Studio Lighting Test: Beauty Lighting Comparison by Karl Taylor

Studio Lighting Test: Beauty Lighting Comparison by Karl Taylor


Hi I’m Karl Taylor and today I want to
talk to you about lighting for beauty shots and fashion shots there are some
really nice lighting modifiers available to do that type of photography there’s
some that I love using and I use frequently and in this episode what I’m
going to do is I’m going to show you a little bit about these lights how they
work why they work in a certain way and then we’re going to bring in a model and
show you the results of some of these lights using them on the model different
ones different so you can see the different results and different effects
but before we get started let me start showing you about what’s called a
parabolic light modifier okay some of you may be familiar with a
standard beauty dish and some of you may be familiar with large softboxes now
these are lights that are commonly used for portraiture beauty dishes are
commonly used for close-up beauty shots cover magazine shots but more recently
I’ve been using the power range from braun color and i love these lights
because they’ve got this fantastic ability to throw a really beautiful
sparkly light a very long distance and that’s all down to the parabolic shape
now let’s have a look at that and what I mean by that so these three lights this
is power 88 this is the new power 133 and this is the power to to to the
numbers just basically relate to the diameter of the light so this is 2.2
meters this is 1.3 meters diameter and this is 88 centimeters diameter now when
you look at these lights from the front they look fairly much like an umbrella
you might think but when you have a look at them from the side you’ll realize
that something is completely different here if we look at that from the front
and then I turn it to the side you’ll see just how incredibly deep that light
is and that’s because it’s a true parabola or
bolla shape which means that the energy from the light is reflected in a very
specific way what happens is that the light from the point of focus and this
is important because you can actually reposition the light in these lights so
you can slide the light in slide it out to get the best effect now when you
position the light at its point of focus the light emanates out of this parabolic
shape in a very unique way and that it comes out parallel to the axis of
symmetry or along this axis and it comes out very efficiently very effectively
and that means that these lights can throw the light a considerable distance
because the energy is reflected very efficiently the other benefit of these
in that you can reposition the light focus point means that you can cause the
reflection of light to come out stronger in some areas of the reflector compared
to other areas so when it’s in the outer position more of the light is reflected
off the edge panels here and when it’s in the inner position it acts more like
a hard light source so you can distribute the contrast if you like
change the contrast of the light by moving that and I’m going to show you
that in a little bit more detail in a moment
just pop around the back of this light careful not to trip over that skoro
paper if you pop round the back of this light you’ll just see how incredibly
deep that light is you can see the depth of it all the way from here down to here
which when you’re looking at the front you don’t realize actually how deep
those lights are and it’s that depth it’s that depth from the parabolic shape
that is what’s giving it its unique characteristics and qualities so first
of all let’s have a look at what happens when we focus that light source let’s
have a look at how the reflections change now to do this we’re gonna have
to just quickly set up the camera on a tripod so that you can see exactly what
goes on so let’s just go and get that set up
okay so Tim’s now got the camera set up on the tripod so that you can see this
light accurately from the center point I’m just going to
turn a couple of these other studio lights off because they will be a little
bit misleading otherwise so let me just get rid of a couple of those okay now
what cameraman is gonna have to do is stop the lens down on the camera so that
you can just see the brightness level a little bit more accurately so let me
know once you’ve stopped that down okay good right so basically what you’ll
see now is you should see that the outer panels of this para – – – have got the
hot spots they’ve got the brightest parts of light around the outer edge the
diameter of the light and that’s with the light in the fully extended position
now this is where a parabolic light like the two – – is a little bit of a paradox
because traditionally a large light source should give you a soft light but
will you get with the power to – – you are getting a large light source but
effectively you’re not getting one large light source you’re getting lots and
lots of individual small light sources spread around a big circle and that
gives you a very unique quality of light that’s especially suited to fabrics and
fashion fashion work beauty work that sort of stuff because if it gives a
really nice sparkle and I really love using this light for that type of work
now the versatility of this light comes with that focusing rod let’s have a look
what happens when we push this focusing rod in so I’m just going to hold on to
the power and I’m just going to slide that in and as I slide it in you’ll see
the shape of the reflection change quite dramatically now we’ve got a very
concentrated sunlight sunlight like ball of light there in the center and then as
I pull it back out again you’ll see more of the para light sort of filled up
generally there and then as I pull it back out to its furthest point you
should see just the outer edges of the light being the brightest part now I’ve
found when using this light that in the central position when the rods about
halfway in you get the majority of the parabola filled with light
which generally seems to give me the softest line but I like using the light
in the fully outer position because you get that lovely quality of that rim of
light going around the edge of the light but you can also use it in the high
contrast position when you push the light right into the center when you do
push the light right into the center you’re intensifying the brightness of
the light so you usually have to stop your lens down by about a stop and a
half to compensate so what you’re seeing happening there on the big para if we
take the camera off the tripod again nail Tim and if you follow me around to
the back you’ll see that central focusing rod here and I’ll just have to
go up this ladder and that central focusing rod should be operated from
here so basically you pull the rod like so and it’s got markers on it telling
you if I can turn it there there we go numbers so you know it’s setting so
about five it should illuminate a broader area of the power zero or fully
out is going to be the outer edge diameter illuminated now on the power
133 that we’ve got over here it’s exactly the same process you basically
got a central rod that you pull in and out the light attaches on here and
remember that this attachment here comes with different attachments so you can
fit different brands of light onto these modifiers so it’s not just the Braun
color lights that can go on here you can put other manufacturer brands onto here
as well so that’s how it works on the power 133 there’s also a power 177 and
believe it or not there’s a power 3.3 I think a huge 3.3 diameter one bigger
than this one here and then on the smaller power 88 similar process
slightly different design on the rod just pulling out here and the same thing
is happening as you can see inside there so that’s how they work they’ve all got
the true parabolic shape and that allows them to project that light in that very
special way so what we really need to see now is see them in action
and see the results of these lights what they look like when they’re used on a
model and what they like compared to maybe other more traditional lights like
a beauty dish and like a softbox okay we’re ready to start our test first like
we’re going to do is this beauty dish now this actually is not the braun color
beauty dish this is a 70 centimeter diameter independent beauty dish reason
for it actually is i’m not a big fan of the braun color beauty dish it’s a
little bit smaller as a 50 centimeter and it’s white and also because the
braun color power 88 makes such a great beauty dish that’s why I don’t really
borrow the bottle with the Braun color beauty dish but I’ve got this 70
centimeter independent beauty dish that we’re going to test got camera set up
here ready this is our lovely model Jessica who’s kindly agreed to be our
model for these tests and over here I’ve got a white poly board and this is just
bounced a little bit of light because we’ve got very harsh lighting set up
here because it’s just a single light source and we’ve got the light source at
about 10 12 feet away from the model and this white poly board is just going to
fill in some of the dark shadow side but bouncing a little bit of light back in
so I’ll keep that in for each test we’re going to run through the beauty dish the
power 88 the power of 133 maybe even the satellite Starro and the softbox we’ll
throw that in the mix as well and also bring the big power to-to-to in so you
can see what that’s like but the big power of 2 to 2 won’t be able to go up
high in that position it’s not designed to do that’s all the other lights so I’m
going to put into exactly the same spot same position but when we come to use
the 2 2 2 I’m going to put it in the position of how you should use a 2 2 to
power okay let’s get started first shot these are going to be pretty much
full-length shots on Jessica and let me just check my focus looks good and I’m
going to get Jessica to keep the same pose for every shot so that we can
demonstrate a uniform result for each different light okay so next light is in
position power 88 up there and the difference with the para 88 is
obviously we’ve got the central focusing rod that means I can pull the light in
and out so I’m going to do an out position the mid position and an in
position for each shot so you can also see the differences on the focusing
position of the light in the para so let’s get started so I’m going to move
the central focusing rod to about mid position which is about there and we’ll
do another test shot on that so I’ve just moved the focusing rod in but that
increases the strength of the light output coming out the light so I’m gonna
have to reduce the power of the light slightly to compensate so that last shot
was the para 88 with the light right in its central position very harsh contrast
II light now almost like a tiny point light source and because of that I’ve
had to reduce the power of the light so we were at power 6 and I’m now at power
5.5 so had to drop the light by a stop and a half because of that rod moving
right in concentrating the beam of light so we’re to drop the power down on that
one okay so that’s the power of 133 up in position now bigger light should be a
little bit softer and the power 88 I’ve got the light in the outer position so
let’s get a test think it’ll be about there somewhere we
go okay so got the satellite Starro in position now this is quite
specialist like this is it’s got a silver in a reflector and then it’s got
a sheet of transparent or semi-transparent perspex on the front to
give a lovely diffused glow and a beautiful round highlight in the eyes
but using it this distance is still going to be quite hard light source but
it should be a little bit softer than the other ones that we’ve used one other
point to mention with the powers that I haven’t mentioned is they also can have
an optional front diffuser put on them so they can you can actually use them
like a softbox as well so again that makes them even more versatile than a
beauty dish because you’ve got the different focusing positions of the rod
plus you’ve got the option to put a diffuser on the front turn into softbox
– okay on with satellites taro ok so 150 centimeter diameter octo box this time
very economical softbox let’s see what we get with that one okay
so we’ve got the big 2 to 2 power in love this light amazing light now you
use this light notice all we haven’t clicked it right up high there because
it’s so big this is how you use it you shoot from in front of it with it
directly behind you lined up perfectly with your model so it’s literally shot
straight directional towards your model and you can stand in front of it it’s
such a big light source that you don’t really block it so you can just
basically shoot like this and the light will go around hit the model perfectly
now you can use it off to one side I have used it on many shoots with it off
to one side left right up and down a little bit but generally speaking for
you know most purposes its used in this fashion so let’s get a shot like this
just going up there okay so I’m now going to push the light source in go to
the mid position and I’m just going to double check that I mean that should be
on about number five at the back here just get that lined up and focus there
we go okay so I’m just going to pull the light all the way into its closest
position which will really increase the strength of the beam which means I’m
going to have to turn the light down in power which I’m just going to do now
that’s probably blinding poor Jessica at the moment and will now get another shot
just gonna have to get you to moved him right so that is all of the tests done
on the different lights for a three-quarter sort of full length body
shot now we’re going to just take a quick break time for a cup of tea
because Jessica has been overworked there she clearly had to do way too much
modeling so we’re just going to take a quick break and then we’re going to set
these up for head and shoulder Beauty shots with each of the same lights and
the same run-through so here we’ve got all the results side by side so you can
draw your comparisons following this we’ve got close-up details on each
result the head and shoulders and the full body so here’s the 70 centimeter beauty dish
which we’ll use as our sort of baseline standard if you like and at the end I’ll
draw a comparison between this particular light and a couple of the the
other results next we’ve got the power 88 in the extended position which is
giving us a slightly softer result than the beauty dish but still with a nice
level of contrast then the contrast increases as we put the power 88 into
the mid position and then increases further as we put it into the in
position notice the change in the lighting on the floor the shadows on the
floor the contrast on the floor and the amount of light reaching and hitting the
background with each of these modifiers then the 133 in the extended position
which was probably my favorite light it gave a really beautiful soft but sparkly
light at the same time a good level of contrast and I felt this was so you know
one of the better lights out of all the modifiers then we’ve got the mid
position on the 133 and then the in position with the higher contrast on the
133 as well the satellites Starro an interesting
effect with that light and again the different quality of light from the
satellite Starro if you compare it with the shadow on the floor the level of
contrast but then look at the quality of the light on the face the hair you’ll
see there is a unique difference with each of these modifiers the octa box a
little bit wishy-washy for me by comparison a little bit too soft the
power – – – in the extended position is obviously a different effect because the
light is coming front on our model it gives quite a unique characteristic by
using it that way as demonstrated in the video this is it in the extended
position and then we have it in the in position sorry the mid position as well
and then following the mid position we’ve got it in the in position with
that great increase in trust well let’s go back to the beauty
dish and just use this as a baseline look at the shadow on the floor and look
at the level of contrast and lighting on the face the shadow under the jaw and
the shadow on the neck area there and also the highlights in the hair now if
we compare this light to the para 133 I think the 133 has got a greater
contrast in the shadow and the face got a greater punch yet the shadow on the
floor is softer and this is interesting because this is where the unique
characteristics of the parabolic light come into play because we’ve got the
strength of light that directional focus of light hitting the face and giving
that beautiful punch and contrast but then those outer petals if you like of
the parabolic 1:33 still giving some soft lights it’s almost like two lights
combined into one when it’s here in the mid position compared to the beauty dish
so this is where the para 133 or all the para lights are quite unique because of
that ability to refocus the light you can almost create sort of two light
sources out of one modifier and then obviously you’ve got the optional extra
putting a front diffuser on it if you wanted as well to soften it even further
the beauty dish again let’s just flip between beauty dish 133 beauty dish 133
and you can just see guys flicking then you got the extended position which is a
bit softer and let’s compare that to the softbox because the soft bottles looks
very milky and very wishy-washy compared to the para 1:33 I felt the 133 in the
extended position was a much stronger contender than the softbox which you see
flicking between the two here okay so Jessica’s back in the same
position going to start off with the tutu to light because it’s there from
the last one I’ve just switched to a longer focal length lens because I’m
just doing sort of beauty head and shoulder shots now for the next series
of tests and basically for most of the lights they’re going to be a lot closer
to Jessica just overhead in a sort of beauty dish lighting position obviously
I can’t do that with this one so I’m just shooting this one in the same
position but with the longer focal length lens okay just get that focus on
your eyes that’s good okay so the power light into central
position focus exposure is good now we’re going to move the power light into
the closest position so I’m just going to get this in position into what I
would call a standard sort of beauty dish lighting position now basically
what I want to do is maintain the ability to shoot from slightly above
just looking down into Jessica’s eyes so there’s good so my light isn’t going to
clip the shot so that’s about right and ordinarily in this setup you would use a
reflector underneath here because you’ll get quite a lot of too much shadow so
I’m just going to put try reflector in for all of these shots as well just to
light it as you would for this type of lighting cell just look up there so this basically just puts a little bit
of fill under the chin take the harshness of the shadow away how far
away you have the Tri reflector will obviously affect the amount of fill that
you have you’ve also gotten a trifecta view at these side ones that you can
bring in to illuminate back up onto the side of the face I’m not going to
include those so much for this shot because I don’t really need them I just
want to see more what the effect of the actual light is doing with just a little
bit of fill under the chin to take away the dark shadow when we’re on the
harshest of Lights you don’t need to use a tri reflector you can use a white
piece of foamboard you can use a silver round reflector you can use whatever
reflector you want but we’ll just keep that same reflector in position there
for each lighting test to keep it uniform in the same okay so we’ve got
150 centimeter opt a box softbox and a reflector take shot satellite Starro
next oops right look at that
so that was the 133 in the out position just going to slide the focusing rod to
the mid position okay so para 88 in the out position with
central focusing rod in its furthest extended position to get the focus up
sorry Jessica lost my focus then that’s it not the nicest light for beauty light
when you’ve got the power in that position it’s okay I find from the mid
position to the out position but when you’ve got it in it strongest position
pull then it’s not a great beauty light anyway that’s the power 88 test done up
a bit okay so we’ve got the beauty dish 70 centimeter in position final shot of
these tests focus on Jessica shot see if we’ve got the right exposure and we
haven’t as too dark so got so what again okay so that’s all the tests done all
the lights run through there thank you very much Jessica brilliant
job and we’ll bring up the results and let you guys see the effects of each of
those lights so here’s all the results side by side so you can draw your
comparisons and then we’ll run through each shot individually and I’m going to
shut up now actually and just let you look at them you so here’s the 70 centimeter beauty dish
again just drawing comparison to the one three three which I think was my
favorite light of all the softbox looks really good at this distance but it
doesn’t have the sparkle of the one three three and I think because the one
three three also has the ability to put the front diffuser on it I think the one
three three is going to give you the most versatility so from a beauty
lighting perspective that extra contrast in that extra punch of the 133 made it
very versatile light anyway let’s let’s take a look at these lights in action on
an actual photo shoot and I’ll talk you through what’s going on
in the process I’m using them here so here I’ve got the power – – – with a
beauty dish in front of it and this combination allows me to use the two – –
as my main light source but just adding a little extra kick of light onto the
upper body face hair area by using the beauty dish as well so basically you can
see the power – – – there and then you can see or you will see the you see the
beauty dish just in front adding that extra kick of light onto the model and
then there was a background light as well on the background okay here I’ve
got all power lights I’ve got an 88 a 133 and the two – – you can watch the
full video at that URL below here or on our website now my setup for this was
the 133 is the main key light on these shots is up there at the top left there
you can see on the screen the para 2 – 2 was a shadow fill and the 88 para was
just to highlight the clothes a little bit more so there’s the results of the
para 133 as the key light from up above my right hand side from my shooting
position with the para – – – as a shadow fill and then the next shot is the
lighting set we’re at the power 2 to 2 as the May
like but with an extra bit of kick from the beauty dish just for the head and
the hair area and that gave that result so I hope you enjoyed that hope you
found that useful thanks very much for watching
for more great photography tips from beginner level right through to pro
level then check out our website www.KarlTaylorEducation.com


100 thoughts on “Studio Lighting Test: Beauty Lighting Comparison by Karl Taylor

  1. Hi KT thanks so much for sharing this video. I wanted to know how far away from the backdrop the model was standing in order to that grey effect? Also, what kind of spot lamp you used to shine onto the backdrop towards the end of the video (28 min)?
    Thanks 

  2. hey karl i don't even know if you read this but thank you very much for your work, the time you and the model spend to make this video….for free!!
    have a nice day

  3. Thank you for taking the time to give us these fine examples. I can surely see what you mean by that extra "sparkle" in the light quality that the PLM provides.

  4. Hi Karl, what about the Elinchrom Deep Octa? I'm talking about the 70cm and the 100cm that have a shape that remember me the para.With just the inner baffle I think that is quite an amazing light for fashion shots.
    I understand the sponsor etc, but for the sake of the lighting comparison test seems right to me to talk about it. I found it easy to travel, easy and quick to mount and adding the deflector set i've got also a sort of beauty dish.
    of course you can't adjust the distance of the light from the modifier, that's a cool feature for the indirect light modifiers like the para(never use one of them), but I'm curious to see the difference on field of this two modifiers side by side. What do you think about?
    Sorry for my bad bad english, I hope everyone can understand what I'm saying even with typo or mistakes.

  5. Great ad for Broncolor. High quality of light, beautiful photos, though. But for my budget, Paul C buff will have to do. Thanks for the comparisons.

  6. thanks a lot for the great comparison test.. what do you think about ELINCHROM BXRI 500/500 TO GO set, are they good enough for shooting at home studio?

  7. Thank you for this! Look forward to watching many more of your videos! Very informative and now I crave one of those paras. I have major envy!

  8. I'm really fascinanted hoy math can be used in photography: the paras. I loved the way each light set made contrast and impression

  9. Your videos are really really useful… Thank you so much for sharing! Have you ever though about using the flooter in portraits, as a key light?  Thanks

  10. Thank you so much I can really see how each light works. This is great I'm really thinking about your pro tutorials because you give best for me in telling and showing how it work it just great.  Again thank you.

  11. The para lights are awsome but so prohibitively expenisve that it behooves one to find an alternative or DIY solution.

  12. I would like to know about the color temperature change of each photos are cause by the reflector or the strobe power different?

  13. Nice vid. What was your assistant using as a blower?

    Oh, and the best bet of kit in your studio, was the studio… All that space!

  14. Question: Is it possible to take really good professional photo's with mid grade cameras like Nikon d5200 and a decent lens? Or do I need to rob a bank to afford  top models like Nikon d700 ?
    I mean if I have : studio lightning + d5200, will this do the job ? thnx amund

  15. Seriously cannot thank you enough for making this video. 
    Endlessly informative and tremendously relevant to my interests at the moment. 
    My one gripe with the video is that I now can't decide between the 88 and 133. 
    Thanks so much, Karl! 

  16. Thanks this is great, I wish I could justify the price of broncolor, though ill hire the para at some stage. I wish elinchrom would have some focusing modifiers 

  17. Thanks for taking the time in testing these setups! I which more people would do this. Cleary you can see the different looks. Nothing beats realworldtests.. keep up the great work.

  18. congratulation for the very tecnical explanations about the " physics of PARA reflectors", really these are the very best exhaustive tutorials never seen free! 😀

  19. Great great video!.
    To an amatuer like myself, it's almost impossible to explore all different kinds of modifiers & find what different effects it will bring to my object.
    The videos like this enable me to get the figures what kind of modifiers to choose in achieving what kind of effects.
    – The last part, specially, was just the effect i was aiming to get, & there u demonstrated the solution beautifully.-  combination of the beautydish + para-relfector.  (i was thinking & guessing the mix of 2 modifiers but not sure what & how to mix → such a time consuming one to figure out by myself.)
    many Thnx!!!.

  20. Thanks very much for share your photograph knows. Here in brasil I dont have how to pay for a photograph class. i learn with you in 2 weeks what I´m trying to learn for 3 years. thank very much, again 

  21. At 29:20, I love the lighting on her arms. It has the glow down the middle and shadows on the sides.  I reviewed the lighting setup for this shot and still can understand the physics behind it.  How do you get the shadows so deep in from the edges of her arms?  The best I can do with my equipment is something like this: || |                      | ||     
    Meanwhile, you get shadows like this:      |||| | | |            | | | ||||       These are supposed to represent the shadows on the edges of a cylindrical object.  You achieve the look of a soft yet radial light source … hard to explain through text.

  22. Can I put the Pulso G head in the middle like yours (Unilite?), what would be needed? I have the older Scoro A4S…haven't tried the para 170 and up.

    The octa without the diffusion could give a similar effect as well, yes?

  23. This video was great to see the differences in light being cast from the different modifiers.  Love your work and i thank you for sharing your knowledge.

  24. sir
    i would like to know? which lances to be use in indoor shoots, an out door shoots. an also will like to know which lances i can go with for low light shoots, like weddings an so on.

  25. brilliant, thanks, i have to agree, the 133 is the best modifier here, and this was a surprise to me, i was sure i'd like the beauty dish more, but the 133 in all three positions was the winner for me. thanks again.

  26. When using the different Para (88, 133 especially), beauty dishes and soft boxes, is the common position of the shapers the front of the shapers or the rear mounting point? In other words, as you change the light sources is the effective distance between the end of the shapers and the model/set changing?

  27. Un video hecho sólo a titulo informativo ya la gran mayoria de los mortales nunca podremos disponer de semejante equipamiento !!!

  28. Thanks for that work. You shot with the Hasselblad. Do you think the differences between the reflectors/positions are as visible as in your test with a DSLR which have less dynamic range?

  29. Would love to see some tests with more down to Earth parabolic options from Westcott, Selens, etc to see if you still get similar results.

  30. Very, very thorough Mr Taylor. I'm surprise how much I liked the Para 88 in the "in" position giving off dramatic light while not being as harsh as i thought it would. Your model is on par with your gear, Top Shelf

  31. This video is very helpful & appreciated . Having said that it would have seemed less like an advertisement for Broncolor if other cheaper options were included in the test that could compete more or less ie a 7 ft parabolic umbrella etc

  32. Your videos are awesome Karl.
    Nice setup, those modifier looks like tankers for me. Love those modifiers.

  33. my favorites are all positions of 222 and in position of 133 . Every position with 222 is beautifully lit and 133 gives just right amount of pop to the face.

  34. Is the light hitting evenly to the model's feet? You should've shot this in a white trousers on the model. Because it's a black pant, there is nothing to judge if the light is fading in full length shots or not. In any case if I've to use the same lighting setup for a full shot then is this setup will allow me to keep my model in an even exposure without putting the light much further?

  35. Hi karl. i have a question. I am thinking to buy a parabolic for full body shots. Is it recommended to use para soft-boxes to light a model from head to toe?

  36. Love every bit of your videos Karl, you are a true pro. Your photography totally inspires me and anyone who is studying photography seriously will do themselves well to follow you and support your work IMHO.

  37. if people will learn about the inverse square law then you see that a lot of these results is just a result os the isl and the difference in shadows is only for the top end fashion shooters, at the end of the day with a model like that you could make her look good with a speedlight and a shoot through umbrella

  38. Hi Karl! Can i know please where i can find that "triflector"? Cause i can't find anywhere and i think this reflector is perfect….any other types wich i found are not that good. Thanks you very mouch. Great work here as always.

  39. Excellent video Karl – looking at getting a smaller one that can pack on to plane – not sure what I should get yet

  40. The Para's are a fabulous design. Great gear, super expensive. Seems though any parabolic with a easy axis movable lamp head should be able to produce a nearly identical result. Would like to see a comparison of that.

  41. The Para 133 is $4200 and the 222 $7K in Australia :/ Guess i better start taking more photos to ever afford reflectors like that haha

  42. Enjoyed the video! I don't have, nor have I used an adjustable parabolic, but thank you for showing us how they work and why they work.

  43. Hi Karl. nice studio by the way. just a quick question, how many watts are your lights? 1000w or 1200w?

  44. the paras especially the big ones create the worst shape of eye reflections. Looks like ring lite and destroying the whole beauty.

  45. The center column design looks very sturdy, they would make a great investment as they are not flimsy modifiers and would actually last for many years 🙂

  46. Great video Karl! I could truly see the difference in the quality of the various modifiers ! I would like to know which lens did you use? Cheers

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