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The enhanced lower reflection has also provided a second catchlight at the bottom of the eye, as well as providing catchlights from the metallic body paint. For this lighting setup to be most effective, try to use two evenly sized light sources. This will create identical lighting on the left and right sides of the face. If you use two different modifiers, then the light may be uneven and will not give you symmetrical lighting on the face, which is the goal of this light setup. I'm OK with critics, hopefully he is OK with critics too. The post was not about those 2 test shots. There is nothing to discuss there, they are just 2 of the first one test with clamshell lighting, I had less than five minutes for setting up the light at the end of photo-session, and used that time for that shots and I have numerous complains about what I have achieved, that just doesn't matter much, you can't do everything perfect first time with almost 0 time to compensate all unexpected problems. And I plan to work on clamshell for the whole photo-session with one of my best tfp models. I was not rude discussing his shots. And yes I was a tiny bit rude about "1 catchlight" statement, and said that I'm sorry about that, but to me your statement sounds like "Putin is not a dictator, he is a good president, look what he achieved and what you have achieved to be able to judge him?", it drives me crazy a bit - I don't see that anybody (people that work with best models in the world for best fashion magazines) really cares about that dated "1 catchlight rule" nowadays, and it absolutely limits you in lighting setup which is horribly wrong imo. I also think that his shots look mostly like one light setup and are a bit dull cause of that (pay attention to the collarbones of the model, with enough ratio from the lower modifier the lower part of it will be lit more than the upper, but there still will be some shadow under the chin, ratios are very important). I beleive that we should be true in speaking what we really think about each other work. He showed me my faults (and I didn't ask for critics, this were shots to show, what I was talking about, NOTHING more than that), I showed him his faults, that's how we are getting better. Believe me, I know how problematic it is to get rid of that "frozen model" look, I live in the most northern city of the world. That's not orthodox way of lighting (I'm talking about the lower modifier choice), but is it worth trying? And I see the problem here with that asymmetrical lighting setup (weird, like in negative, shadows). Once you’ve set up your clamshell lighting just right, you might think you’re done. But there’s more you can do to enhance the scene and create striking images.

The higher the light is, the more prominent the shadows that help sculpt the cheekbones will appear. So the heat platen lifts up, not remaining parallel to the lower table as with swing away presses, but with the heat platen facing the operator. You could use a second strobe for this, but typically a reflector or purpose designed tri-flector provides a great result and is very controllable/flexible. Generally, the second (fill) light should be weaker than the main (key) light. The fill light certainly shouldn’t be stronger or closer than the key light, because this would produce grotesque shadows that come from beneath the subject, like you’d find in a horror movie.My light modifier of choice for beauty photography is the beauty dish. A beauty dish is a fantastic light modifier because it gives you defined shadows but not harsh light. For example, a softbox has wrapping shadows and soft light. A silver reflector dish modifier has defined shadows but harsh light. A beauty dish is a fantastic light that’s a happy medium between the two. Beauty dishes are regularly used by the world’s most successful portrait and fashion photographers. So I'm starting with octa up high. That's from a different photoshoot, I was not into dodge&burn that days, but the good thing is that the image pretty much describes where is the upper light and what it's lighting and what not (I'm speaking about shadows on the right side of the model's face). But what is clamshell lighting? And how can you master clamshell lighting setups for stunning results? This light is shaped like a pearl, sitting in an open clam shell (in case we haven't made that obvious). The clam shell is made of ceramic and is kept lightweight, so it won’t take off a toe if you happen to drop it. Inside the clam shell is a removable pearl, which gives off the bright light you’d expect from one of these gorgeous orbs. Switch it on and it’ll change between green, blue, red, and purple… like Neptune himself is having a party (can you hear the choral coral?).

For any of these lighting setups, any f-stop is acceptable. I generally shoot beauty somewhere around f/8 or f/11 because I want to keep all my details in the shot very crisp. Sometimes I’ll go the other extreme and use a very wide aperture for a narrow-depth-of-field effect. It all depends on what you want to achieve creatively.You have just been given excellent and comprehensive advice by a skilled, experienced and professional photographer. The posting will have taken a good deal of time and effort to compose. You tell him that "your shots doesn't look like true clamshell" That seems to me to show that you don't really understand a great deal about lighting. That's nothing to be ashamed about that can be fixed. However it won't be fixed unless you learn to take constructive criticism of your photography which gives you concrete suggestions as to how to improve it. The Octa gives softer light than the beauty dish, so the shadows are less intense, and the features are less well defined. The second light should look like the mirror image of the first. This is the bottom half of the shell to the first light. That lighting looks very flattering and with this body-art model makeup It's the way to go, I agree.