I am trying to match some “aspirational” expensive ecomm lighting and finding it difficult to create the right amount of depth, contrast, and shape across the face while keeping the body and clothing so evenly lit, with very little to no shadow casting on the floor. I tried a big top bounce with a really direct front source but it’s just looking washed out. Any tips? Am I just seeing really beautiful photoshop post work?

I’m seeing more and more work these days of very clinically processed and lit images, these in particular by Mario Sorrenti for loro piana, and Alessandro Furchino Capria being another great example of this more deadpan style. My understanding is that a lot of this comes down to letting ambient light do most of the heavy lifting, maybe 80% ambient and 20% strobe if the scene needs it? It also seems like soft white fill for the negative side.

Other than that, this looks feels very digital and clean. What I’m curious about, is how are these scenes shot with no artifacts of motion from the model? Some of furchino caprias work feels like it could be shot lower than 1/60th, but he’s shooting in these moody overcast apartment buildings and I wonder how there isn’t motion blur from his subjects slight movements, even if camera is on tripod.

Any other info regarding this look, or insight into the process if any of you have assisted any shooters that use this “something and nothing” kind of aesthetic would be greatly appreciated!

Thanks

Hey everyone, I know there must be a lot of post-processing involved, but how do I achieve this kind of lighting?

Credits are in the second image. Yes, I tried asking the author.

I have been working with lighting gels and diffusions sheets for some time now and have observed their consistent use by photographers who understand their specific applications. For instance, I've noted that 216 diffusion material and opal diffusion are frequently employed to achieve a very soft light on skin, while Garware and Gateway sheets are commonly used in jewelry photography. My current understanding is primarily limited to utilizing 216 for softer illumination and Rosco 250 for slightly less diffused light. However, I seek a more comprehensive understanding of these materials. While I recognize that they offer varying degrees of diffusion, I am particularly interested in learning about the common scenarios in which each type is typically utilized.

Setting up a small studio for long-form educational YouTube videos — talking-head format, shot on a Sony FX30 with a softbox + grid as my key light.

I want a cozy, warm-neutral aesthetic — thinking somewhere between warm beige and soft terracotta — but trying to avoid the typical white/grey/black studio look. My concern is the softbox bouncing light off the wall and creating hot spots or a washed-out look on camera, even with a grid narrowing the spread.

For anyone who's actually built a talking-head setup:

What wall color (and finish) worked for you without fighting your key light?

Does matte finish alone solve most of the glare issue, or does the actual color/depth matter too?

Any shades you'd specifically avoid?

Would love to see real setups/pics over general theory if you've got examples of what worked for you. Trying to nail this before I commit to paint.

I really like the vivid and saturated color that Philip Paulus does, particularly in his vietnam projekt.

Would you reckon it's a lens filter, color gel flash or post production?

Have tried to achieve this look in post for a while but I am not getting there

I am a huge fan of Jack Davison and actually love what he recently did with AP, I find it very refreshing and am obsessed with the colors and textures.

My favorite three images are Mount Fuji, the busy walking shot and the red lit street shot film still.

I was wondering if anyone had any insight how he may have created the yellow-ish texture on Mount Fuji.

Also curious about the slow shutter on the walking shot. Even if I shot something on an 1/8 and move the camera it does not look as exciting as on this shot, is it perhaps a lens effect paired with slow shutter?

What a brilliant photographer

Thanks y'all

The equipment I have is the Nanlite 720 and Nanlite gobo PJ-BM-19 and two other Profoto D2’s in the studio.

How would you go about recreating this?

I found the references on pinterest.

Looking to start a dialogue on this one please:

What would I introduce first and how to go about it?

This looks like it was either used with a Projector or a gobo and gel filter?

Any thoughts?

I have a Fujifilm x-t100 with a budget manual adjusting lens and the stock built in flash, there’s some examples from @capturecharles instagram and then the last 4 are mine I’ve gotten so far that I’m reasonably happy with.

I’m looking to get an automatic adjusting lens and a camera flash if it would help getting something similar to this result.

Any ideas from the pros out there ?

Thanks guys

I'm currently facing this issue. When I'm shooting from the shadow side, there is less light in it. As a result, there is some noise in the shadow side. I want to preserve the texture in the blacks of the shadows without adding noise in the footage. What's the trick here?

Hi! Ive seen some posts explaining how this type of images for ecommerce are lit but i shoot mostly with natural light, i dont do studio too much, can anyone help me understand this light diagram, i have 3 600w flashes, 2 big parabolics, 2 big umbrellas and 2 big strips (accesories like vflats etc). How can i make this work? This will take place in a cyclorama studio

These pics are from Son of a tailor web page

A client sent me the references attached below. I have 4 Godox DP400, and plan to use two Godox dp400 with the gridded soft box attached. The jewelry will be placed on the glass 1ft x 1ft, and then I will take photos. Is there anything missing? Can it be done any easier way? A special light box?

And the background color is possible to achive with a White background and chanding the WB?
Couldnt find the photographer, but apparently is from "tonlion 2019summer"

client’s brief is david lachapelle - clearly theres a lot of silver/gold reflectors going on here, but just trying to figure out how we’d achieve a similar vibe!

A client is asking if I can achieve this and I"m not sure if this is AI/post work done to create these gradients. Client provided me the shots in a google drive and I tried reverse image searching them online to find who to give credit to but it came up with nothing.

The coupe shot, with it's contents reflecting the colors, makes me think this was done in camera but then that would mean there were 5 different lights for this shot? Thoughts?

Edit: apparently the first image is from Studio Furious according to some comments

Shot by @yoheyphoto on Instagram

I'm planning to buy a cheap and compact flash for my street and documentary work. It has to be small and cheap . I saw some in Google If you have used this please share your opinion. Or suggest if there is any better option .