Introduction and understanding light

To truly understand working with studio lighting you first have to understand light. This opening chapter of our โ€œLighting Theory and Equipmentโ€ course covers the fundaments of light, equipping you with the knowledge you need to confidently work with studio light.

Through a number of visual demonstrations Karl demonstrates the practicalities of light, exploring the effect hard and soft light has on shadows, texture and three dimensionality and shows you how to achieve exact control over reflections, shadows and highlights.

Karl also provides a complete explanation, along with further practical demonstrations, of the inverse square law and color spectrum of light.

In this photography class we cover the following:

  • Different light sources and their effects
  • Hard light vs soft light
  • Careful control of light and shadows
  • Using reflectors and negative fill
  • Revealing texture
  • Inverse square law
  • Color spectrum of light

NOTE: This photography class is available with English subtitles.


  1. Hello Karl, first of all thank you for making the course so easy to learn and to understand all this info.
    second, i wanted to ask you, what’s the best material to use for a scrim??

    1. Hi, either LEE 216 or LEE 400 lux, both will give similar results but the 400LUX is a bit tougher but I think more expensive. See the chapter in the product section about making your own scrims.

  2. Hi in the module introduction and understanding of light, id like to know if using always on lighting or speedlights are superior, especially for someone still learning. I saw how beneficial it was to have the lights on to look at the shadows, but i am confused as when he took the pictures it seems as though they never went off. He said that the light on was not in the shot, but I never saw it go off and back on again. Also I have a couple of square soft boxes already that i use with speedlites (lastolight). i will buy a different light source if necessary (currently using cannon 600-EX-RT Speedlites) even though I dont want to, but I just want to master using studio lighting. I think it is so cool. I have been trying to use LED Daylight lights in the room, but always felt that I needed to turn them off before taking the picture. This is hard in night situations LOL. I shutter to ask what a decent setup for lighting is going to cost me. I do have 4 stands, 4 speedlites, and 2 soft boxes. I am using mostly a Canon 5DSR and have a 5D Mark III as a backup

    1. Hi, the point light source was a modelling lamp from inside a studio flash (the studio flash tube can also be a point light source). An LED can be a good point light source but often they are not bright enough for most types of photography. You will learn more about this as you watch more of the classes.

  3. Hello Karl

    if I take a photo outside when it is cloudy 9000 kelvins and then I adjust it in the post-production in the photoshop to 5600 kelvins, the result will appear as if at the full spectrum of color ..?

  4. Hi Karl,
    Very nice tuto and explanations.
    Rebouncing on my other post, my goal was not to replace a 180x120cm softbox by a 80x60cm one but use two softboxes or octabox 65-85cm size with different powers. they should be easier to handle/move on site, travel, install (rapidbox, magbox,ezglow…) to fill the hard shadows.
    In that idea i am looking if clamshell could be helpful in some cases (not for corporate on a desk).
    best regards

    1. Hi Marclabro, I’m sorry I’ve been away and just got back can you remind me on your other post as I’ve had so many questions to answer I’ve lost track!

    2. Hi Karl,
      Thank you for your tutorials.
      I have a question about lighting. I want to make a mini-studio in the corner of my living room
      It’s like a box surrounded by white on all 3 sides.
      There is a double window and one smaller wall (1,5mx2,5m) on the left and one bigger wall on right (2mx2,5m), all in white.
      Is it enough to color in dark one wall or should I color both walls?
      Thank you

      1. Hi, I think you need to watch a few more classes in our ‘Lighting Theory’ section as you seem to have misunderstood some basic concepts of ambient light in relation to flash. Your windows will make little difference. Your white walls will make a difference if in a small area so yes these are always best in mid grey or darker.

  5. As a photographer for many decades and having taken some time away I decided I wanted to rejoin with what gives me so much fulfillment in life and so I figured why not start at the very beginning and push aside what I had previously learnt as a self taught photographer and be open and teachable from someone who is such a marvelous instructor, someone who has a wealth of knowledge gained from years of personal experience and is also so eloquent in speech. I humbly admit that I was taught and taught very well Karl.

    You have a gift. Not only are you a very accomplished photographer but you have a way of explaining what you love in a way that people of all levels can understand and be enthused to “have a go” which is wonderful. Thank you for sharing your talent with so many.


  6. This is the best class I’ve had on lighting in terms of photography, I’ve learned a lot, and this is only the introduction! Looking forward to the rest of the course. This introduction has peaked my interest in learning about light in general, do you have any recommendations on books on the topic for further reading?

    1. Hi CharClar, I’m glad you enjoyed this class. You will also enjoy the new ‘inverse square law’ class in the getting started in product photography section as well as many others. With regards books the answer is no which is why I created this platform simply because there was never any concise science based information on the art of professional photography. Also check out some of our live show replays as I’ve covered many topics indepth live on our platform.

  7. Good day Karl,

    I have a Godox AD200 Strobe. I have an 80 cm x 80 cm soft box. Can I still be able to use a larger rectangular soft box (e.g. 120 – 150 cm) and light efficiently. I’m working with a very small budget.

    1. Hi, Yes you may have to increase your ISO slightly but changing from 100 to 200 ISO essentially makes your light become an AD400 and changing from 200 to 400 ISO would then make it become an AD800 so often you can overcome the problem by adjusting your ISO.

  8. Unmatched level of instruction. No funny business. This entire system is a game-changer and as time goes on I believe it will be recognized more and more as the definitive online resource for professional photography science instruction. Bravo!

      1. Hi Karl,

        After I watched your Youtube videos, I knew, I was watching an expert and had to buy your class. You are the best photography teacher. You are clear and direct and although I’m in school, you provide more details than instructors can provide in a limited class. I appreciate you and have learned items that were unclear from the basic photography classes in the past. And you are helping me with my British accent as well. Pronunciation is on point! lol! I have shared your info with others as well.

  9. Brilliant explanation of light with great examples! Particularly enjoyed the bit when you introduced the scrim and how the distance of the source light to the scrim affects specular high lights and graduation of light.

  10. Hi Karl

    Have just watched the colour checker video and it became crystal clear how to neutralise the colour.

  11. I have to admit watched this course again after 2 years since I joined KTE.
    Points mentioned about light/lighting are like a thumb rule. ( PHYSICS )

    Let me be honest here, I haven’t understood it that much when I had watched it the first time. ( probably didn’t realize what I had missed )
    But now, when I came here again I knew I was looking for some pointers to ‘specularity’ when lighting through a scrim. It’s there IN HERE, so clearly mentioned, probably didn’t realize it back then how much that parameter is important in studio photography.

    Wow! Karl, thanks for making this video.

    1. Thank you Sanket, glad you revisited it. We have more technical and physics related lighting courses coming soon!

  12. Karl

    Thank you for explaining the detail of light and it’s affects. It’s will open up a wide range of photography that I never knew about. You bring passion into your videos and really get the point across so that it’s easy to understand. Keep up the great work.

  13. Recently joined and this video was so informative that I feel 100x more knowledgable and cant wait to learn more

    1. Thanks for joining and we have plenty more for you to enjoy. Also check out some of our previous and upcoming live shows! Welcome aboard.

  14. This was my first video after subscribing and wow, this fundamentals of lighting is fantastic. I’m going to watch it at least twice until it sinks in. Watching the demonstrations, I find I have preferences already (soft boxes) which means I subtly ignore the info about other great options (light from scrim). I’ll circle back to get all the learning and overcome my bias.

    Thank you for the Goldilocks pace and depth of your teaching style.

  15. Signed up after seeing a few of your YouTube videos. I have an online store and have been told that my pictures need to be better. I am my model so I am hoping to get some better photos with your instruction. I finally got my home studio set up so now its time to learn. Camera is not top notch but I did my best. Sure they will come out better than my phone anyway. Fingers crossed that I can learn at least enough so they are at least website worthy!!

    1. Hi Steve, I don’t recommend shooting under fluorescent lights at all for the reasons pointed out in this video! If you absolutely have no choice then depending the tubes it’s usually around 4000K but as pointed out there is a large put of the spectrum missing so results will never be perfect.

  16. This was a terrific explanation on the basic principles of lighting. I love how every basic item was covered. My only complaint is with the comment section. Having to scroll to the bottom takes some time, I feel if you move the box to the top of the comment section it would be easier to find.

    1. Hi Joseph and thank you, yes this particular class has a lot of comments. We’re introducing a new button under the video player soon that will take you straight to the comments box at the bottom. The reason we encourage people to scroll though is often they will find their question concerning something already answered in a previous comment. Many of the other classes have far less comments so it’s easier to navigate! Cheers Karl.

  17. Signed up today for a try out month. Wow, after just this one video I am already considering the Platinum Plan … ๐Ÿ™‚
    Thank you for making us photography smarter

    1. Thank you for signing up! If you have any questions relating to any of the classes please leave a comment below the video. In your ‘Home Page’ you will find links to all the important stuff and membership support for non tech questions with Sara. Enjoy your stay Karl.

  18. I’ve been fiddling around with photography for many years, but I can’t believe how much I just learned in 1 hour. So excited for more videos. Quality of instruction is fantastic.

    1. Thank you very much and glad you could join us! Any questions on any of the classes just leave a comment like you did here and I’ll be back to you. All the best Karl.

  19. This video is very informative and engaging to watch. I gained a much deeper level of insight into the fundamentals. The Karl Taylor Youtube channel has so much fantastic information that has been impactful to me as a new photographer. After watching this first video as a subscriber, I am very excited to continue learning here. Thank you!

    1. Very useful, helpful, clear and direct information i have never found at any other tutorial. Thank you! ๐Ÿ™๐Ÿป

    2. I consider this video a true encyclopedia of studio light for professional and non-professional photography. What I am getting from this academy is a thousand times higher than other courses I have attended in my life. Thanks Karl.

      1. Thank you, much appreciated. I have another course continuing on some of the physics of light coming later this year that you should enjoy!

  20. I’m a new annual plan user from the midwestern USA. Just wanted to say that I discovered your course of trainings when you graciously opened them for free during the pandemic in 2020. My advertising job disappeared due to COVID (it’s okay, I hit a healthy 70 years old this year), but had to wait until now to invest in your courses. Very much looking forward to learning so much, even though I’m at best a hobbyist. I’m old enough to remember when my university courses were taught using film and darkrooms (when I was in my 30s after leaving the Army) and we shot halftones to print photos. Thanks so very much for opening your classes last year; it was an incredible act of generosity, and I hope it gets repaid to you many times over.

    1. Ron, Where in the Midwest? Iโ€™ve also just join with an annual subscription, Iโ€™m based in St. Louis?

      1. Hello, Ian! I’m on the east side of Kansas City in rural Independence, MO. I was born in St Louis, and have quite a bit of family there, as well as a good friend from the military who’s a former St. Louis radio host and is now the home announcer for the new Arena Football team, the Bandits.

        1. Ron,

          Iโ€™m originally from England, been in the US for the past 22 years and in STL for the past 8 years. I occasionally out your way, or if your this way maybe we could get a coffee and talk about Karl ….

          All the best, Ian

    2. Hi Ron, Thank you so much for signing up and glad you enjoyed the free stuff. We’re back in another lockdown here at the moment but I managed a live show on my own yesterday! Hopefully you can join us on a future live show too and of course if you have any questions just let us know. All the best Karl.

      1. I watched the replay of the decayed fine art photo, because still life is my main interest (that video is worth half a year’s subscription alone). You really chided me about not getting it right in camera instead of relying more on P’shop. So many great tips in a single video! I’m starting with the lighting theory course so I get a better knowledge of using my strobes. Fortunately, I have a ton of grip gear left over from shooting video, just need some more poster board for flags and black cloth for the floor. Best of luck to you and your team with the lockdown, we’ve been very fortunate out here in The Middle.

  21. Hi I just joined the community today.

    I’ve been binge watching your videos on Youtube for a while now and made the decision to become a member. Really chomping at the bit to expand my photography skills.
    Just want to commend you and your team on such great educational content.

    keep up the great work!


    1. Thanks Al, and thank you for signing up. We hope you enjoy the content and live shows. If you have any questions do not hesitate to ask in the comments section below the relevant video. All the best Karl.

  22. This is the master lighting master class. This course has 3 main pillars: highly subject understanding, a deep skill transfer method, and clear communication skills. Million thanks. In photography, if you master light skills you would be a creative and professional director.

  23. When describing reflectors, and negative fill light, I also wonder if the surface of the object isn’t just actually reflecting the actual light modifier itself?

    When you bring in the reflector close, the chair would reflect that and show up lighter in camera.

    When you bring in the black flag, the chair would reflect that as well, and show up darker in camera.

    I’m unclear on how much of the darkening/lightening effect is the blocking of light photons, vs reflecting the actual light modifier itself.

    Does that make sense? Any insight would be awesome.

    1. Hi, Negative fill isn’t really fill it’s blocking light that is reflecting from elsewhere. If you use black velvet boards then most of the light is absorbed into the board so there’s nothing left to reflect. White objects will bounce light from themselves onto a white or silver reflector and back but this would be minisucle compared to the light bouncing back off the reflector from the key light. On gloss surfaces they act as a mirror so an image is formed from something that is at the correct angle or reflectance to the camera, so you will see the white board or black panel as a reflection in that gloss surface. Which is why we often light gloss surfaces differently to other objects as you will see in many of our product classes. I hope that helps, cheers Karl.

  24. Wow! I loved watching this educational video. I joined today and it took most of my day to watch (along with family tasks), but I took 9 pages of great notes! I’m restructuring my photography to focus on portraiture and so many questions about my past lighting (or lack thereof) were answered here. Thank you! Now on to the next video…

    1. Hi, that’s great to hear. Thanks for signing up and if you have any questions don’t hesitate to ask.

  25. How do I determine what to set my white balance to on my camera? Also, when shopping for lighting how am I able to determine if I am purchasing lighting with full/broad spectrum? Do I go by the Kelvin? Ash

  26. Hi Karl, I really enjoyed this course and I’m looking forward to continue learning alongside you.
    I have a question, I got a little bit confused In the color spectrum chapter of the video.
    So, are flash lights and strobes are calibrated (I don’t know if Im using this word correctly) to spread their light in a daylight full spectrum of color? And also, does the continuous light of the strobe will also have the same spectrum of light, for instance if a shoot a video with that lighting will I get so much detail in the colors?
    Thank you ver much Karl, greetings from Mexico!

    1. Hi Momo, thank you. Yes strobes/studio flash/speedlites are all putting lightout that is the same as daylight at midday on a clear day, that is it is full spectrum and 5500K colour temperature. The continuous light of a studio flash which is called the modelling lamp (if it is a tungsten bulb) will also be full spectrum but it has a warmer colour of around 3200K but this can be corrected in post production because it is still full spectrum. High quality LEDs with a CRI of 90 or more can also be considered full spectrum and they can usually also be adjusted in colour temperature from 2800K-6000K. Other low quality LEDs or things like fluorescent lights are missing large parts of the spectrum and will never record colour accurately throughout a scene.

  27. Hi Karl ๐Ÿ™‚
    New to this membership, so just wanted to say thank you so much for an awesome lesson…
    I also wanted to ask a question, apologies if it has been asked before but I couldn’t find it in the comments-
    I have always been told that if you shoot in raw you can correct the colour balance in ps or lightroom afterwards? Is this correct?
    Thanks again
    (South Africa)

    1. Thank you. You are a great educator.

    2. Hi Tarryn, welcome aboard. Yes that is correct and you will see that covered in some of our post production courses and other shoots. It’s always better to shoot in RAW as there is so much more in the image file that can be extracted later. Kind regards Karl.

  28. Thank you – my very first class. Learnt so much through your clear explanations and demonstrations. THANK YOU!

    1. Thank you Michelle, glad to have you aboard. If there’s anything you don’t understand in a class you’ll often find it answered in the next or a later class but if not just leave your comments below a relevant video and we’ll come back to you. All the best Karl.

      1. Karl, i enjoyed every second of the course. The way you explained was just awesome.
        Hoewever, as the new subscriber, i foumd it ultra difficult to get back to the last section of my lewrning everytime i turn off my ipad/mac. There is no history which course i am learning now. As i am writting this, i have spent 20 minutes to find where should i get exact course i took 20 mins ago before i left for dinner. Hope itโ€™s me who is not into web that good…

        1. Hi Gilanka, thank you. This is something we are looking into about creating ‘bookmarks’ in the meantime you can use your browser to ‘bookmark’ the chapter you were watching and then make a note of the time at the bottom of the video.

  29. It’s funny that most professional photographers explain inverse square law by demonstrating source of the light getting farther away from the subject. You are perhaps the first instructor who explain it by means of getting the source of light closer to the subject.

  30. Hello, Karl.
    This intro lesson is fantastic. I’m studying light (I’m trying to, actually) with the Hunter-Biver-Fuqua’s book, Light, Science and Magic, that is a good reading btw, but following this lesson it all becomes clearer and simple. Ok… a good and effective light set up is not so simple but when you have the basics learnt by you it can be less difficult for a beginner. Thanks a lot for sharing your knowledge.

  31. Hi Karl, I just joined KTE program, and after watching this, my very first video of the program I am certain I will get huge value from it and will be able to live the life I want to live as a successful photographer, this is the beginning of something big, thanks for sharing so much inspiring and useful material, you are changing a life for the good here, looking forward to going through all the courses and put it into practice.

    Regards from Mexico City.


  32. Hi Karl,
    I am really enjoying this course. Itโ€™s very informative with a clear understanding.

    I tried to lean as much as I could about photography from free channels on YouTube but I struggled to follow all the different clips. Your classes are worth the money.

    I look forward to continue learning with you.

  33. What a great module – I didn’t know about the kelvin temp for different times of day, and the inverse law was very well explained. I had a little eureka moment in the middle and that was pretty awesome

    Thanks for another great module

  34. My first impression of your teaching is very favorable. I have spent years reading everything I could get my hands on, taking other courses, and watching youtube. In just one hour, you filled in critical gaps in my understanding of this material. I have high hopes that your courses will help me to improve my photography dramatically.

    On to the next course.

    Thank you Karl!

  35. Karl, I am enjoying the material but was a little confused at the inverse squared law which seemed to mix up size of light and distance but didn’t indicate what power change was needed nor f stop adjustment.

    I understood that if your lightbox was 4 metres away (with correct exposure) and you moved it to 2 metres then you would have to reduce the power to 1/4 of the initial power or adjust 2 stops on the camera?

    My friend recommended practising with a string marked at 1.4m, 2m, 2.8m, 4m, 5.6m, 8m so as you move the light from one mark to another you adjust one stop of camera aperture or adjust the light one stop.

    Does this make sense?

    1. Hi, practising with a string will give you a good idea of that particular modifier but in reality the way the inverse square law actually works is really limited to a point light source. The results are somewhat variable depending on the modifier used, the size of the room, the reflectivity of the room etc. So I wouldn’t overthink it, just practise and look at the results you get on camera and you will soon start to appreciate the difference in achievable power vs size. You should really concentrate on what you want the modifier to do in terms of the look and feel or mood that you want to portray and figure that our first.

  36. So well presented, clear and at the perfect pace. This is just the sort of education I’ve been after for years and can’t wait to see the rest of the videos. I’m about to complete a diploma in photography in NZ and wish I’d seen this site at the start.

    I began full-time employment as a commercial photographer for a university marketing department at the start of the year and already I now understand some of the many mistakes I’ve been making. I can see this education series taking me to the next level both technically and in confidence, thank you Karl and team.

  37. Thank you for your patient explanation. I will carefully watch all the courses. I hope it will be helpful to me

  38. Please I need to know which is the hardest shadow if we shoot portrait by beauty dish from 1 meter distance and from 4 meters
    the camera settings are same , the difference only the light power to compensate the exposure.

    i will appreciate your urgent reply

    1. Hi, the hardest shadow will be under the nose and neck if you are using the beauty dish in the correct position (we have lots of examples of the beauty dish in use on our website). The further away the beauty dish then the harder the light will be because it is smaller, you should no this from watching this chapter? Of course if a light is further away then the power is less so you need to increase the power.

    1. It seems that the other 200 comments disagree with you but I’m always happy to listen to what our audience has to say and why and would really welcome it if you could explain a little clearer. This is the introduction to understanding the physics of light and how it works which is why the video is titled this way. It’s lesson 1 in hundreds of hours of understanding light so there are many more lessons to come that might answer what it is you are looking for. Alternatively you can ask your question right here as I do my best to answer most questions in the comments section. It could be (as we have picked up a few trolls from youtube here and there) that you are just here to cause disruption but I guess we’ll see based on your reply?

      1. The teacher I want to ask the Angle of illume, what relation does height have, if much the Angle of the lamp how should deal with again. And how to control the highlight of the irradiation range, incidence Angle and reflection Angle and what is the relationship

      2. I just want to learn how to shoot the texture of the goods, but in my opinion, the course you mentioned only briefly introduces the surface things, without the core content, such as reflection, incidence and illumination

        1. Hi, it seems you may be rushing to understand things that won’t help you before you fully absorb the basics? I don’t know what level your photography is at but the angle of incidence, reflection is always related to your own viewpoint and then that of the position of the object and the light source so there are lots of variables. For example ‘viewpoint’ is dictated by the lens as you will be either closer or further from the subject which affects the family of angles. I think it is better to first understand how light shapes an object to begin with and the relationship between harder, soft, inverse square law and distance and then take that information to decide what sort of emotion do you want to invoke on the subject and in the final image. For example does the image need to feel bold, dark, bright, fresh, happy, sexy, scary, etc etc. The product you are photographing may also have many angles and facets itself each one creating its own different angle of incidence and thereby meaning it would be important to learn about polarizing the light source as covered in one of our recent live shows. One of the easiest ways of discovering the angle of reflectance though is to simply have someone hold a mirror next to your subject while you look through your camera and look at the reflection in the mirror.

          1. Thank you for your patient explanation. I will carefully watch all the courses. I hope it will be helpful to me

  39. I have been on a mission to understand studio lighting. I have watched loads of content, some free, some purchased. This one hour introduction has done more for me than all of it put together. I can’t wait to watch the rest of this series and put these techniques to use. Thanks, Karl. You do such a great job of explaining everything.

  40. Hi Karl, If you add a cut of full CT blue Lee 201 to a continuous tungsten fixture do you still keep the camera WB set to tungsten or change it to Daylight/sunny day setting? thank you –

    1. Hi you can put a CT gel on a tungsten light and get good daylight balance so you can set for daylight. But if you change the power of the modelling lamp the colour temperature changes too usually warmer on lower powers.

  41. Excellent introduction and review of light in its various iterations. I’m impressed with Karl’s teaching style including his providing interesting and compelling examples to demonstrate fundamental concepts. I’m excited to see what’s next.

  42. Glad that I stumbled upon your amazing body of work, beautifully crafted tutorials and aesthetically pleasing website. Truly inspiring!

    There are several tutorials about photography all over the internet but the pure intention of sharing and spreading knowledge reflects in each and every tutorial of yours. Thanks a ton for using the powerful medium of internet to educate and enlighten the seekers like us from across the globe.

  43. Karl, just wanted to say thank you for inspiring me to broaden my understanding of lighting and your course has been amazing. You have lit a spark in me and now I am fanning the flame and practicing more. Thrown out the light meter concept and focused on visual appeal.

    1. yeah I sure wished I had discovered Karl a long time ago..oh well I still learned a lot through studio trial and error!! Thanks, Karl. A fantastic photographer and not everyone that is THAT at their craft can also instruct as well…but you are BRILLIANT at it!

  44. Once upon a time for a friend’s boutique house, I was asked to take some photos of the products. I use fluorescent light to take those shots. At home while editing, I was wondering where did those white light go !!! And why the color of the cloths so different than what I saw !!! Now I get it. Thanks Karl. Loving your words ๐Ÿ™‚

  45. The clarity in your explanation in whatever the chapter in photography you are trying to make the viewer/listener understand is extraordinary. I don’t think that there could be a better explanation than this to make someone understand lighting in the context of photography. Thank you so very much for the trouble you undertake to impart your knowledge and skills.

  46. hello sir
    first of all thanks for sharing your valuable knowledge with us with very affordable price
    I am going to start my career in photography and thinking to purchase sony mirrorless camera and few lenses is this gear good for all kind photography please suggest me with that.

    1. Hi, thank you. Yes the Sony mirroless are very good cameras but a camera is only as good as the lenses you put on it so aim for good quality lenses. They do a very good 90mm GM Macro lens which is also good for product and portrait work.

  47. Hello Karl, I have just joined your class but I will like to ask if you have a compilation of all these videos in a cd set or download for some of us who dont really have time for the monthly subscription. It will help a great deal.

    1. Hi thanks for joining but I’m afraid our service is monthly subscription streaming service, we are currently running 8 new live shows per month and 2 new course per month. It would cost you nearly $10,000 to purchase all of our courses so we believe we offer a very fair and affordable service.

  48. I’ve been struggling with lighting for quite a while now. I watched most youtube videos that suggested continuous lighting for product photography for beginners. However, I wasn’t able to find out why professionals only use studio flashlights/strobes. And why I wasn’t able to take great product pictures without having to do a lot of post-production editing.
    I’m forever grateful to you Karl, for creating such valuable videos and teaching us the concept behind everything.
    Your passion is contagious and I hope, one day, I will be able to master product photography. With your help, I can and I will.

  49. Dear Karl,
    Thank you, I really enjoyed your videos.
    I have a question and it’s my pleasure if I have your comment. is this sentence correct:
    close light source to the subject has softer light than far light source.
    Thanks in advanced.

    1. Physically yes but this is dependent on the apparent size to the subject for example a very small light close to an ant will be a soft light but the same small light to a human will not. However you need to also understand the inverse square law (which is covered in this section) because lights that are very close behave differently in terms of exposure transition than a light that is further away.

      1. Thanks, I understand completely the dependency to size of subject and also reverse square, when light source located close to the subject (for example a human) shadows become more intense.
        in one hand we believe closer light source equals to softer light, in another hand we see harsh shadow when light source located very close to subject. this is what confused me.
        sorry I’m taking your valuable time. again thanks in advanced.

  50. Thank you for your great videos. After having subscribed, the only thing I’m regretting is that I didn’t do it sooner. Top quality content.

    A question about using scrims in product photography, from what I saw here it seems that scrims are better to use for bottles and other similar products, rather than for example softboxes, since the reflection will be more “calm”. Often I find the reflections distracting. What would you say about that?

    Thanks again


    1. Hi Samuel, that is exactly right but how we use them is also very important. We have several tutorials on this in the ‘Product’ section but also check out the LIVE SHOW replays to see it done there too. Cheers Karl.

  51. God bless you Karl Taylor and everyone on the team that made these videos possible. The in-depth knowledge that comes with every class is indescribable! THANK YOU ! THANK YOU!
    This is the best thing that happened to me as a beginner in photography.

  52. After tons of youtube free videos I finally decided to subscribe to your lessons, and yess, I have to say that you’re such a great teacher!
    That’s what I was looking for!!! Cheers from Italy!!

  53. Best teacher Karl… I have learned so much just watching all these videos ๐Ÿ˜ป

  54. Hi Karl
    Great Video. I have been looking for classes like this on lighting. I just started watching lessons on lighting and hoping you have lessons on lighting based on the shape of the face.
    Thx for sharing your immense knowledge.

    1. Thank you, and there are of course plenty more lighting lessons in our platform that is our speciality!

  55. Hi Karl, Karl here, my girlfriend and I are photographers in Northern Arizona. I am in Flagstaff and she is in Jerome. We do fashion workshops every month and just wanted to get our skill level back up.

    Thank you for this course, great refresher for me and a wealth of knowledge for her.

    Looking forward to what is coming our way.

  56. Dear Karl,
    It’s been approximately 4.5 yrs that I have been learning photography in bits & pieces and tried almost all platforms (online & offline). But the fundamentals of real photography had been evading me and the it was to me as if the jigsaw puzzle was missing the chips. I can’t thank you enough for such a wonderful explanation of fundamentals of light and feel that my search for a true mentor ends at you. I am sure all my doubts & queries will get sorted with your course.

  57. I’m confused. I get the inverse square law and I understand the concept behind it. However, in his video on the law, Joe Edelman says “light CLOSE for sharper shadows bigger catchlights and darker backgrounds”. I know Joe is a great photographer but this contradicts with what is said here – so I must be misunderstanding something ‘cos I know both he and you are correct. I thought with the light closer its size relative to the subject increased which makes shadows SOFTER because of light wrap around”.
    I don’t understand how for a GIVEN fixed size light source the shadows get sharper as you move the light closer. Please help :/

    1. Hi Matthew, please watch this again. A closer light is a bigger light and therefore softer (softer shadows). But the closer light to the subject then it also has a quicker fall off in intensity which means contrast will increase and background will be darker as demonstrated in this video.

      1. And that is the sentence (and demonstration from the movie) itself worth all the subscription money as virtually no other tutorial I went through explains that very aspect of light ๐Ÿ™‚ Thanks Karl and greetings from Poland ๐Ÿ˜‰

  58. Hi Karl, I just joined and love your videos. Yes, clarity is certainly your mantra, which I really appreciate. At around 16 minutes you described negative fill and the way the black reflector was blocking the reflected light from the wall background and from the table; thereby darkening the shadows on the chair. Do you think the black reflector was also bouncing a “black” light onto the shadows that helped to increase the density of the shadows on the chair…much like a gold reflector would bounce gold light as you mentioned later? If so, it would be interesting to devise a test that would demonstrate how much of the shadow’s darkening was caused by the blocked light and how much was caused by the bounced black light. A regression analysis of sorts. I look forward to watching more videos. I loved the paint splashes on the basketball, very creative indeed.

    1. Hi Gregg, thank you for your kind comments. Based on the physics of light there can’t be black light, essentially what is happening is that the black flag is doing two things, 1. it is blocking light from the white wall and 2. it is absorbing light and not allowing it to escape from the black card. A good example of this is the same black card held in sunlight on a cold winters day, it would become hotter than a white card as it is absorbing the energy of the light especially in the infrared wavelengths. A black card is not however truly black and it will reflect some light but this will be minimal and simply is a reflection of light but not black light. There is a nano material that absorbs 99.9% of all light that hits it and to look at it is very bizzare as it is the blackest thing you’ve seen. The only other blacker object would be a black hole and in such cases no light can be reflected or escape as the gravitational field is so strong that it holds light in.

    1. Hi you can calibrate most monitors with a calibrator and the right software. Check on X-rites website for compatibility.

  59. hi Karl, I have a sony a 6000 with a strobe wistro AD600BM no modifier, when I shoot a RAW image and configure the camera to DAYLIGTH and a grey card in the image as reference, in capture one, when I put the pick white balance tool over the grey card in the image it show like 80 87 109 RGB with kelvin 5,528 , the when I click over the grey card to have let say 87 87 88 RGB but the kelvin goes to 7,667 , why is that ? , I would expect to have a grey card measure same values of RGB when it is shooting as DAYLIGHT…. because it is supposed the strobe is output around 5600 kelvin color temperature

    1. Hi, then your strobe is not putting out pure daylight at 5600K, or you have your shutter speed set too low and you have light pollution from elsewhere in the picture.

  60. Omg! Your education is the best I’ve ever seen so far. So much information in one place and everything is so organized. Thank you, Karl for sharing your knowledge with us ๐Ÿ™‚

  61. Explained the complex subject with such an ease and really helpful to all the amateur photographers like me. Thanks a lot Karl.

  62. That was very useful, Thanks

  63. You have become a inspiration sir.

  64. Thank you! you are appreciated.

  65. Hello. Great. Very clear. Love it. Thanks. Maria.

  66. Great explanation Karl, I loved it. Looking forward to the rest of the course. Thank you!!

  67. I wasnโ€™t sure whatโ€™s the difference between soft and diffused lightโ€ฆ
    Didnโ€™t understand light at all.
    Iโ€™m a chef, not long ago started to photograph food.
    This course is just what Iโ€™ve been dreaming of!
    Now Iโ€™m starting to understand light!

  68. Hello Taylor;

    Juan, thx for this movie.. Question I work at night; & I used flashlights when I light painting. As up today I am a try and error person, but sound like I can used this and make more used of the time.

    I assume that is I think as my flashlights as a small hard light, and moon as a big source. Am I correct in this.

  69. Hi Karl, Im from Jordan, I’m a hasselblad user, to be honest after this video i found out how wrong i was with colors and light. OMG this helped me to understand what is light… thank you so much

    1. Thank you Omar, this is also one of my favourite tutorials on our platform as it brings a new understanding to many people that is very very important before you can move forward with photography.

      1. I’m pretty sure that my photography skills will increase through your professional videos, I’m so glad to be under the name of Karl’s student, I’ve been watching your videos on youtube since 2012 when i bought my first hasselblad camera, It was H1.

  70. I’ve started studio photography as a hobby a bit more than 2 years ago, don’t get me wrong, I had some brilliant pictures but I just realised I knew nothing about lighting. You are an excellent teacher Karl (if I can understand it, you are!) and this was the best spent money for 2018 for me. Thank you!

  71. This was so informative and easy to follow! As a beginner in photography, the visual demonstrations definitely helped put things into perspective.

  72. Absolutely brilliant Karl! You are such a great teacher and explain things so clearly – thank you. I have just watched this AFTER receiving a light yesterday. It’s a ‘work light’ 200w with a 6000k white daylight but I am now thinking it will be missing some of the colour spectrum – eek! I am on a tight budget and this light was ยฃ20 and I am hoping it will help get me through the Winter in the UK while shooting food indoors when the weather is terrible outside or when the light disappears at 4pm! I will apply all you teach me and hope the light is sufficient. I can’t stop watching your videos – all of them so great – thank you!

  73. I’m so glad sigh up in this course. Now I know why my photographs doesn’t look right in studio. Thank you so much!

  74. Very useful information, I am very satisfied with the content. I was wondering if you could make the chart available for download? In any case, amazing lesson.

    Thank you for your, and your team hard work!

  75. Just when you think you understanding basic concepts you see something like this and it opens your eyes to how much you really do not know. Incredible job, so clear and concise.

  76. It’s very impressive how clear your teaching is. Many things we think we know you make clear what it is. I’m glad I subscribed.

  77. That was AMAZING! I took about 3 hours to watch the video, I wanted to grab every single peace of knowledge and I still feel I need to watch this video in a couple of months.

  78. I can learn by first understanding foundations. This is the o my way I can really take advantage of a subject and I appreciate you teach in a way foundations are clearly understood. Nice job !

  79. Absolutely amazing! Exactly what I was looking for in regards to learning about light. Thank you so much Karl, you’re a master!!

  80. Oh my God! This is so amazing. Iยดm so glad to be here and be part of this Masterclass. Thanks a lot Karl!!

  81. Hi Karl.

    Just signed up this week and really enjoyed my first lesson. Presently learning Studio work and I canโ€™t wait to delve into the rest of the tutorials.

    Many Thanks


  82. The part that helped me here is using two different light size and moving them closer and future away, the light fall off and the dept of the shadows reflected off the subjects help me to understand the light degradation effect a lot …… thanks.

  83. I am sure this is my fault and I feel stupid posting this but I just joined today and all none of the videos will play or even give me an option to play them. I am using chrome as a browser if that helps.

  84. Regarding 50:30
    So from what I understand, when it comes to photography… fluorescent lighting is the worst kind of lighting I could use since it does not have the full spectrum of colors.
    And the other lights besides daylight are not perfect but we can make them work.

    And the flash from flashguns or studio lights do give a good spectrum.

    Am I correct?

    1. Hi Jacques, yes except the light from flash is basically exactly the same as daylight and so are HMI continuous lights.

  85. Wow, as someone currently working on a degree in photography this has been the best explanation of light I have ever seen. I feel I have a much better understanding now of how light works and what to consider when on a shoot.

    Thank you Karl.

  86. This is definitely a very informative, and hugely valuable, lesson in light. I certainly learned a lot. In terms of the color spectrum, and differences between different types and quality levels of light sources, it calls into question the choice of which flashes or continuous lights to purchase. I’ve heard, several times, that light is light and you don’t need to buy expensive products. Not too sure that statement holds water at this point. Also, if you are using a light source that is lacking the full color spectrum and you end up with an image in which the colors are just off, and not very vibrant, how much can you rescue it in post processing?


    1. Hi Chris, If you are missing part of the spectrum from the light source you can’t rescue it in post. Nearly all studio flashes will give you a clean light, as will HMI lighting (very expensive) or LED’s with a CRI of 95 or above, however my opinion is that LED is too limited in terms of modifying the light.

  87. Thank You. I watched the first video last night and I learned a lot about light. This is amazing training and well worth the investment and then some. I have some of your DVDs that were purchased a few years ago. They have become great reference material. Thank you Karl amazing training material and you make it easy to understand !

  88. Hi Karl, I have a quick question. Whenever I see continuous lighting kits for sale theyโ€™re either LED or Flourescent bulbs, why? Are the fluorescent ones special or just a ripoff? I see them all the time on Adorama, B&H, and Amazon.

    Thanks for your videos. I found you through and this is the first time I actually feel confident about learning studio lighting.

    1. Hi Rashonda, personally I wouldn’t use LED or fluorescent as I don’t think they are properly full spectrum. They have improved but then they are also not as bright as flash or have the ability to add as many modifier options.

  89. Karl, Iโ€™m so excited to sign up for KT Education. 6 yrs ago when I purchased my first DLSR camera. Those first few years I purchased numerous of your training DVD. Over the last several months Iโ€™ve felt something was missing and I not where I want to be in my photography career. I felt a serious need to turn back to you and training.

    Thanks for continuing to be a great teacher and an inspiration to so many!!!

  90. With crystal clear explanations and simple, practical illustrations, this tutorial alone was worth a years subscription! Having a deeper understanding of light has strengthened my foundation knowledge dramatically. I had not appreciated the discontinuous nature of fluorescent light. This clearly explains why my images taken under this light are impossible to correct. I can’t imagine what I will know tomorrow.

  91. It was amazing, Specially the spectrum charts, now I have much better understanding of the different light sources.

    Thank you

  92. Just joined and this was my first video. While I had some knowledge, this was the most complete and informative material I have seen. Excellent detailed descriptions.
    Thank you!

  93. Hello!
    Just joined to give it a try!

    I wanna ask a question relating to the inverse square law you were talking about in this video.
    I know you were using a artificial light but I suppose the law works the same for any kind of light. So what if few people taking a shot next to window and they are standing side by side. Will the exposure on everyone looks almost identical? since I thought window lights should come from far far away . So theoretically it is not a problem when we shoot or is it?

    1. Hi Yiqing, it depends on the light coming through the window, for the inverse square law to be strictly accurate the light must be coming from a point light source (not a big light source) so if it was direct sunlight then in theory yes but if it was from cloud or the sky it would be different but it would certainly be more even in exposure than from a softbox.

  94. Hello Mr.Karl.. I’m from Greece.. im huppy for this site that you created, to teach us about the photography…you speek clear and understand the most, because my english its not so good… thank you very much…

  95. Hay Mr. Karl this is owsm really owsm n thanx for this tutorial
    spatially ur way of explaining is too good i m fron india i m ltl bit slow in english but in the way u explain i get all evry point easy way thanx for this.

  96. Thanks for this information. Would have loved to have seen correction gels or filters being used to see their effectiveness on the fluorescent lighting setup. How effective are the screw on correction filters that were used in film when shooting in fluorescent lighting.


    1. Hi Edmond, unfortunately they are no different to trying to correct this in post-production. What you have to keep in mind is that if part of the spectrum is missing then it’s missing and there is no way to bring it back so correction gels won’t help with that but they can help in correcting incandescent lighting as this has full spectrum it’s just biased towards red so a correction gel would be fine but not for standard fluorescents.

      1. Hey Karl, Isn’t Halogen light a type of Incandescent light source? If so how could each have different colour spectrums??

        1. Hi, colour temperature is based on heat. The sun is a burning source of light but it is hotter. HMI’s are much hotter than tungsten which means we can get daylight colour temperature of 5600k from them. In general (also based on the substance) the hotter something burns the bluer the light is, a candle provides a warm light (2800K) but it’s not burning that hot.

  97. I believed I was quite experienced on basic light understanding, however, I learned some new items. Items I new, was very well described, and gave a better understanding, as I had before.

  98. Hi, I am new here and I feel so lucky to find this rich course, will definitely recommend it to all my friends, thanks a lot Karl for this valuable master pieces! ๐Ÿ™‚

  99. The moment I decided to buy my Siros L’s and therefore get introduced to you and Urs by first making me watch Broncolor “how to’s” and then allowing me to watch your 40 free videos for Broncolor users was a real blessing. These made a decision to join KTE a no-brainer.

    Hats off, Karl, hats off. I just love every single aspect of what you do here, starting from your accent which is so easy to be understood by a foreigner, through cosmic amount of your knowledge and experience and the ability of passing these to the viewers in such an organized and attractive way. As my predecessors have already noticed – I thought I knew something about light. Now, after just 1 hour of your lecture not only I know twice as much but everything seems to have finally found proper drawers in the cupboard of my mind. Just amazing! And considering that all this magic happens for $14 a month – you have got a loyal, long-term subscriber who will keep spreading the word about the quality of your educational resources.

    Thank you and the whole team. Now I am going back to watching the next chapters.

    1. Thank you very much for such a testimonial Miroslaw and joining KTE. We look forward to bringing you more great stuff in the coming year. Please tell your photography friends and we can make this community even bigger and better!

  100. I joined a Facebook group and I posted asking questions about the inverse square law and the angles of incidence refraction and reflection, and no joke, NO ONE knew what I was talking about and told me I was being to technical. I believed maybe I was until you heard you say “photography is all about KNOWLEDGE of light” I have since then joined your group and continued my quest to master light! Thank you for being so in depth and precise during your teachings!

  101. Just to clear the confusion, in the part where you review colour radius for fluorescent light – how come you say it’s a peak of “green” but I see yellow? Am I missing something here?

    1. Hi Dominick, it is green on the graph. On the camera at 47mins 22sec you can see it is green I think it is just the other camera is higher in exposure making it look yellow.

    1. Thanks Peter, i’m afraid not, you’ll have to watch it again and write them down – good learning practise though ๐Ÿ™‚

  102. Well I’ve just signed up and after just this one lesson I’m so pleased I have. I honestly cannot believe the range of courses available. Thanks Karl, I’m sure that I will pick up a lot of information on how to improve my skills.

  103. just perfect! every episode that i am watching, i will be more satisfy for my membership, it worth every single penny… Karl has a great energy (beside his attractive English accent), great course-programming (to cover all students’ need to know) and great capability of demonstrating all topics in Photography, which are absolutely useful for beginners as well as professionals. thank you Karl, thank you team ๐Ÿ™‚

  104. I have wanted to travel to your courses in England. But the total cost (course, travel, hotel) has hold me back. I know I still will get more personal instruction attending one of your workshops, but this online course is actually a huge step up in knowledge.

    I would personally thank you for releasing this material for a very resonnable price. I love your detailed explanation.
    And lastly, I’m looking forward to go through all here.

    Regards, Tom, Norway

    1. Thanks Tom. For us to continue to offer great value to all our members then please spread the word. Also don’t forget to check out some of our live shows they have been very well received.

  105. Hi,
    This is my first lecture. I am facing too much buffering issues despite having a good internet connection. How can i resolve this? I am trying to watch this video of 58 minutes since more than an hour but could only see about 38 minutes so far

    1. Hi Muhammad, we are surprised you are having buffering issues as we have tested our video delivery on a number of speeds and services and selected customers also test at different parts of the world. So far there aren’t any real problems reported. The only issues we’ve had are where older slower computers or browsers were being used?

  106. I’ve bought a lot of video / online tutorials recently covering a vast array of topics from and have spent in excess of about ยฃ600 and not one of them, even if specifically covering studio lighting have covered the inverse square law. Not once. They’ve mentioned it and skipped past it. I now know what it is ๐Ÿ™‚

    Great tutorial, great pace, easy explanation – you dumb it down enough for all levels and not too much to be patronising. Very well done and thank you!

    1. Thanks again James, we hear that a lot and we’ve tried to make our platform as affordable as possible so please spread the word! ๐Ÿ™‚

  107. Amazing explanation about light! its remind me when i was in college. Each day of learning is a huge progress improving my photos. Thanks

  108. Very well explained .. It inspired me to get better at my studio lightning and I learned a lot of what I didn’t pay attention before.
    Only one question : when you compared the larger softbox to the smaller one (the large one was far and the smaller one was closer and they looked the same size from the subject’s point of view) in the final result images the right angle was more illuminated and the left one shady ; Was that because of the light source was positioned from the right or did you use another fill light ?

  109. Hi Karl,

    Regarding the images you used in this video (01. Introduction and understanding light), what was your camera WB setting and how did you set it?


  110. Thank you Karl! For the price of a meal you have provided a wealth of knowledge and industry insights which is helping our business. Romba Nanri (Many Thanks in Tamil).

  111. Karl Taylor, you are the best teacher ever! You make it all easy.
    So little money for such a huge amount of information!

    Thank you.

  112. Karl, I am from Brazil and have just joined the community. I admire greatly quality of your job and I look forward to learn more and more from you.

  113. Karl, i joined last week so i could watch your live stream i have 4 of your dvds so was a little apprehensive about spending more money, i was sincerely blown away by the live presentation it was better than anything i could have hoped for i am so happy with the subscription and would recommend this to anyone

    1. Thanks Roger for taking the time to comment, we are of course extremely happy with such feedback. Check out some of the previous live shows too before they expire. We also have more courses and live shows coming on all the time. Enjoy! ๐Ÿ™‚

  114. You were the reason I had started doing fashion/portrait photography. Your free youtube videos had inspired me so much to switch to fashion photography and today 4 years down from then, I’m a professional fashion and events photographer based in Abu Dhabi, UAE.
    I still have a lot more to learn and a long way to go and looking forward to getting much more knowledge from your tutorials here.

    Thank you sir,

  115. This was amazing! I knew nothing about the spectrum representation of different types of lights. I’m excited for the rest of these videos!

  116. I’ve never seen anything that comes even close to this video. I was enthralled all the way through, everything, even stuff I thought I knew was explained brilliantly. The hour flew by, in fact it’s the first hour long video I’ve watched all the way through without a break. Thank you Karl, you are giving us value for our $14 many times over.

  117. Great lesson, thought I had a good grasp of light, until today. Your explaintion was bang on. Made it all make way more sense.

  118. Hello, Karl. I’ve been watching your work for several years. You are a great photographer and a brilliant instructor. Probably the best (as in Karl sberg commercial ๐Ÿ™‚ ). Very well explained. Thank you very much.

  119. August 6, 2017
    J.jean-Claude Davilmar
    This is one of the best course I ever seen yet simple and clear to understand
    Thank you.

  120. I’ve been learning from Karl since the first free you tube video I viewed 7 years ago…By far the most articulate and most intuitive instructor, EVER! Your Advertising DVD took my photography to another level and with that, my confidence as well. You are an inspiration man and I love your passion! They call Johannes Vermeer Thomas and Kinkade the masters of light in the world of painting but let me tell you…you’ve got a pretty strong grip on the concept yourself.

    Thanks for the years of training and the future growth through your new
    Karl Taylor ED site.


  121. This will be the last video you will ever need to watch about understanding light. Just brilliant Karl. This is the first time anybody has really managed to convey the fundamental principles of light to me so well. Thank you thank you SO much. I can hardly wait to see where your other tutorials are going to take my photography!!

  122. Physical prints rely on reflected light to view and the ambient light can alter their appearance significantly. Photographs displayed on screens are back lit and shadows will often be brighter. This can really affect how people perceive the final photograph

  123. hey Carl, this amount of information for the price of $14 per month, in my opinion is cheap and usefull… ill try to recommend my friend for this website…

  124. Thanks Karl, that was really good, I loved your DVD I got most of them some years back. This Introduction and understanding light was really good too ๐Ÿ˜€ can’t wait for your live show in 2 days. Thanks you for all your help the years. ๐Ÿ˜€

  125. What a gorgeous and functional studio! I particularly enjoyed the part about the scrims and the gradation of light descriptions.

  126. Fantastic introduction Karl. You always seem to get the level just right. Looking forward to the rest of the course.

  127. Awesome intro!! I wish there was a way to bookmark where u are during the course so I could switch devices. Going from office to bedroom ect.

  128. Hey Karl

    I’ve enjoyed this Intro to light lesson – I thought the courses should have be available to download and watch offline too. But I am very happy that you have not made it so…simply because I made the time to focus on the lesson, without any distractions – if you cant make time it will not make a difference; if you not going to do it now – it never gets done.
    I like your work ethic, and I’m looking forward to building upon each lesson.

  129. Great stuff. Really enjoying these videos. One question – why is it that when recording video we can use fluorescent lighting without affect?

    1. Hi James, thanks for joining us. There is actually still a detrimental affect to video too with standard fluorescent, it’s OK with balanced kiniflo but not otherwise. There appears to be less degradation to the image because the image is moving and the motion distracts from the irregularities. If you freeze a frame of video filmed solely under standard fluorescent tubes then you would notice problems with skin tones even if you white balance. Video is also often more forgiving because we are used to seeing it in video but I can assure you if you extracted a frame of video and compared it to a frame taken from a sequence filmed under HMI lights or daylight you would notice a significant difference.

  130. Is there a way to download the videos so i can watch them offline ? On your other page you had this option and it was great =)

  131. Fascinating! As an amateur astronomer I understood about the inverse square law of light but I have never heard it explained so eloquently. That was awesome Karl.

  132. I never thought about reflected light let alone how to manage it until I watched this and it does all make sense, thank you.

  133. Very very thorough explanation Karl. This lesson filled in many of the gaps of knowledge in my understanding of light. Great lesson!

  134. Awesome lighting introduction Karl! So looking forward to the other training material. Have always been impressed and learned a lot form your training DVD’s.

  135. Got 3 of your DVDs Karl and had the pleasure of meeting you at the NEC. Looking forward to learning from you. Wayne

  136. amazing, and it is only 14$ , you will never find that amount of information at this cost.
    I wish if the next videos play automatically, without clicking on it.

  137. I thought I understood light and now that I’ve watch this, I have better understanding of light. Awesome.

    1. Glad to hear it Patrick, we will be doing more on this subject in our first live show. Check the live show page for details.

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