Dramatic Black-and-White Portraits with Godox Portrait Lighting
Dramatic B&W portraits don't need a room full of equipment. What they need is one well-placed light, a clear understanding of distance and angle, and the power to back it up. That's exactly what Jordan Berg demonstrates in this tutorial for the Godox Photography Lighting Academy, using the Godox AD300ProII as his primary strobe and the Godox V100 as a precision second light.
Godox portrait lighting isn't about owning the most gear. It's about knowing how to position what you have. This post breaks down Jordan's technique, explains the physics behind why it works, and gives you the practical steps to replicate it on your own shoots, whether that's a client session or a self-portrait at home.
View Godox AD300ProIIWatch Jordan Berg: One to Two Lights for Dramatic B&W Portraits
Jordan Berg walks through two complete portrait setups using the Godox AD300ProII and V100. He covers light placement, grid control, background separation through distance, and how to use a silver reflector as a passive fill. Each decision in the video is explained in real time, so you can see exactly what changes when you adjust angle, distance, or power.
In Jordan Berg's Own Words
This speedlight is a beast. I've used this in outdoor situations, bright light, and it's been able to pack a real punch.Jordan Berg Verified — @photobergllc
TL;DR: What You're Getting Here
The AD300ProII gives you 300Ws in a 1.2 kg body, with a bi-colour modelling lamp that shows you exactly where your light is going before you fire a single flash. Pair it with a grid, position it close, and the physics of light fall-off do the creative work for you. Add the V100 with a snoot for a second setup and you have a two-light system that produces images that look like they came out of a high-end studio, without the studio.
The Real Challenge: Getting Drama from a Portable Strobe
Most portrait photographers run into the same problem. Their images are technically fine, the exposure is good, the focus is sharp, but the results look flat. There's no depth, no shadow, no sense that anything is happening with the light. The subject is lit but not sculpted. Moving up to more expensive gear rarely solves this, because the issue is usually technique, not output.
The core problem is understanding how light behaves physically when you move it closer to or further from your subject. This is governed by the inverse square law: when you double the distance between your light source and your subject, the light reaching the subject drops to a quarter of its original intensity. The closer the light, the steeper and more dramatic the falloff across the face. That steep falloff is what creates the shadow depth that makes a portrait look three-dimensional instead of flat.
The second challenge is placement. Rembrandt lighting, one of the most studied and recognisable portrait styles, positions the light at a specific height and angle so that a small triangle of illumination appears on the shadow side of the face. Getting this consistently requires knowing where to aim your light before you fire it, and making controlled adjustments from there. Most photographers guess instead of measure, which is why results vary from shot to shot.
Portable strobes add a third complication: light spill. Without a modifier that controls the beam, the light spreads across your background and your subject equally, making it hard to separate the two. This is where the right equipment choices, specifically the modifier and distance from the backdrop, change everything.
According to Wikipedia's article on chiaroscuro, the portrait tradition of sculpting the face with a single angled light source and deep shadow has roots in Renaissance painting. According to Wikipedia's article on Rembrandt lighting, the technique produces a small triangle of light on the shadow cheek — the defining feature of Jordan's setup.
How to Shoot Dramatic B&W Portraits: Jordan's Method, Step by Step
Step 1: Set your key light at 45 degrees and close. Place your AD300ProII in a large octabox roughly 3 feet from your subject at a 45-degree angle. This gives you a natural, three-dimensional wrap of light without going flat. Jordan uses the Godox UL Octabox 90 here, which includes two internal diffusion layers for soft, even output.
Step 2: Attach a grid and move the light closer. Fit the grid to your octabox. This narrows the beam, reduces background spill, and forces precision in where you're pointing the light. Then move the light closer and increase power slightly. Because of the inverse square law, the shadow side of the face will grow noticeably darker even as you add output. That steeper falloff is exactly what gives the portrait its drama.
Step 3: Add a silver bounce reflector for fill. Place a silver reflector on the opposite side of the subject, just out of frame, positioned so that light from the grid bounces back and lifts the shadow side. Moving the reflector closer increases fill; moving it back increases contrast. This setup creates the appearance of a second light without adding one.
Step 4: Control the background with distance. Move your whole setup forward so the subject is further from the backdrop. Because the light is now falling off before it reaches the background, the backdrop goes progressively darker, giving you separation without a second background light.
Step 5: For a second light, use the V100 with a snoot from above. Position the Godox V100 high and angled down at roughly 45 degrees, arm's reach from the subject. Add a snoot to tighten the beam. This adds a narrow highlight across the top of the head and shoulders, creating definition and depth. Bring the light closer to sharpen the edges of the beam; move it further away to soften them.
According to Wikipedia's article on the inverse square law, light intensity drops to a quarter when the distance from source to subject doubles. According to Wikipedia's article on lighting ratio, the balance between key and fill determines how much contrast appears across the face.
Use the modelling lamp to aim your light for perfect Rembrandt lighting.
As Featured in the Godox Photography Lighting Academy
Jordan Berg's tutorial was selected and produced for the official Godox Photography Lighting Academy, Godox's global education platform for photographers. The Academy brings together working photographers and lighting educators from around the world to demonstrate real setups using Godox gear. Jordan's inclusion reflects the quality and practical clarity of his teaching style, specifically his focus on simple, repeatable lighting decisions that produce consistent results.
The AD300ProII and V100 featured in this video are the same units available at CameraStuff, South Africa's authorised Godox dealer.
What We Found: Lessons from Jordan's Setups
Our Results: One Light vs Two
Jordan's first setup uses one light and a reflector. The reflector is entirely passive, it adds no power of its own, it only redirects what's already there. Moving it closer to the subject increases the fill brightness; pulling it back increases contrast. This kind of nuance costs nothing and applies to any modifier and any strobe. It's also forgiving: small adjustments to the reflector position produce visible, controllable changes without requiring you to re-adjust power or angle on the light itself.
The second setup flips the visual logic. The AD300ProII moves behind the subject to act as a background light and rim source simultaneously. The backlit octabox creates a pure white background and spills highlights along the shoulders and hairline. The V100 then takes over the role of key light from the front, with the snoot limiting its spread to a precise, narrow beam. These two very different light sources work together because their functions don't overlap: one shapes the environment, the other shapes the face.
Why Black and White Rewards Good Lighting
Colour distracts from light. Remove it, and what remains is shape, texture, tone, and contrast. The setups Jordan uses are built specifically to produce images where light is the subject. Shooting in black and white places the emphasis entirely on how the light falls, which means every positioning decision becomes visible in the final frame. The AD300ProII's 5800K flash output and Stable Colour Mode mean your RAW files convert cleanly, with no colour cast to wrestle with during editing.
About Jordan Berg
Jordan Berg is a portrait photographer and lighting educator based in the United States. He runs the @photobergllc Instagram channel, where he breaks down portrait lighting setups in under three minutes. His work focuses on high-contrast, dramatic imagery using one to two lights, and he teaches techniques that are immediately applicable to both self-portrait and client work. Jordan was selected as an educator for the official Godox Photography Lighting Academy, which commissions tutorials for photographers at all levels working with Godox equipment.
Visit photoberg.ioIn Jordan Berg's Own Words
We've created a really beautiful Rembrandt, super dramatic, pure white background, all using these two lights. I really want to stress here the light distance and the light angles.Jordan Berg Verified — @photobergllc
Two Lights, One Strong Portrait
What Jordan demonstrates in this video isn't complicated once you understand the underlying logic. Distance controls drama. Angle controls shadow placement. A grid controls spill. A reflector adds fill without adding complexity. Get those four things right and the portrait takes care of itself.
The AD300ProII gives you the output and precision to execute these setups anywhere. At 300Ws with a recycle time as fast as 0.01 seconds and 350 flashes per charge, it doesn't slow you down on location. The bi-colour modelling lamp removes the guesswork from Rembrandt positioning. Add the V100 as a second light with a snoot, and you have a system that covers dramatic single-subject portraiture from simple to complex.
For South African photographers looking to shoot stronger, more intentional portrait work without renting studio space, this combination is a practical, long-term investment. The Godox AD300ProII is available at CameraStuff with free delivery on orders over R1,000 and a 60-day return policy.
Shoot in B&W but in Raw, in case you need to refine the edits later.
Godox AD300ProII vs Godox V100: Which Light Does What?
These two strobes serve very different roles, and Jordan uses both intentionally. The AD300ProII is the workhorse: high output, portable, modifier-ready, and built for location work. The V100 is the precision tool: lightweight, on-camera or off-camera capable, with accessories that let you shape a very specific beam. Here's how they compare on the key specs.
Side-by-Side Comparison
| Spec | Godox AD300ProII | Godox V100 |
|---|---|---|
| Flash Output | 300 Ws | 100 Ws |
| Power Range | 1/1 to 1/512 (10 stops) | 1/1 to 1/256 |
| Flash Duration (max) | 1/24,390 s (Freeze Mode) | 1/20,000 s |
| Recycle Time | 0.01 to 1.5 s | Approx. 1.7 s |
| Modelling Lamp | 12 W bi-colour LED (2800 K to 6000 K) | 2 W LED |
| HSS Support | Yes, up to 1/8000 s | Yes, up to 1/8000 s |
| Wireless System | Godox 2.4 GHz X (built-in) | Godox 2.4 GHz X (built-in) |
| Modifier Mount | Native Godox mount (Bowens via S3 bracket) | Round head (AK-R1 accessories) |
| Battery Life | Approx. 350 full-power flashes | Approx. 400 full-power flashes |
| Weight | 1.2 kg (with battery) | 0.635 kg (with battery) |
| Charging | Proprietary battery pack | USB-C |
| Best Used As | Primary / key light | Second light / accent light |
As specified by the manufacturer.
Godox AD300ProII Specifications
Key Features
- 300 Ws output with a 10-stop power range from 1/1 to 1/512 in 0.1-stop increments
- Freeze Mode with flash durations up to 1/24,390 second for sharp action captures
- 12 W bi-colour LED modelling lamp adjustable from 2800 K to 6000 K
- High-capacity lithium battery rated for approximately 350 full-power flashes per charge
- Built-in Godox 2.4 GHz wireless system with up to 100 m transmission range and 16-colour group identification
| Flash Power | 300 Ws |
|---|---|
| Guide Number | 72 m at ISO 100 (standard reflector) |
| Power Range | 1/512 to 1/1 in 0.1-stop increments |
| Flash Duration | 1/220 to 1/14,920 s (Normal); 1/2,310 to 1/24,390 s (Freeze) |
| Recycle Time | 0.01 to 1.5 s |
| HSS Support | Up to 1/8000 s |
| Modelling Lamp | 12 W bi-colour LED, 2800 K to 6000 K |
| Flash Colour Temperature | 5800 K ± 200 K (Stable Colour Mode: ± 100 K) |
| Battery | 14.4 V / 2600 mAh lithium-ion |
| Full-Power Flashes | Approx. 350 |
| Wireless Range | Approx. 100 m |
| Dimensions | 18.7 × 10.0 × 9.0 cm |
| Weight | Approx. 1.2 kg (with battery) |
As specified by the manufacturer. See the full spec sheet at the official Godox AD300ProII product page.
Complete Your Portrait Kit
Godox UL-Box Octa60 Softbox
Quick-release octabox with Bowens mount. Soft, even output that sets up in seconds on location.
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Godox SN01 Snoot
Bowens-mount snoot for tightly controlled beams. Exactly what Jordan uses to create that signature highlight in the two-light setup.
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Godox 260T Light Stand
260 cm aluminium stand with air-cushioned column. Stable enough for a strobe and octabox at full extension.
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Godox S3 Speedlight Bracket
Bowens-mount bracket for speedlights. Lets you fit the full range of Bowens modifiers onto the V100 for more shaping options.
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About Godox
Godox has been manufacturing photography lighting equipment since 1993. From speedlights and portable battery strobes to continuous LED panels and studio monolights, the brand produces gear that covers the full range of photography and videography use cases. The Godox 2.4 GHz X wireless system is compatible across the entire product line, which means your trigger, your strobe, and your speedlight all communicate on the same platform regardless of which units you add over time. CameraStuff is an authorised South African Godox dealer, stocking the full range with free nationwide delivery on orders over R1,000. View our Godox Letter of Authorisation for full details.
Shop Godox at CameraStuffFrequently Asked Questions
Can I shoot dramatic B&W portraits with just one light?
Yes. Jordan's first setup in this video uses one light and a silver reflector. The reflector acts as a passive fill source, redirecting light from the key back into the shadow side of the face. Moving the reflector closer to the subject increases brightness on the shadow side; pulling it away increases contrast. A single AD300ProII with a grid and a reflector is enough to produce high-contrast, Rembrandt-style portraits.
What is Rembrandt lighting and how do I achieve it?
Rembrandt lighting is a portrait technique named after the Dutch painter Rembrandt van Rijn, who frequently used a single light source positioned high and to the side to create a small triangle of light on the shadow cheek. To achieve it, position your key light at roughly a 45-degree angle to your subject and slightly above eye level. Turn the subject's face slightly away from the light. The goal is a clearly defined triangle of light on the cheek furthest from the source. Use your modelling lamp to confirm the position before firing.
Does moving the light closer really make the image more dramatic?
Yes, and it's one of the most counterintuitive things in portrait lighting. Moving the light closer to your subject increases the rate of light fall-off across the face because of the inverse square law. The lit side receives more light, but the shadow side receives proportionally much less. This steeper contrast gradient is what creates the dramatic, high-shadow look. Jordan demonstrates this directly in the video: he moves the light closer, increases the power, and the shadow side still grows darker.
What modifiers work best with the Godox AD300ProII for portrait work?
The AD300ProII uses the native Godox mount and accepts Bowens-mount modifiers via the optional S3 bracket. For dramatic portraits, a medium octabox (60 to 90 cm) with an internal grid gives you soft, directional light with controlled spill. A snoot is useful when you want a very narrow, theatrical beam. A standard reflector dish with grid works well for harder, more contrasty light. The right modifier depends on the look you're after: softer for editorial, harder for high-drama or high-contrast work.
Should I shoot B&W in-camera or convert from colour in post?
Shoot in black and white in-camera but save in RAW format. The in-camera B&W preview helps you compose and check contrast in real time, which is valuable when you're working with dramatic lighting. Saving in RAW preserves the full colour data underneath, so if the edit needs refinement later or you decide the colour version works better, you have the flexibility to go back. Never shoot JPEG-only in B&W: once that colour data is gone, you cannot recover it.
Where can I buy Godox products in South Africa?
CameraStuff is an authorised Godox dealer in South Africa. We stock the full Godox range, including the AD300ProII, V100, light stands, modifiers, and accessories. Orders over R1,000 qualify for free delivery nationwide. We also offer a 60-day return policy and a support team ready to help you choose the right kit for your shoot. You can browse the full range at camerastuff.co.za.
Written by Conrad Knuist
Head of Marketing and Photography Specialist at CameraStuff
Conrad Knuist is Head of Marketing and Photography Specialist at CameraStuff, South Africa's specialist camera and lighting retailer. With over 18 years of hands-on experience testing gear across portrait, event, and commercial photography, Conrad has personally handled hundreds of products, including everything from entry-level speedlights to professional studio systems. Conrad works directly with South African photographers and videographers to match the right tools to their work. Every review and recommendation he publishes is based on real-world use, not spec sheets.
About Conrad Knuist
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