that model in like I got to turn the modeling light off. So these you like the things because it's picking up that light because it's such a wide aperture, so now should be a better white balance here. Yes, I watched the color difference between the two, so it got rid of some of that warmth that was showing up for the modeling. If you're in a brightly lit studio with big windows, you can't you won't be able to get true blacks. And if you notice on that side of her face, that shadow is in a true black it is a little bit till then, so you grab. So then you can grab something black like a black piece of board and try to block that out. So now if I do something like this, okay, so now no more color from the modeling light showing up and the black would be blacker, and I'm still able to shoot it to pointing. So, unfortunately, it's, harder than it seems to shoot really wide open, because you got to think of all those things. And so if you like to shoot really wide open, if you like to shoot one point four, two point eight that'll make a difference what strobes you buy. I'll talk about that. Tomorrow, we have to choose your wattage accordingly, and then also what space you shooting. So if you want to shoot wide open, you better be in a space that has no ambient light, and you've gotta have strobes. It could be turned down far enough.

Class Description


  • Expertly light a portrait using just one light and one modifier
  • Work with more complex two and three light set-ups
  • Create light for portraits, beauty, or drama
  • Light a group photograph
  • Learn to troubleshoot the most common lighting questions
  • Confidently purchase the right lighting equipment for your work


Intimidated by studio lights? In Studio Lighting 101, fashion photographer Lindsay Adler deciphers the complexities of studio light, breaking it down into simple concepts for beginners. In this class, you'll learn everything from basic lighting terminology to creating multiple light set-ups. Start with the basics like how to adjust your digital camera settings for studio strobes and layer in the details you'll need to light your first photo studio portrait.

Photographers on a budget will learn how to light a portrait using a single light, modifier, and photography light stand. Then, learn to work with two and three light kits to create drama, background separation, and more. You'll see dozens of studio lighting set-ups, from start-to-finish, behind the scenes in this live recorded class. Develop the skills to troubleshoot several common photography studio lighting problems, like lighting large groups and correcting reflections on glasses.

By the end of this class, you'll know how to buy your first studio lighting kit and how to shoot that first in-studio portrait. This class is ideal both for beginning photographers that don't understand much beyond the exposure triangle and experienced natural light photographers ready to try a studio setting.


  • Beginners with a grasp of the exposure triangle
  • Intermediate and advanced natural light photographers new to studio lighting


Fashion photographer Lindsay Adler is one of the most well-known in her field, noted for her style, posing and mastery of the studio lighting system. Along with working as a photographer, she's also a respected educator, a Canon Explorer of Light, and author of three instructional photography books. Her work has appeared in publications such as Marie Claire, Elle, InStyle, Noise, Essence, Zink Magazine, Rangefinder, Professional Photographer and dozens more. Lindsay is a sought after speaker for her experience and straightforward, easy-to-follow teaching style.


  1. Studio Essentials: Shutter Speed

    In the first lesson, gain an overview of the course. Dispel some of the most common lighting myths. Learn how camera settings change when working with studio lighting instead of natural lighting. Figure out your sync speed limitations and how shutter speed affects the ambient (or existing) light.

  2. Studio Essentials: Flash Exposure

    While shutter speed won't change the look of your studio light, aperture and ISO will affect the exposure, or the amount of light, from the flash. Learn how aperture affects the way that burst of light from your strobe or speedlight looks. Then, factor in ISO and the strobe output, or how much light the strobe lighting creates. Work with a light meter to take out some of that guesswork.

  3. Studio Essentials: White Balance

    Where should you set the white balance when working with studio lighting? In this lesson, learn where to set the white balance on the camera, and why those settings are different for different types of light and even different brands. Work with additional factors that can also affect color temperature.

  4. Light Principles: Inverse Square Law

    Dive into the three things that affect the look of the light. Consider factors like the intensity of the light, lighting ratios, and the quality of the light. Take the complexities out of the Inverse Square Law and learn how bringing the light closer or farther away makes a difference in the image.

  5. Lighting Patterns

    Learn the lighting lingo to establish a basic foundation in light -- and the ability to learn and talk about light. Pick up terms like broad light, short light, flat light, highlights, and shadows. Then, dive into common lighting patterns like paramount, loop, Rembrandt, and split.

  6. Shoot: Demo Lighting Patterns

    Watch the lighting patterns from the previous lesson in action. Learn how to set up each type of pattern. Then, add variety to the lighting set-ups through simple changes, such as understanding how height affects dimension.

  7. Quality of Light and Modifiers

    Control the quality of light from hard to soft adding modifiers to your lighting kit. Learn why size and distance matters for modifiers. Look at the different types of lighting accessories available and see how several types of modifiers affect the light.

  8. Shoot: Choosing a Modifier - Diffusion and Grid

    See those lighting accessories in action. In this live shoot, see how adjusting the different available diffusers and grids change the look of the image. Determine how to pick a modifier that matches the look you want.

  9. Shoot: Choosing a Modifier - Umbrellas

    Umbrellas are a large, inexpensive, and easy-to-use light modifier. Work with the different types of collapsible umbrellas, including silver, white and shoot through. Discover how to place the umbrella and work with umbrellas in a portrait shoot.

  10. Shoot: Choosing a Modifier - Softboxes

    Softboxes are similar to umbrellas in that they create soft light, but they can be a bit easier to control. See the pros and cons of different shapes and sizes. In the live shoot, learn how to control the light spill by feathering a softbox.

  11. Shoot: Choosing a Modifier - Extra Stuff

    Work with strip boxes, barn doors, grids, and snoots -- modifiers that are often used for rim light, backlight or hair lights. Explore how each type works, then see the different options in action. Learn about Lindsay's favorite modifier, the beauty dish.

  12. 10 One Light Set-ups: 1 and 2

    Launch into ten different lighting setups that you can achieve with just one light -- this lesson covers the first two. Create paramount and loop lighting with a softbox in this live shoot using a single light, a light stand, a boom arm, and an octabox.

  13. 10 One Light Set-ups: 3 to 5

    Moving through the ten lighting set-ups with a single light, work with a Paramount octabox and two fill cards for a lighting setup called the beauty box. Create a Rembrandt light with an octabox and watch the behind-the-scenes fine-tuning using a modeling light, or continuous lighting, to see how small adjustments affect the light. Then, add a silver reflector to the Rembrandt for another option.

  14. 10 One Light Set-ups: 6 to 10

    Continue building variety with a single light using a Rembrandt set-up with a white reflector. Create a short light loop with an octabox, a short light Rembrandt with a reflector, an octabox rim light, and an octabox behind.

  15. One Light Set-ups: Pop Quiz

    Review what the class has done so far. Look over the ten images from the one-light set-ups, recap the qualities of that light and how it was created.

  1. FAQ for Purchasing Studio Light Part 1

    Which is better, strobe light kits or a continuous lighting kit likes the ones often used with video cameras? Discuss the pros and cons of each type to help determine what type of lighting gear works best for you. Dive into the most frequently asked questions about buying photography lighting, like what wattage to look for.

  2. FAQ for Purchasing Studio Light Part 2

    This class allows you to shoot multiple set-ups with a single light -- but ideally, how many lights should you have in your light kit? Continue working with purchasing questions on lighting in this lesson, including name brands, DIY alternatives, and the difference between the pricey strobes and the less expensive strobes.

  3. FAQ for Purchasing Studio Light Part 3

    If you can only afford one modifier, which one should you start with? Finish the round of purchasing questions in this lesson, including questions posed by students like you. Learn how strobes differ from flash heads or speedlights, and why strobes are often better for a studio space than an off camera flash.

  4. 10 Two Light Set-Ups: 1 and 2

    Move from simple single light set-ups to lighting with two light sources. Start with a basic portrait with a softbox loop and a stripbox hair or rim light. Then, learn to shoot a basic clamshell with a softbox, a reflector and a strip box for added highlight.

  5. 10 Two Light Set-Ups: 3 to 6

    Continuing the two-light set-ups, move into more dramatic lighting with a Rembrandt using a softbox key light and a strip box rim light. Next, tackle a Rembrandt portrait lightened with a fill card and a clamshell with a softbox and stripbox.

  6. 10 Two Light Set-Ups: 7 to 10

    Go behind the scenes for a short light Rembrandt with a second light behind the subject 45-degrees with a barn door modifier. Create a "checkerboard" style light using a Rembrandt key light and a grid on the background. Finally, create a dramatic Rembrandt with a silver dish and stripbox or barndoors.

  7. 5 Two Light Set-Ups: 1 & 2

    Two light set-ups aren't limited to just ten possibilities. In the second set of two-light scenarios, Lindsay walks through some less common photographic lighting techniques. Start with using two rim lights, then jump into a sideways clamshell.

  8. 5 Two Light Set-Ups: 3 to 5

    Create a wrap around beauty light with a softbox behind, a beauty dish in the front and a silver reflector. Or, build a more dramatic wrap-around light without a reflector. Learn how to shoot with a dramatic grid light and a barn door modified light towards the back.

  9. 5 Basic Three Light Set-Ups: 1 & 2

    A three light kit will open up even more possibilities. In this lesson, Lindsay discusses why you may want three lights, then jumps into the first of five different basic three light set-ups. Start with a high key portrait, followed by a high key clamshell.

  10. 5 Basic Three Light Set-Ups: 3 to 5

    Learn to light groups using a three light set-up. Anticipate the likely problems with lighting groups before they happen and watch a live demonstration of a group lighting set-up. Then, create a three-point light set up with a softbox and two stripboxes, then a checkerboard with a key, rim, and background light.

  11. 5 Intermediate Three Light Set-Ups: 1 to 3

    Move into the more advanced three light set-ups in this lesson. Start with a Rembrandt with a gridded beauty dish and two rim lights with barn doors. Then work with film noir studio lighting and a high key drama shot.

  12. 5 Intermediate Three Light Set-Ups: 4 & 5

    Learn to use your lights to create a high key spill light. Finally, create a high key clamshell lighting in the final intermediate three-light set-up.

  13. 10 Common Lighting Mistakes

    Now that you know how to light, learn how NOT to light. Work with some common lighting mistakes that beginners make, and learn how to fix each one.

  1. Solving 12 Common Problems of Studio Lighting: 1

    In the final day of the class, work through twelve common problems that are common in studio lighting. Learn how to problem solve lighting in the studio. Work with issues like getting a white background with one light or multiple lights.

  2. Solving 12 Common Problems of Studio Lighting: 2 to 6

    Continue troubleshooting in the studio and dive into creating full-length shots with an all-white background. Work with stacking light, dealing with ambient light, and more.

  3. Solving 12 Common Problems of Studio Lighting: 7

    How can you prevent the subject from casting a shadow on the background? In this lesson, Lindsay explains how to tackle this tricky challenge.

  4. Solving 12 Common Problems of Studio Lighting: 8

    How far away you place the light plays a role in the image -- so what about working inside a small studio? In this lesson, Lindsay tackles the challenges of working inside a small space with studio lights.

  5. Solving 12 Common Problems of Studio Lighting: 9

    How do you avoid reflections on the subject's glasses? Learn how to avoid reflections on glasses when using studio lights.

  6. Solving 12 Common Problems of Studio Lighting: 10 to 12

    Finish the list of the most common problems that come up with studio lighting. Work with separating the subject from a dark background, lighting groups evenly, and using wide apertures with strobe lights.

  7. Portrait Lighting: 1, 2, and 3 Lights

    In this set of rapid-fire studio set-ups, learn how to light a traditional portrait using, one, two or three lights. Watch behind the scenes for these "go-to" portrait set-ups.

  8. Beauty Lighting: 1, 2, and 3 Lights

    Beauty shots are a bit different from a traditional portrait. Walk through ideal lighting set-ups for beauty light using one, two and three lights.

  9. Lighting Groups: 1, 2, and 3 Lights

    Build these go-to group lighting set-ups into your repertoire. Learn easy lighting set-ups for using a single light, or one or two.

  10. Lighting for Drama: 1, 2, and 3 Lights

    Work with three go-to lighting set-ups for drama (which also work well for men). Learn dramatic light with one light, two or three.

  11. Your First Studio Lighting

    In the final lesson, gain insight into what to consider when building your studio lighting kit. Lindsay shares tips on what to buy and how to save cash for photographers on a budget.



If you're on the fence about this class I can easily answer your concerns. BUY IT. Lindsay provides top notch professional education while keeping things interesting. Her words are precise and direct. I actually felt GOOD just watching and learning. I mean, like someone surprised me with a cupcake kinda GOOD. After the class I could immediately see improvements in my photography. The best part is that I learned enough to see the wrong in my setups. Knowing what's wrong is just as important as knowing what's right. She is funny, easy going, energetic and filled with knowledge. I would also highly recommend her Posing 101 class as a must have addition to this course. I feel like I have learned more than I could possibly use. I will be going through this course over and over again just to make sure it all sinks in. There's THAT MUCH she offers that you will always learn more with each time you watch. I hope this helps someone make the decision to up their game. That is exactly what it did for me.

Beatrice Palma

Hi, I am Beatrice from Italy. I think this class is superb. I finally understood what are the guide lines to follow, I tried for years but never found such a good explanation. Lindsay is a wonderful teacher, she explains in a simple way, she shares a lot of knowledge and she shows in practice what are the results of every single choice. Thank you so much, it was really amazing and super interesting!!!!

Penny Foster

I have been shooting families and pets in my living room space for two years now and I thought I was doing a good job but certain skills had eluded me, like lighting a white background to perfection and shooting people with glasses without the reflections in my shots. Then I watched this course and had so many 'aha' moments that I HAD to buy it; not just for Lindsay's teaching style (which is pretty awesome( but also for all the lighting diagrams that I can refer to whenever I feel like 'stepping my lighting up to the next level'. Lindsay shows you what you can do with minimal gear, so you can get started right away; no need for expensive triggers (I have a set that just fires when I press the shutter), and no need for expensive branded modifiers (she shows you what you can do with one umbrella). Lindsay is so enthusiastic, it is obvious that she loves light, and it is hard not to get 'fired up' to try all of her lighting setups. Brilliant course once again!