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Professional Memory Maker by day. Unprofessional dad by night.
Today’s recreate is a two light set up of Bill Pullman. I wasn’t able to nail down exactly who took this photo. But I love the light wrapping around the subject and even though my result doesn’t match his exactly, I really liked the lighting effect I achieved. To get this, I used the Westcott VFlat to double as both a shoot through sheet of diffusion and negative fill all in one.
Camera Hasselblad X2DII
ISO100, 1/350s, f/5.6
Lens 90mm
Godox AD400 at 1/1
Godox AD300 at 1/16
Background is the Westcott V Flat
Full Frame Settings:
ISO100, 1/250s, f/4.5
Lens 70mm
(You might need to reduce the light power a bit as well)
I found both a lesson learned and inspiration in this recreate. This is a two light set up where I wanted to replicate this image George Mayer did, but I did not even get close to his effect he pulled off. I tried multiple focal lengths, different apertures and various settings. Instead I found a great portrait for Samira here and how I could manipulate the lights for a really unique black and white look.
If there’s anyone that has an idea on how I can accomplish this razor thin focal plane that George did, please leave a comment. Or if you’re watching this George and would love to help me out…
Samira Al-attrach
Camera Sony A7V
ISO100, 1/80s, f/2.8
Lens 135mm
Amaran 360c at 11% power with amaran spotlight
Halo 600x at 1% with backlight reflector
A new YouTube video following my paramount lighting tutorial.
Rembrandt lighting is one of the most recognized portrait lighting patterns in photography — but most tutorials teach you to chase the triangle and stop there. This video goes further.
Starting from the simplest possible setup — one light, no modifier — and building to a two-light professional result, you’ll see exactly how shadow creates depth and dimension in a portrait, why the technique has worked for four hundred years, and how to apply it at whatever level of gear you have right now.
Three setups. One technique. Easy, intermediate, and professional results.
Today’s recreate is of, I believe, Carole Lombard taken by photographer George Hurrell. The biggest difference here is probably just that Samira was wearing a black dress so the light would affect that differently than a white dress. Otherwise, this was a fun one-light set up for another vintage styled portrait.
Camera Sony A7V
ISO100, 1/200s, f/8
Lens 70mm
Godox AD300 at 1/8
Filter by Prism FX Filter 1/2 Cine Soft
06/17/2026
This was a one light set up where I wanted to recreate the similar lighting often used by larger studios and even portraits taken on cycloramas. Getting a very soft light with little shadow can be very difficult on camera with a small space and only one light source.
I used my small office studio to my advantage by bouncing the light on the walls and ceiling which created a much larger light source. I also bounced more light with a vflat close by the subject.
I still had to fill in the gaps on the background with PS, but I liked the result.
Model Samira Al-attrach
Sony A7V
ISO200, 1/200s, f8
Lens 24-70mm
Godox AD400 at 1/4 power
Beige Background made by Savage Universal
Using a makeup mirror and video light, I create a vintage black and white portrait with my model and friend Samira. This could be done with flash, but I needed to see exactly where to place the mirror and the video light helped a lot with this.
This is an image inspired by possibly photographer Ray Jones of Ella Raines. Not totally sure, so if someone knows feel free to mention it in the comments.
Camera Sony A7V
ISO200, 1/80s, f/2.8
Lens 85mm
Key light is the Nanlite FC720B at 14% power
Filter by Prism FX Filter 1/2 Cine Soft
Background is a gray Gravity Backdrop
I’m attempting to recreate this high-end fashion portrait taken by this great photographer Kamilla Hapanova. I would’ve done this standing, but my height in my space makes it awkward looking so I chose to sit down for this. This is a two light set up and I breakdown the background light and key light (main light) separately. As always, distance is important here to separate you from the background and ensure there’s no spill on you.
Camera Sony A7V
ISO200, 1/200s, f/8
Lens 24-70mm
Key light is the Godox V100 at 1/32 with a 10 degree grid
Backlight is the Godox AD200 at 1/4 with a red gel
Background is a gray Raubay
06/10/2026
Opposite to my last post, these are three methods for controlling the light on backgrounds to achieve dark or black backgrounds.
First method is adding distance. The farther away the light is from the background, the less chance it will spill on the background.
Second method is adding a grid, eggshell, honeycomb. Basically the same thing. They go over the light and help narrow the beam to control it.
Last method, use black velvet. It reflects 1-0.3% of light making it great for small spaces.
Some people commented on my last post that changing the background can be done with AI. This is true and sometimes you can’t see a result. But being able to control the light on the background should be part of any photographers repertoire.
Another one light set up using a simple speed light and tiny grid. The photographer .it is really amazing at this style of photography and I’ve been a fan for a while. Definitely give him a follow if you haven’t done so yet.
Camera Sony A7V
ISO200, 1/200s, f/8
Lens 50mm
Godox V1Mid at 1/4 the power with a grid
Background is by Raubay
06/03/2026
A question I was recently asked had to do with getting a pure white background on a white backdrop. This is a demonstration of how I would achieve this with just one light.
Distance is your friend on this. Just remember to also increase the power of your light when you move the light back.
You don’t have to use a reflector, but keep in mind that controlling the bounce and spill from a bare bulb might not help the portrait you’re trying to get. But it’s your call on that.
I used the AD200 to demonstrate this and a white backdrop. I had a Godox V1 Mid for the key light with a beauty dish with diffusion.
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