The main purpose of studio lighting is to simulate natural light. The first photographic pavilions used natural light until artificial lighting was invented. This is how the first pavilions looked like.

Studios were usually located in the attics of houses, as they needed a lot of sunlight to shoot. There were wide windows in the roof and light came in through them. If it was raining or the weather was cloudy, the shooting was postponed.

The first studios worked with contrasting, hard lighting, but with the development of technology, studios began to be arranged with windows to the north in order to avoid direct sunlight. The photographer was able to open windows or cover them with frosted glass or curtains. Used for illuminationreflectors made of polished copper sheets.

In the picture, you can see the classic lighting scheme, which is still used by all photographers in the world. The light comes from above and from the side of the windows, the light is soft and can be compared to the lighting of a large softbox. With the help of reflectors, the shadow side of the model is highlighted, and the reflector above the model's head gives an outline highlight to the hair and allows you to "separate" the figure from the background. This is the classic lighting scheme. It is often called Rembrandt, because in this manner the artist painted his portraits.

How artificial light is put in studios today.

Painting light - the main luminous flux, which forms a light-tone or cut-off pattern. The most powerful light source.

Painting light can be hard or soft. If the light is hard, the shadows will be sharp and contrasting. For hard light use reflectors small size andportrait plateswith a silvery surface. For soft light you need softbox or scattering nozzles on a reflector or plate. Do not forget that the further from the model you are the light source, the harder the light will be.

Variants of the location of the key light source:

Frontal
Anterodiagonal
Side
Posterior diagonal
Back

This is how the cut-off pattern will look in different lighting options:

frontal lighting

front-diagonal lighting (highlighting from the left)

side lighting (key light on the left)

back-diagonal lighting (focusing light on the left)

backlight

In the classic arrangement, the key light is usually placed in an antero-diagonal position, at an angle of approximately 45 degrees from the camera-to-model line.

Place the light source slightly above the model's head. If you put it too high, then the shadows will creep down, you will get shadows under the eyes and a long shadow from the nose. If it is too low, the shadows will creep up and the face will look wide and eerie.

Here are the top and bottom lights as an example of the distribution of shadows.

overhead light

bottom light

The key light power should be about 1-1.5 stops brighter than other sources. In order to receive harmonious light, you need to be able to coordinate the action of all lighting devices.

Fill light- a source of scattered light, which plays an auxiliary role in cut-off lighting, and a main role in light-tone illumination. The goal is to highlight shadows and soften the cut-off pattern. In black-and-white lighting, it reduces the contrast of the image and makes it possible to reproduce the shape and texture in the shadows. Should not be noticeable as an independent luminous flux.

For fill light, a softbox or reflective panel is usually used, and a fill light source is directed at it. The fill light is usually placed behind the camera, frontally or antero-diagonally.

This is how the shadow fill will change depending on the strength of the fill light source.

poor shadow filling

medium shadow fill

strong shadow filling

Modeling light- a narrowly directed, not very intense stream of light, which is designed to emphasize the shape and texture in the shadows (texture of hair, clothes, neckline, shoulder, etc.). It is also needed to separate the model from the background.

Usually this source is installed in the posterior diagonal, sometimes in the back direction.

Light-shaping attachments are used to obtain a narrow light spot: a tube (Snoot), reflectors with curtains (Barn Doors), sometimes stripboxes.

The brightness of the light modulation in the shadows should not exceed the brightness of the highlights formed by the source of the key light.

Background light - a light source designed to illuminate the background.

The purpose of the background light is to separate the model from the background, give the image volume and show perspective. Usually, nozzles for background light are used - standard reflectors (sometimes with curtains), a tube, a bucket. The background can be colored using filters. For a photon pattern, you can apply gabo, giving some kind of pattern (window, leaves, spots, etc.). You can make gabo yourself or use any available means (baskets, other items with holes). If the background is not evenly lit, an additional sense of space is created. That is, the abstract background is illuminated unevenly, thereby creating the illusion of an airy perspective, where the light is perceived as distant, and the dark, as close.

The background light is matched as much as possible with the direction of the key light source.

This is how a portrait will look like with one, two, three and four light sources:

one light source (painting)

two light sources (painting and filling)

three light sources (painting, filling and background)

four light sources (painting, filling, background and modeling on hair)

This is what a classic four-source circuit looks like:

It is generally recommended to turn on the background light first. Then the key light turns on. As described above, the nature of the light and shade will depend on the intensity of the key light source, its distance from the model, the height of the installation, and the direction of the light source. Then, depending on the artistic task, a fill light source (strong or weak shadow fill) is exposed. And at the very end, a source of modeling light.

There are many options for the sequence of switching on light sources. The main thing to remember is that you are shooting a portrait and the person should ultimately look like himself.

In classic portrait photography, there are several fundamental principles of lighting that you need to know and control during the shooting process and understand which one to apply in order to convey the right mood, the right image or the most flattering presentation of the model in the portrait.

It is worth remembering these rules in order to easily follow them, and most importantly - to know when and how they can be broken. Learn these 6 rules - they will be your milestones on the road to great portrait photography. And don't forget that the best teaching is to mix theory with practice.

What are lighting modes in portrait photography? We can say that this is a play of light and shadow that can change the perception and shape of the face. In simple terms, what shape the shadow will lie on the face depends on the lighting method. There are four most common bases for human lighting:

side lighting;
classic lighting;
Rembrandt lighting;
butterfly.

To the main 4 types, it is worth adding two additional methods, which are more style elements and can be used simultaneously with the basic lighting modes in a portrait: this is wide and narrow lighting.
Let's take a look at each type of lighting separately.

1. Side lighting (Split Lighting)

In this mode, the light "breaks" the face into two equal halves, one of which is in the light and the other in the shadow. This type of lighting is more suitable for men and is often used in portraits of musicians or artists because it adds drama to the portrait. There are no hard and fast rules for applying this or that type of lighting, there are only recommendations based on average perception. You need to know these rules so that you can use them as a basic starting point.

To achieve this effect, place it 90 degrees to the left or right of the subject, and perhaps even slightly behind the head. The location of the light in relation to the subject depends on the shape of the person's face. See how the light hits the face and adjust accordingly. Light from the shadow side should only hit the eyes and shape the face in such a way that the light-shadow border passes clearly in the middle. If, as you rotate around a person's face, you see that the light is falling more on the cheek, it is possible that the model simply does not fit this scheme, in which there should be perfect light splitting.

NOTE. Keep in mind that to maintain a consistent lighting pattern, your light source must move depending on whether the model is moving. Whether you are taking a frontal shot, photographing ¾ of a face, or even a profile, the light must "follow the pattern." If the model simply turns its head, the whole picture will change. You have to adjust the lighting by moving the source or turning the model slightly in the desired direction.

What is lens flareand why is it needed?

Pay attention to the reflection of the actual light source in the subject's eyes. Highlights appear as white specks in the child's eyes in the photo above. If you look closely, you can see the outlines of the instruments that were used to shoot the portrait.

For example, the photo shows a bright spot of a hexagon with a dark center. This is the light that was used -

This effect is called flare. Without the glare, the subject's eyes become dark and look dull. When shooting, make sure that the highlights are fully reflected in at least one eye. Notice that lens flare also slightly alters the color of the iris and the overall brightness of the eyes, which heightens a sense of vitality and shine to the eyes.

2. Classical lighting (Loop Lighting)

Classical lighting is considered to be that creates a slight shadow from the nose on the cheeks, thus forming a light-shadow loop. To get this, you need to position it slightly above eye level, and approximately at an angle of 30-45 degrees from the camera (depending on the person, you must learn to read people's faces).

Take a look at this image and notice how the shadows fall. On the left and right, you can see small shadows near the nose. They are always left, make sure that the shadow is slightly downward. To do this, place the light source not too high, as this can lead to the formation of unwanted shadows on the face and loss of glare in the eyes of models.

Classic lighting is considered the most popular lighting model for portraits because it creates the best light and shadow pattern and enhances the dignity of most people.

In the diagram, a strip of trees is indicated with a black background, which is located behind a pair, while the sun is hiding behind greenery. With the help of horrible lighting, there is enough light on the faces. If you slightly change its position, you can choose different lighting options.

With the classic method of lighting, it is installed at an angle of 30-45 degrees. away from the camera and just above the eye level of the models. This must be monitored so that the light-shadow loop does not touch the nasolabial fold. A common mistake among beginners is when the reflector is placed too low, strongly illuminating the lower part of the face, which creates an unflattering picture for the subject.

3. Rembrandt lighting

Lighting bears the name of the famous artist because Rembrandt often used such a pattern of light in his paintings. For example, in this self-portrait.

Lighting Rembrandt is identified with the triangle of light on the cheek. Unlike the lighting loop, where you shouldn't touch the shadows of the nose and cheeks, in Rembrandt lighting you only need to get a small triangle of light in the middle of the cheek. When creating the proper shadows, be sure to have enough light on the eye in the shadow side of the portrait, otherwise it will look lifeless. Rembrandt's lighting is considered to be dramatic, as the "split" in chiaroscuro creates a special mood in the portrait, which can contribute to a tragic expression on the face.

To create Rembrandt lighting, you need to rotate the model slightly away from the light. The source should be located above the person's head so that the shadow from the nose falls down towards the cheek.

Not all faces are suitable for this pattern. If the model has high or prominent cheekbones, Rembrandt lighting can give interesting results. A small nose and a flat bridge of the nose will significantly complicate the work of the photographer and it is unlikely that the desired effect will be achieved. The use of a particular lighting scheme depends only on the model being shot and on the mood that the photographer wants to convey in the picture.

If you will be using light from a window that is closer to the floor, you can close the bottom of the window to try and get Rembrandt lighting.

4. Butterfly Lighting

This kind of lighting is aptly called "butterfly" or "butterfly" for a reason. With its chiaroscuro outlines, it resembles the shape of a butterfly, because it creates shadows under the model's nose that resemble wings. The main light source is positioned higher and directly behind the camera. This scheme is often used for glamor photography, and is also optimal when you are photographing the elderly, as it focuses less on wrinkles.

A butterfly effect pattern is created with a light source behind the camera and just above the subject's eyes. As an additional equipment, sometimes a reflector is used, which is placed below the model's face to highlight the shadows under the model's chin. This lighting scheme is suitable for persons with pronounced cheekbones or subjects with delicate features. For a round or wide face, it is better to use a standard (classic) lighting scheme or even a Rembrandt type lighting.
The circuit is difficult to reproduce if only a light disc is available - then it will be difficult to cope with it without an assistant.

5. Wide coverage

Wide lighting is not a separate lighting scheme, but rather a shooting style. Any of the above light schemes can be shot using a wide or narrow lighting method.

Wide is a variant when the subject's face is slightly turned from the center and light falls on most of it. The shadow side, accordingly, will be smaller.
Wide lighting is sometimes used when shooting high key portraits. This type of lighting visually expands the face slightly (hence the name). Better to use for those with a very narrow oval face, fine pointed features. Most people want to look slimmer in portraits, so you should be careful with this scheme when photographing chubby faces. Simply put, wide lighting focuses on more of the face.

To create wide lighting, the model should be rotated away from the light source. Note that from the side of the face that is closer to the camera, the light is exactly the kind that forms the correct shadows on the part of the subject's face farther from the camera.

6. Narrow lighting

This is the opposite of wide lighting. As you can see with an example, the model must be positioned in such a way that most of face was in the shadows. This technique is most often used when shooting portraits in a low key. At the same time, faces become more sculpturally outlined, which adds volume to the image. This is a very flattering way of lighting for most people.

The face is turned towards the light source. Note that the part of the face that is facing away from the camera also has very significant shadows. Narrow lighting shows the viewer the shadow pattern that needs to be controlled.

Putting it all together

Once you learn to recognize and reproduce each of the different lighting models, you will understand how and when to apply them. Light and shadow are very important tools for a photographer when shooting a portrait. Studying people's faces, practicing, you will figure out which lighting schemes will be better for this or that type of face and for conveying a certain mood, you will find your own unique style.

Someone with a very round face will probably want to appear slimmer and will be glad if the portrait emphasizes the sophistication of the face. You will be able to use the correct scheme if you are faced with the task of capturing anger or taking a group photo. When you learn to read and recognize images, master the quality of light, control the correct position of light sources, and know the ratios and proportions, you will be perfectly prepared for professional work.

Learning to control light is much easier if the source can be moved. But the same lighting rules work when the main light source is the sun or a window. After practicing with, you will begin to involuntarily apply the rules of working with natural lighting and easily, the only difference is that you will not twist the source around the model, but the model will unfold so as to get the lighting you need. You will have to move the model or change the position of the camera in order to change the direction of the light and use shadows to create the desired drawing, but as practice shows, it's worth it!

In classic portrait photography, there are some specific things to consider and keep in mind in order to present the unique features of your model in a favorable light. For each individual case of shooting a portrait, depending on the features of the appearance, as well as the mood of the model, a special lighting mode is required, the correct ratio of light and shadow (cut-off), rotation and tilt of the model's head, as well as the angle of shooting (foreshortening). Every portrait photographer needs to familiarize himself with these basics of portrait photography in order to then be able to vary them on a professional level, competently breaking the rules. In this article, I propose to consider such an important aspect of portrait photography as lighting or portrait light: what it is, how to use it, and why it is so important when shooting.

By my definition, portrait light or black-and-white drawing is a play of light and shadow on the model's face, and their varied ratio gives the portrait the necessary mood, helps to hide or emphasize certain features of a person's face. When shooting a classic portrait, as a rule, 4 basic lighting models or schemes are used:

Divider or side lighting
"Rembrandt" lighting
Lighting in the style of "Butterfly"

There are also “short” and “wide” lighting, but this distinction is no longer related to schemes, but to shooting styles and can be used in conjunction with the aforementioned types of lighting. Let's now take a closer look at each type of light scheme separately.

The definition of dividing lighting is fully consistent with its name, in other words, it divides the model's face into two equal parts, illuminating one part and, on the contrary, plunging the other into shadow. This kind of lighting is often used to add a dramatic effect to an image. It is especially popular when photographing portraits of musicians and artists. It is generally accepted that dividing lighting is more suitable for shooting portraits of men. Although there are no hard and fast rules, I would still recommend for a beginner to use this information as a guide until he learns to play with light on his own. The light scheme is shown in the figure below.

To achieve the effect of dividing or side lighting, it is necessary to position the light source to the left or right of the subject at an angle of 90 °. The height of the light source should be adjusted according to the model's face. Moving the source up or down, carefully observe how the cut-off pattern on the model's face changes.

With the correct dividing lighting in the shadow half of the face, light falls only on the eye, forming a flare. But if the light hits the model's cheek and any changes in the position of the source do not give the desired effect, then perhaps this type of face is simply not suitable for side lighting.

NOTE: All lighting schemes are quite applicable to any position of the face, be it full face, half full face or even profile. Just keep in mind that your light source should be positioned relative to your face according to the type of lighting you choose. If you change the position of the face, then the type of light will also change. Try to use this advantage to your advantage: without moving the light source, you can easily change the type of lighting by simply turning the model's head.

What is a glare?

Notice that there are two small white dots in the eyes of the child shown in the photo above, which are a reflection of the light source. This is the glare. If you zoom in on the image, you can see the shape of the light source that was used to shoot this portrait.

See, this bright point is actually a hexagon with a dark spot in the center. It was the hexagonal softbox that I put on my Canon flash when shooting this portrait.

If the eyes do not have glare in the portrait, then they look dark, lifeless and even dead. Therefore, before taking a shot, make sure that at least one eye is catching the flare. When taking portraits, never forget about lens flare, as it adds sparkle to your eyes and enhances the sense of life.

Loop lighting is a lighting scheme that creates a slight shadow from the nose in the cheek area. To create a looped lighting effect, set your flash slightly above the subject's eye level and swing it from the focal point 30-45 °. It should be borne in mind that the more accurate location of the light source will depend on the individual characteristics of each individual person, and for this you will have to learn how to read people's faces.

Look at the photo above and you will see exactly how the shadow falls: on the left cheeks of the newlyweds, subtle shadows from their noses are noticeable. When using loop lighting, make sure that the nose shadow does not touch the cheek shadow. When setting the lighting, try to create only a slight shadow from the nose, directed slightly downward. Avoid the most common mistake when setting the light source - placing the flash too high, which can create strange long shadows and disappear glare. Loop lighting is very popular with many photographers because it is easy to create and results in images that many people love.

The picture above shows a loop lighting setup where the black background is the background, which is composed of trees. Sunlight comes from behind the trees, but the trees themselves are in full shade. A white reflector located on the left side of the camera reflects and directs the incident sunlight onto the faces of the models. The reflector can be installed both in the sun and in the shade. Either way, it will catch the light you want. Most importantly, make sure that the reflector is turned 30-45 ° away from your camera towards the model and is slightly above the level of the model's eyes, so that the shadow from the nose falls down at a slight inclination towards the corner of the mouth. The most common mistake inexperienced photographers make is the wrong position of the reflector; if you set the reflector below eye level in loop lighting, then the shadows will not be directed downward, but upward, and this will lose the desired effect.

"Rembrandt" lighting

The following lighting scheme is called Rembrandt in honor of the great artist Rembrandt, who very often used it when creating his portraits. If we look at the artist's self-portrait above, we notice the presence of an inverted triangle of light on the shadow cheek. Unlike loop lighting, where the cheek and nose shadows do not have to touch, in this type of lighting they connect to form a small triangle on the subject's cheek.

To create a Rembrandt lighting scheme, it is necessary to set the lighting device at an angle of 45 ° to the model-camera axis and raise the flash to such a height that the light falls on the model's face at an angle of 45 degrees too. When setting the light, make sure that the eye on the shadow side of the model's face has a glint, otherwise, not only the eye itself will look dead, but the whole portrait may seem empty and lifeless.

Like dividing lighting, Rembrandt lighting can bring a touch of drama to a portrait, and with incredible precision. At the same time, reflect the deep feelings of the person depicted in the photo portrait.

When building a Rembrandt lighting scheme, the subject should be slightly turned away from the light source, which in turn is located above the level of the model's head. It should be noted that not all face types are suitable for this type of lighting. For example, if a person has a flat and small nose, then this type of light will not suit him at all, but if your subject has high cheekbones and a clear face contour, then the photo will most likely work.

You can also use natural light from the window as the main source of light, but if your window goes down to the floor itself, then you need to close its lower part so that the light falls on the model's face from above at an angle of 45 degrees.

Lighting in the style of "Butterfly"

This type of portrait lighting got its name from the fact that the shadow that forms under the nose resembles a butterfly in its shape. This effect is obtained if the main light source is placed on top, right behind the camera itself. With this lighting scheme, the photographer is shooting directly under the light source itself.

Butterfly lighting is often used in glamor photography and to create shadows under the cheeks and chin. Since wrinkles are the least visible in this light, this type of light is considered ideal when photographing the elderly.

To build a butterfly lighting scheme, you need to place the light source above the camera and slightly above the level of the subject's head or eyes. Sometimes a reflector is additionally used, which is placed directly under the chin of the model and, as a rule, the model holds it herself! This kind of light effectively accentuates high, well-defined cheekbones and thin faces.

For people with round, wide faces, loop and dividing lighting is more suitable. When building a butterfly light, use a flash or other powerful light source as the main light source; reflected light or natural light from a window is clearly not suitable here.

Wide illumination

Wide lighting has more to do not with the lighting schemes themselves, but with the shooting styles. It can be used in combination with the aforementioned types of light: so loop, dividing and Rembrandt lighting can be either short or wide.

Wide lighting is when the subject's face is slightly out-of-center. The part of the face that is closer to the camera is illuminated and thus visually appears wider than the shadow side. Wide lighting is often used when shooting high key portraits. In wide light, the face in the picture is wider than it actually is, hence the name. This type of light is ideal for narrow and thin faces and is completely unacceptable for people with round and wide faces.

To create wide lighting, the subject's face must be turned away from the light source. Then the side of the face that is closer to the camera will be illuminated, and the shadow will fall on the other side, farther from the camera.

Short lighting is the complete opposite of wide lighting. In the above image, you can see that the side of the face that is closer to the camera is darkened, and the light falls on the part of the face farther from the camera. This kind of lighting is often used when shooting portraits in low key. Due to the fact that the main part of the face is in the shadows, the face looks visually narrower and tighter, so this kind of light is suitable when photographing people with round faces.

Rotate the subject's face towards the light source to create a short lighting effect. Then, the side of the face that is turned away from it, that is, that is farther from the camera, will be illuminated, and the shadow will fall on the side of the face that is closer to the photographer.

Let's sum up the outcome!

Only after you have learned to recognize and build different patterns of light can you safely begin to study when exactly to resort to them. If you learn to analyze and read people's faces, then soon you will be able to quickly and correctly select the most suitable type of light for each specific person, taking into account not only the external features of the face, but also the character and mood of your model.

Portable light sources make the very process of photography much easier, as they can be easily moved, creating the necessary lighting schemes. But what if the main light sources are the sun or the window? Here you have to tinker a little, moving the camera or changing the position of the model in relation to the light source, and thereby achieving the desired ratio of shadow and light on the face. In general, if the main light source is stationary, then you need to move all those objects that can be moved in relation to the light.

Practical lessons

First, find a subject for your photography (you need a live person, your dog will definitely not be suitable for this purpose, and then start practicing building different lighting schemes for portrait photography.

"Butterfly"
Rembrandt lighting

Also keep in mind the short and wide style of light, and practice putting each type of lighting into practice, first with a short style and then with a wide one. At this stage of the tutorial, focus on the types of light only and don't worry about other settings and parameters. If you do not have a professional flash, it does not matter, at the initial stage, a window, the sun, and even a simple floor lamp will work as a light source. Start your practice by exploring short and wide light, with your subject directly in front of your camera lens.

And used at the same time.

When photographing a portrait indoors, in particular in a studio, photographers use different layouts for lighting fixtures. : The main light, fill light, backlight and backlight have already been covered.

Lighting schemes as a pictorial tool for portrait photography.

It is clear that in practice, the location of the lighting devices involved in the creation of certain lighting effects can be different. But what kind of lighting effect the photographer decides to create based on his artistic task, while taking into account the nature of the model being shot, its location relative to the camera (rotation, direction of gaze, etc.).

Consider the most popular, "fashionable" used for portrait photography.

Rembrandt portrait lighting(Rembrandt Light).

It is beneficial when photographing a portrait of men. It creates a spectacular cut-off pattern. It gets its name from the lighting techniques used by artists of the past. In Rembrandt's studio, a special window was built from above, in the ceiling, through which light fell on the model from which the artist was painting the portrait.

Hence, the main feature of this type of lighting is that the main highlighting light is directed to the person being portrayed from above, from the side. In this case, the person being portrayed sits half-turn from the camera, and the main light illuminates the face from the side opposite to the camera. Thus, the side of the face closest to the camera is partially shaded. A shaded triangular area forms under the eye closer to the photographer. It is necessary to carefully choose the height of the main illuminator and the angle of the direction of illumination so that this shaded area does not turn out to be too large.

Fill lighting can be omitted if a contrasting cut-off is desired. If the shadows are too deep, then you can soften them with fill light. In this case, the source of fill lighting is located next to the camera.

The source of backlighting is placed on the opposite side from the main side and directed to the hair in such a way that this light does not fall on the face, since overexposures may occur in some places.

You can also highlight the background from the side opposite to the main illuminator. Then the shadow part of the face will be more prominently selected against the background.

All questions regarding what kind of light to use, what not, the photographer decides for himself, as he likes. There is no dogma in this matter. But with any scheme portrait lighting should be such that double shadows do not occur. If, of course, you are interested in a realistic photographing a portrait. For this, the luminous intensity from the sources used must be balanced, that is, the main light in terms of brightness must significantly exceed the light from other sources that play an auxiliary role. It is enough to place the main light source closer to the subject, keeping in mind that the illumination from the same sources decreases depending on the square of the distance.

2.Narrow or short portrait lighting(Split Light). Just as with Rembrandt lighting, the main light source illuminates a part of the face from the side opposite to the camera, from the side where the head of the subject is turned. But unlike Rembrandt lighting, the light is directed not from above, but from the side (the source of the main light is close to the background and illuminates the figure from the side) at the eye level of the subject.

The fill light is also located near the camera.

3. Wide portrait lighting(Broad Light) is the opposite of short. The main light source illuminates the side of the face closest to the camera facing away from the camera. The side of the face closest to the camera is illuminated, and the far side is shaded.

4. Lighting a portrait Butterfly Light is a very fashionable lighting used for glamorous photographs.

The main light source is installed near the camera in front of the face and illuminates the model from above. This creates a triangular shadow under the nose. It is necessary to monitor the height of the location of the main light source so that the shadow under the nose does not turn out to be too large, right down to the mouth.

This type of lighting creates a soft drawing of the image, smooths out minor imperfections on the face, and therefore is so popular. It is only necessary to take into account that this emphasizes the pattern of the ears, therefore this type of lighting may be unacceptable in cases where it is undesirable to highlight the ears. In particular, it is not suitable for photographing a model if her hair is pulled back into a bun and her ears are open.

Good lighting is a critical component of portrait photography. Even an ordinary viewer will note its presence. However, despite its apparent simplicity, knowing the principles of using light to give the desired appearance requires a much deeper understanding. This introductory article looks at the most basic scenario: portraits with one light source. Subsequent articles will focus on the use of multiple sources, but the principles discussed apply in all cases.

Overview: one light source

The main light source of the model is usually called the main or key light... While additional lights can be added to enhance the portrait, key lights are usually set independently. This is good news for anyone trying to study portrait lighting, as it means the process can be simplified by only dealing with one light source at a time. If and when you decide to add additional lighting, everything you learned earlier will remain in effect.

Only one property of light has a dramatic effect on the illumination of a model: the degree of light diffusion *. Even though some of the illumination parameters seem to have magic numbers, their influence is secondary. However, for the selected light source, we can decompose this characteristic into two, more controllable ones:

direction which determines the position of shadows and highlights on the subject, and
apparent size which adjusts the appearance of these shadows and highlights.

Although these characteristics may seem simple and manageable, their combinations form an amazing variety of different model views. Illumination can easily become unpredictable if you do not develop an intuitive understanding of each of them.

* Strictly speaking, another characteristic is the white balance of the light source, however in this introduction we assume that you want to display the model as it looks in natural light.

Size: soft and hard light

We'll start with apparent size, as this is arguably one of the most common causes of poor portrait lighting. When photographers describe light as “hard” or “soft” or use the term “light quality”, they are actually talking about the size of the light source:

While anything in excessive doses may not be beneficial, portraits usually look better in soft light. Hover your cursor over "hard" and "soft" and you can see how they affect the portrait:


	Select:	hard	original	soft

Note that the smaller and larger light sources are referred to as "hard" and "soft", respectively, due to the light and shadow boundaries they form. This happens because a light source with a larger area has a larger angular size relative to the subject. As a consequence, any given fragment is more likely to receive some direct light, and the shadows become softer. Likewise, if the light source is small, a single fragment is more likely to receive no direct light at all or receive a large portion of it - thereby forming much deeper shadows. Note also that the size of the source is directly proportional to the highlight, especially in the upper right part of the model's hairstyle.

However, the size of the source affects not only the degree of contrast of the tones, it also determines the visibility of the fine texture. Pores, imperfections, wrinkles and other details become more pronounced in hard light. Hard light also increases the likelihood of harsh direct reflections off the subject's skin.

hard light		soft light

The most important thing to understand for soft light is that direct light is harsh but softens when reflected or scattered. Photographers use this to achieve softness from an initially hard light.

Light softening methods:

Diffuser... Place a large translucent object between the model and the light source. This can be a shade on a lamp, or a white sheet, or a curtain over a window through which light falls.
Reflections... Position the model so that only the reflected light hits it. Move it further away from an open window (out of direct beams), direct the flash at a nearby wall or ceiling.

porter in very soft light

In any case, keep in mind that the model's illumination will drop significantly - potentially requiring longer exposure times.

On the other hand, the light source can also be too soft (although this happens much less often). To some, shots taken in the shade may appear too flat, for example, if indirect light is scattered from everywhere. This light is practically equivalent to a source of infinite size, and it hides all shadows. An example would be portraits in fog or outdoors on a completely cloudy day.

However, how “too soft” the light is actually depends on what kind of image you want to get. For example, even though the shot on the right uses softer light than any of the previous examples, many may still find this look desirable for glamorous portraits.

Distance and apparent size

At this point, you may already be a little confused: it is not the size of the light source that matters - only its apparent size relative to the subject of photography.

The light softens as the source approaches because the light reaches the subject from more angles - even if the light itself does not change. The converse is also true: direct sunlight is harsh, even though the sun is enormous. It's just that the sun is so far away that its light reaches us at almost a single angle.

On the other hand, getting closer to a light source makes it brighter. If this is the main light source, the appearance of the portrait will most likely not change - it will simply shorten the required exposure time. However, if most of the illumination of an object was provided by stray light, moving closer to the light source can reduce the effect of stray light - thereby making the overall light harder, since most of it will come from a single source.

Also, close light sources will illuminate the subject less evenly. because the various elements of the subject will be relatively closer to or further from the light source. For example, the back of an object may be only 5% farther from a distant light source, but will become 50% farther if you zoom in, and it will be noticeably darker than other parts of the subject.

However, this unevenness can be turned into an advantage. By bringing the light source closer to your subject, you can better separate it from the background as it becomes significantly brighter relative to the background. On the other hand, if they were already well separated from each other, the picture may worsen.

Direction: a sense of depth and Rembrandt light

Finding the right lighting direction requires the photographer to find a balance between various potentially incompatible considerations. Typically, the choice is made between conveying volume (1) and appealing facial features (2).

1) Transfer of volume... Creating the impression of volume is a key part of shooting realistic looking portraits. However, our perception of volume does not work well enough unless we illuminate the model from the correct direction. For example, using a sphere as a reasonable approximation to the shape of the head, you can see that it looks three-dimensional only if the light falls on it from the front from above:

While sphere illumination is a good modeling for portraits, many other illumination angles can be used to convey volume. On the other hand, individuals are much less forgiving.

2) Facial features... Apart from the head as a whole, every facial feature forms its own shadows and spots of light - and each of them should be taken care of. In particular, it may be necessary to avoid the visual elongation of the nose with a shadow or the effect of a tired face due to shadows under the eyes. Beyond these, overhead lighting can have other unwanted effects if not carefully positioned.

One of the classic * ways to achieve both a sense of volume and a flattering look is to arrange the light so that the key triangle on the far cheek is illuminated. This style is often referred to as "Rembrandt light" and we will refer to this shape as the "key triangle". If we take it into account, the number of options for the angle of illumination is significantly reduced:


			Put light:		above
				to the left	key	to the right
show	hide	← Key triangle			below

Note: The triangle is usually easier to visualize in hard light and neutral
facial expression. In this example, it is slightly rounded due to the wide smile.

Try to move the light in any direction from the key triangle by hovering over the options. Minus the underside lighting, these options are all referred to as "frontal top lighting" - and yet the position of the key triangle is generally considered to be the best all-around display. This is due to the fact that the presence of a triangle is an indicator of compliance with several basic principles of good portrait lighting.

For example, if the key triangle

too big (tall or wide) this means that the light is too close to the subject and most likely does not create enough volume, since most of the shadows are not visible from the direction of the camera.
too narrow this means that the light is set too far to the side, which can visually enlarge the nose with the cast shadow, and also potentially leave a significant part of the face in shadow. However, this aspect of the Key Triangle recommendations is sometimes the least taken into account.
too short this means that the light is set too high or low, resulting in shadows under the eyes or insufficient shadows along the lip line, respectively. Bottom lighting is often used in movies for ugly creatures or to create a sinister face when telling horror stories.

Also keep in mind that the final look will greatly depend on the model's features and expressions, so these conditions should only be used as a basic principle.

* Note: "Isolating light" is another popular (and more common) style of portraiture that is similar to Rembrandt light, however the nose shadow does not overlap with the shadows on the far side of the face, creating an “isolated” diagonal shadow under the nose ...


short backlight	wide backlight

However, there are exceptions to any rule, however, only confirming the rule. For example, a three-quarter portrait may not need a key triangle to convey a sense of volume, but only if there are additional shadows on the face (as in the example on the left).

In addition, Rembrandt light is just one of many styles and each model is different from the other. For example, someone might want a hard side light to accentuate the stubble on a man's face, or to convey symmetry by highlighting only half of the face. Understanding how to use light to convey volume, shape and texture is key, depending on the artistic intent.

Two other common styles are short and wide light.... They are used when shooting at an angle. A short light illuminates the entire face and leaves the near part of the head in shadow, while a wide light illuminates the near part of the head and leaves the far part of the face in shadow. We'll cover these and other portrait lighting styles in the next article.

Conclusions and additional information

Typically, the goal of illuminating a portrait is to produce soft light. It smoothes out the transitions of light and shade on the facial features and softens the texture of the skin. Obtaining soft light requires increasing the apparent size of the light source. It can be achieved by moving the light closer (1), increasing its physical size (2), or by reflecting or scattering this light with other objects (3).

However, the choice of illumination direction is definitely more important than the hardness of the light. In any case, two illumination directions are usually undesirable: bottom illumination and front illumination. The first looks unnatural, and the second destroys the sense of volume. In any case, the portrait is usually intended to present the model in a favorable light, but each model is unique and requires an individual approach.

Regardless of the solutions chosen, the key is to first present the artistic idea, and then adjust the arrangement of the light so that it is embodied.

Related topics are covered in the following articles:

Flash: display
Explains how to control the quality and appearance of flash light.
Describes lighting in portraits.