{"id":71774,"date":"2026-10-01T08:00:27","date_gmt":"2026-10-01T08:00:27","guid":{"rendered":"https:\/\/dev2024.spyder.datacolor.eu\/spyder\/?p=71774"},"modified":"2026-10-01T15:18:47","modified_gmt":"2026-10-01T15:18:47","slug":"studio-photography-with-les-essentiels-photo-part-2-of-2","status":"publish","type":"post","link":"https:\/\/www.datacolor.com\/spyder\/blog\/studio-photography-with-les-essentiels-photo-part-2-of-2\/","title":{"rendered":"Studio Photography with “Les Essentiels PHOTO” \u2013 Part 2 of 2"},"content":{"rendered":"\t\t
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One Studio. One Model. A Completely Different Portrait.<\/strong>
How Changing the Light Changes the Story<\/strong><\/p>

Guest article by Fabrizio Dei Tos-Navalesi, professional photographer and photography educator<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Portrait Lighting Techniques: Creating a New Mood with Just Two Lights<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In Part One of this series, I showed you how I created a portrait inspired by classic American film noir using a lighting setup built around four individual light sources.<\/p>

This time, I’d like to take the exact opposite approach.
Instead of adding complexity, I’m simplifying the setup. We’ll use just two primary light sources to create a portrait with a completely different mood.<\/p>

The model hasn’t changed. The studio hasn’t changed. Neither has the camera. And yet the final photograph tells an entirely different story. That’s one of the things I love most about studio photography. You don’t necessarily need more equipment to create a different image.<\/p>

Sometimes, all it takes is changing the way you shape the light.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Nikon Z7 II
Nikkor Z24-120 f4<\/strong>
1\/125 – f4 – ISO 400
67mm<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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What happens if we change absolutely nothing... except the lighting?<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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During my workshops, I often ask participants a simple question: What Happens When You Change Only the Light?<\/p>

It’s one of my favorite demonstrations because the answer surprises almost everyone.
With the same subject, the same background, and nearly identical equipment, the emotional impact of the portrait changes completely.<\/p>

A small adjustment to the position of a light or the balance between multiple lights can dramatically change the way we perceive a face. For this second setup, I wanted to create something much softer and more elegant than the Film Noir portrait.<\/p>

Rather than emphasizing mystery and dramatic contrast, I wanted the viewer’s attention to settle naturally on the model’s expression. The shadows are still there. They’re simply playing a different role. That’s an important distinction. This isn’t a “better” lighting setup. It’s simply a different way of telling the story.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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<\/div>\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Every Light Has a Purpose<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Although this lighting looks softer, it isn’t random. Every light has a specific job. That’s something I emphasize in every workshop.<\/p>

I never place a light simply because I have one available. Every light source needs a reason to exist. Before I even pick up my camera, I already know what each light is supposed to contribute.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Nikon Z7 II
Nikkor Z24-120 f4<\/strong>
1\/125 – f4 – ISO 400
97mm<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The key light defines the shape of the face. The two rim lights separate the model from the background. An additional background light adds depth and prevents the image from feeling flat.
When every light has a clearly defined purpose, photographing becomes much more intuitive.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"Lighting\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Each light in this setup serves a specific purpose. Together they create a softer, more open portrait while maintaining excellent separation between the subject and the background.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The White Background Is More Versatile Than You Think<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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There was another lesson I wanted to demonstrate with this setup. Many photographers believe they need several different background colors to create visual variety in the studio.
I don’t.
In fact, I almost always work with a white paper background. As I often tell photographers during my workshops:<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\"The most versatile tool you can have in a studio is a white background. With a white background, you can create almost any look you want.\"<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Depending on how it’s lit, that same white backdrop can appear bright white,\u00a0soft gray or almost completely black.
That’s why I prefer investing my time in learning how to control light instead of collecting different background colors.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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The same white paper backdrop was used for both portraits. The difference isn’t the background, it’s the lighting.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Comparing Both Portraits<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tWhen you place the two portraits next to each other, it’s hard to believe they were created in exactly the same studio.\nOne feels dramatic. The other feels calm and refined. One is built around deep shadows. The other invites the viewer into the expression.\nNothing about the location changed. Nothing about the subject changed. Only the light changed. And that’s precisely why I always say that light doesn’t simply illuminate a subject. It shapes the atmosphere, guides the viewer’s attention, and ultimately determines how the story is told.\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Nikon Z7 II
Nikkor Z24-120 f4<\/strong>
1\/125 – f4 – ISO 400
86mm<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Measuring Before You Photograph<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Creating a lighting setup like this is one thing. Being able to recreate it consistently is another. That’s why I measure every individual light source before I start shooting.

Using the Datacolor LightColor Meter<\/a>, I can measure each light independently, adjust the lighting ratios with confidence, and reproduce the exact same setup whenever I need it again.

The companion mobile app fits naturally into that workflow. Every measurement is available immediately, allowing me to adjust each light with precision until the final result matches the image I originally envisioned.
The biggest advantage isn’t simply accuracy. It’s efficiency. Instead of spending valuable time making endless technical adjustments, I can focus on working with my subject.

While someone else is still tweaking lights, I’m already building a connection with the person in front of my camera. And that’s where the real photograph begins.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"Datacolor\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Mastering Light Gives You Creative Freedom<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tFor me, the greatest benefit of working this way isn’t just precision. It’s freedom.\nOnce I know my lighting is exactly where I want it, I stop thinking about the technical side of photography. Instead, I can devote my full attention to posing, expression, eye contact, and the story I want the portrait to tell.\nUltimately, I don’t use a light meter to create technically better photographs. I use it so I can give my complete attention to the person standing in front of my camera.\nI’ve often said that every portrait begins with the light. But before that, every portrait begins with an idea. Light is simply the tool that gives that idea shape and emotion. That’s why I always start by building the lighting first.\nOnce that foundation is in place, the technical side fades into the background, allowing me to focus entirely on the human connection\u2014and on telling the story I imagined before I ever picked up the camera.\nPerhaps that’s the most important lesson I hope photographers take away from my workshops. Great equipment alone doesn’t create great portraits. When the light is under control, creativity has room to flourish.\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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About Fabrizio Dei Tos-Navalesi<\/strong><\/p>

Fabrizio Dei Tos-Navalesi is a professional photographer, photography educator, and expert in digital imaging technologies. His career bridges photography, visual storytelling, and imaging technology. He also taught photography and digital image processing at the renowned GOBELINS Paris.
As Product Director at DxO, he played a key role in developing innovative software solutions for photographers. Today, he shares his expertise through his YouTube channel, Les Essentiels PHOTO<\/a>, where he helps photographers improve every aspect of their craft\u2014from capture to digital post-processing.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Looking for more inspiration?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Explore all the ways to connect with the Fabrizio Dei Tos-Navalesi<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t<\/path><\/svg>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\tInstagram<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t<\/path><\/svg>\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\tYoutube<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

One Studio. One Model. A Completely Different Portrait.How Changing the Light Changes the Story Guest article by Fabrizio Dei Tos-Navalesi, professional photographer and photography educator Portrait Lighting Techniques: Creating a New Mood with Just Two Lights In Part One of this series, I showed you how I created a portrait inspired by classic American film …<\/p>\n","protected":false},"author":4,"featured_media":72883,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[278,170,453,234],"tags":[473],"class_list":["post-71774","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-expert-tips","category-lightcolor-meter","category-use-cases","tag-0449-02"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/posts\/71774","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/comments?post=71774"}],"version-history":[{"count":16,"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/posts\/71774\/revisions"}],"predecessor-version":[{"id":72903,"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/posts\/71774\/revisions\/72903"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/media\/72883"}],"wp:attachment":[{"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/media?parent=71774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/categories?post=71774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.datacolor.com\/spyder\/wp-json\/wp\/v2\/tags?post=71774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}