A room divider

27-05-2026/0 Comments/in blog, Visions and technique/by Frank Doorhof

A room divider is loads of fun

We all know that you can mount light shapers in front of your strobes to manipulate the light.
However, you can also use materials or objects placed between your subject and the light to create unique effects on the set or on your subject.

The key thing to remember is that the “sharpness” of the shadows is determined by the distance.
In this case, we use a room divider in our set to create some cool shadow effects on both our model and the background.

The key to a setup like this is, as mentioned, all in the distances. Begin by placing your light source as far away as possible and use a snoot with a grid or a reflector with a very tight and thick grid.

We want to ensure that the light is not spilling over but is focused on the room divider.

The “sharpness” of the shadows can be controlled by moving the room divider closer or further away from your subject. When you move the room divider closer to the light, the shadows will become softer and disappear a bit earlier on the background, moving the room divider closer to the model will result in sharper shadows that move further over the wall. As you can see, for this setup, I’m using the divider very close to the model.

Don’t stop me now….

“I’m having such a good time”…
This should always be your motto during a photoshoot.
Whenever you believe you’ve captured the perfect shot, don’t hesitate to experiment a bit further. In most cases, this can involve simply changing the angle or, as in the case of using a prop like our room divider, you can always find a different way to incorporate it into the composition. In this instance, the solution is to… well, let’s just say, choose a different angle.

See the whole class

Hopefully, you’re interested in learning how we shot, edited, and prepared this video. This is just one of the setups you’ll find in my brand-new class on KelbyOne. You can find the class here:

https://members.kelbyone.com/course/frank-doorhof-special-effects-simple-materials/

If you enjoyed this class, be sure to explore my other classes as well. Lighting setups are just one aspect of a photoshoot; it’s also about storytelling and creativity in lighting and color.

Just a torch some gels and cartboard

24-05-2026/0 Comments/in blog, Visions and technique/by Frank Doorhof

It can be easy

And it can be hard. It all depends on the gear you use.
How often did we hear that excuse when something didn’t work out?

A few years ago I did a workshop during Photoshop World where I started out with 3 strobes and “faked” that one by one the strobes failed and I eventually ended up with a torch that was on the stage, and finally asking people from the audience to use their phones to light my model.
The proof is in the pudding. In essence you can create great shots with almost everything, as long as it emits light is my motto.

In fact, sometimes limiting yourself pushes you to be more creative.
And what is more limiting than….. a standard torch.

A new KelbyOne class

I’ve been working with KelbyOne for quite some time now. In fact, I was their first European instructor, which naturally means that when they request a new video, I want to create something fresh and creative. This time, the class focuses on using household materials to capture stunning photographs.
You can find the class here

A torch

Besides using household items like rescue blankets and a room divider (among other things), I also challenged myself with lighting.
One set we decided to try would be to see what you can achieve with just a simple torch.
We all have one in our phones or a more powerful one.
For this set, I’m using a simple focusable torch.

If you’re using a torch for photography, make sure the batteries are fully charged and use a pretty powerful one in a dark room to avoid spill light.

When we began with just the torch, the light was already ok, but I wanted to make it more focused.
However, when you can’t connect grids to a torch, you have to be creative.
So, we used a piece of cardboard and cut out the pattern I wanted on our model.
We started with something like this (I did add some vignetting in Photoshop).

With the cardboard cutout we already get a lot more focus on our model.
I already love this look.
But we can always improve something, Right?

Add some color

Color evokes emotions, and I believe the color red would be an excellent choice for this shot.
As you can see, I’m still using the torch with the cardboard to illuminate the models’ faces, but I’m also employing a red-colored light source to enhance the shadows.
You can use a strobe with a red gel or, of course, a LED tube.

In my case, I primarily use Nanlite PavoTubes.
These lights can be remotely controlled and offer a wide range of colors and effects.

Now it was up to our model Claudia to create interesting shadows on the background with her poses, and of course she had to stay within the light.
Not an easy task, but she is a great model and I absolutely love these results.

See how we did it

We filmed the KelbyOne class with 3 different cameras to make sure you see the set from all angles, and of course you also see the images coming in during the shoot.
This is just one of the sets we did for the class, so if you want to be inspired and learn how to use simple materials and alternative light to create stunning images, make sure to check out my new KelbyOne class.

Watch this before shooting on location

17-05-2026/0 Comments/in blog, Visions and technique, Webinars and instructional videos/by Frank Doorhof

Shooting on location work is loads of fun

But it can also give a new set of challenges.
Today in the blog, we take a look at the behind-the-scenes video we shot during an awesome location shoot in the Tulips with our model Claudia.

You get to see the lighting setups, the explanation of the technique, and, of course, the final results.

Mastering the model shoot on a very colorful location

14-05-2026/0 Comments/in blog, Visions and technique/by Frank Doorhof

Oh wow, we love this location!

Is what we hear from a lot of people when they visit our area.
And indeed, we live in a pretty nice area of the Netherlands, but there is one period that is always extra special: Tulip time. This blog is about lighting a model in tulip fields

Now, in all honesty, I’m not really a flower kind of guy, meaning I don’t feel the urge to jump on my bike and start shooting some tulips.
We did it in the past, but I’ve grown up in this area, and somehow you get used to it, I guess, and every time when I think “I have to do something with a model…” well, they are gone already.
Maybe you know the feeling.

So when Claudia approached me to do a shoot in the tulips, I had my excuse.

Location, location, location

If you graduated from a commercial school, you probably know this expression.
Location is everything. And locations enough you might think, but that’s a bit more difficult over here.

Don’t be an a$$

When I was younger (than today), you could just walk into the tulip fields and take some pictures, and sometimes you could take 1-2 tulips for yourself. There was no real problem.
Over the last few years, everything changed. I don’t have to tell you how messed up the world is, but also in smaller areas, this is felt.
The tulip fields that were open to the public for a few years are now protected and illegal to enter.

Why? You might ask.
Well, because a lot of people don’t realize they are a guest on someone else’s territory, working with something (the bulbs) that person has to sell to feed their family.
Over the last few years, tourists and visitors have been misbehaving like “beasts,” just jumping around in the tulips, lying in the fields for a photo, picking whole bouquets for themselves, and if someone would tell them “please behave,” most of the time, aggression is the answer.

So when we started to look for a location, it was a bit of a worrying experience, the moment you start about a photoshoot… well, let me say it like this.
PLEASE behave and destroy a good opportunity for others.

A special location

Moms are awesome (as we all know), but when they know someone, they are also saving your bacon 😀
This is how we ended up shooting at a beautiful location with loads of tulips.
Today I want to share some of the images we shot there, and in the next blog, we will take you behind the scenes during this special photoshoot.

But let’s start by taking a look at the shots and how I shot them.

Set 1: Combining natural light and flash

For the first set, we decided to use a nice red dress.
The idea was to throw it in the air and create some “motion” shots.
However, it was incredibly windy, so we didn’t really need a lot of extra motion 😀

Lighting-wise I’m using one Geekoto GT200 with the Nanlite Fresnel
And as an accent light, one Geekoto GT200 without any lightshaper.

Gear

The reason I’m using the Nanlite Fresnel is the light output.
The main advantage of hybrid strobes is, of course, the possibility of shooting at HSS. (high speed sync) meaning you can use a faster shutter speed and a more open aperture for a nice shallow depth of field, but still lower the ambient light.

Ambient light

The reason you want to lower the ambient light is simple.
One, it looks cool, but it also looks cool because the colors pop more.
On YouTube, I actually got a comment that I oversaturated the colors….
Well, believe it or not, but I did not.
The thing is, that as soon as you lower the Luminance of a color, the color looks more saturated. This is why those “day to night” shots always look so incredibly popping with colors.
A Fresnel adds some extra contrast to this without making the light too “harsh”, and it gives you a lot more light output than, for example, a small or large softbox.
I can HIGHLY recommend everyone to get at least one of those Fresnels.

On location, I try to stay away from two things.
The first one is shooting the subject with the light too close to the camera. For me, this gives me a “glued-on” effect, which I find very unrealistic in most cases.
By placing the light slightly from the side, you get much more depth and a more natural-looking shot.
You can choose to shoot under the same angle as the sun. But in this case, I wanted something a bit more “surreal,” so I opted for one strobe without a lightshaper under the same angle as the sun (just lower) and my main light almost opposite of this.

Of course the images on top are nice, but always try different angles.

And of course, also some extra low angles.
For that extra special sauce 😀

Ai or Hi?

With all the AI (slob), it’s often hard to see what’s real and fake.
So I’ve decided, as soon as it became possible, to NOT use AI in my images, unless you see it clearly.
In other words, I’m using AI to extend backgrounds, maybe add some hair in a gap, etc.
All the stuff you would normally do with the clone or healing brush. It’s just faster.
For me, it’s super important that the shot comes out of the camera and not out of the computer.

Which doesn’t mean I never use it…. I love going full AI with Cosplay shots, for example.
Let me say it like this: if I use AI, it’s VERY clearly seen.

So when Claudia asked me to add some tulips in the front, I was a bit like “well, yeah, but…..well, ok, I’ll do one.”
And that turned out to be this one.
As you can see, it looks great, and that’s why I mention it’s AI 😀

Set 2: Fashion shots

Scouting your location is always a key element.
Find different angles and locations before you start your shoot, or while the model is changing clothes.

For the second location, I’m using the same setup but with a different balance.
We did bring a Geekoto Quicky softbox (one of my favorite light shapers), but we did not use it due to the strong wind, and I actually liked the Fresnel a bit more in this setting.
Also, in the second location, we of course changed some angles and clothing.
It’s easy to make small adjustments, but I think it’s a vital part of your shoot if you want some different options to choose from.
Sometimes you shoot something on location and think you shot the best images ever, only to come home and, to your horror, find out you don’t like the angles or the clothing choice.
Of course, this never happened to me 😀
In fact, in the car back, I actually thought I messed up some of the shots that later on became some of my favorite ones.

Set 3: Portable power, lighting a model in tulip fields

It’s no secret I love low angles, so for the last set we asked Claudia to sit on the ground.
You have to realize that tulips are planted in rows, and you can see on the images.
This also means that if you shoot under one angle, you will see the rows, but if you shoot from another angle……
I absolutely love these images.

But when we shoot it like this….
We also of course had to shoot it in the other direction.

As you probably also know, I love the landscape mode.
It gives the image a lot of room to “breathe”.
I would actually love to call “negative space” “positive space”, because it does so much good for your images.
But sometimes, portrait mode is best.

Although I love all these shots, I think this last one is my absolute favorite from this session.

Conclusion: portable power, lighting a model in tulip fields

I hope you enjoyed the photos and the technical info.
But I hope the best tip you got from this article is to behave on location. The reason we have strict (drone) rules and can’t shoot on tulip fields anymore has nothing to do with the “law” but with people who did not behave, and they had to restrict the possibilities you have.
So if you shoot somewhere, make sure you have the proper permissions.

And lighting-wise.
Always make sure you bring spare batteries (HSS in the bright sun eats batteries), and when it’s windy, a light shaper like the Nanlite Fresnel is great.
And when you use softboxes or umbrellas (which I would highly advise against in windy sets), make sure you use sandbags on your stands.

See this blog about: Using the foreground to add dimension to your images, a workshop outside with pregnant Nadine

Check out this video when we first used the Geekoto Flashes

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