No Windows, No Problem: Creating Soft, Natural Window Light in Studio with Flash

Let's be honest, natural window light can make anyone look fantastic, but many photography studios aren't blessed with perfect windows. So, what do you do to get that natural, flattering look in a studio without windows? Fake it, of course!

In this video, we join John Gress for a lighting experiment inspired by a high-fashion magazine-style image. John recreates the setup used in an editorial image from Vogue Ukraine and walks us through how to pull off the same kind of soft, natural-looking light using flash.

While the original setup involved both HMI and flash, John takes a more controlled route using a three-light setup, some clever modifiers, and a few creative tweaks to replicate the feel of daylight streaming through a massive window. John isn’t just copying the look – he’s breaking it down, improving on it, and showing how to get beautiful, diffuse results with more control and less gear than a full editorial crew might use.

BTS of Inspiration Lighting Setup

The reference image had a complex setup – a 2.5k HMI blasting through a 6x6 scrim, a flash with a 3' octa, and several bounce sources aimed at the ceiling and walls. Add to that two black V-Flats for negative fill. At first glance, the whole thing feels a bit contradictory: bouncing fill while also trying to block it. But John's goal is to test how that odd pairing actually affects contrast and softness – and maybe even demystify why it worked in the original image.

The 3-Light Setup Overview

For his recreation, John starts with three lights: a main light coming from the side, a pair of backlights acting as hair lights, and nothing bouncing off the ceiling. He wants the fill to stay soft and subtle, not punchy. Everything is aimed to create a diffused, window-like light quality that wraps gently around the subject without harshness.

Later, to match the feel of the inspiration photo more closely, John flips one of the V-Flats around so the black side faces out. That instantly changes the mood – less fill means more contrast. When comparing the two versions, the difference is obvious: the black-sided setup creates a punchier, moodier look that feels more editorial.

Hair Light and Background Separation

Behind the model, John uses two strip softboxes as hair lights, aimed downward from above the backdrop. They help lift the subject off the background, adding that subtle edge light across her arms, shoulders, and hair.

What’s smart about this placement is that the light isn’t just hitting the model – it’s also bouncing off the neutral floor, the scrim, and the white V-Flats. This creates some ambient fill, but not the harsh kind you get from bouncing off the ceiling.

Comparing Different Fill Light Approaches

To show how much of a difference a small tweak can make, John compares the fill from the white V-Flats to the negative fill from the black side. It’s a side-by-side that really drives home how one simple flip changes the depth and drama of the image.

Even though light is still bouncing around the room, the black-sided V-Flat cuts some of that fill off, which enhances shape and adds a subtle edge. It’s not just about more or less light – it’s about controlling where it goes and where it doesn’t.

Final Adjustments and Shooting

For the final look, John keeps the aperture wide – shooting between f/2.2 and f/3.2 with his Canon RF 28–70mm. Normally, he’d stop down to f/5.6 or f/8 for sharpness across the scene, but in this case, a shallow depth of field helps blur out distracting background elements like branches and highlights.

A few key props – a flower and a Mamiya RB67 film camera – round out the set, adding a touch of storytelling and nostalgia. The final images? Soft, clean, and elegant, with a natural daylight vibe that’s completely created with flash.

It’s a perfect example of how to make studio light look anything but studio.