The Softlighter is getting some real competition lately from the new (and more efficient) Paul Buff PLM system. They are both well under $100, and I use them each for different reasons. I have an upcoming post on the PLM, and another comparing the two. Long story short, if you want serious square inches for not a lot of money they both deserve strong consideration. The key in this case was a beauty dish with a white nylon diffuser over it. Bonus: The garage door did not extend all of the way to the wall, so we had a little outcropping of front wall (camera left, just out of frame) with which to gobo and tone down the key light at camera left. (The key was coming from just out of the frame, so it would have been hot at left otherwise.) The setup shot up top shows the lighting for the seamless white shot we did next. We used clamshell light on Erin. The Softlighter made a gorgeous key, but I had it dialed all of the way down. That meant I could not get enough underexposure on the umbrella I wanted to use as the bottom half as fill. As I said earlier , I am still finding my feet with the Profotos. For this shot, we used the Softlighter high and to camera right, turning Erin away from it to let it fall across her face. This shot is designed loose and with plenty of room for type to be added. Heresy, I know, to a newspaper shooter. But it can be very helpful to think ahead for a designer -- especially if you do not know how it might be used. One the final shot, (red dress/seamless), how did you light the background? Just spill from the two sources? Also, from a design perspective, is it common to leave the space behind a person vs. in front? I get your intention, but I'll admit it makes me uncomfortable to see her front so close to the edge of the frame. Thanks for coming to Portland, I hope I can be there!...