How to Light Portrait Photography?

The ability to master portrait lighting is crucial for producing stunning portrait photographs. This holds both for artificial and natural/ambient illumination. The fundamentals of studio lighting control are outlined in this piece.

It is crucial to consider the lighting ratios, lighting patterns, camera angles, and facial postures when taking a photograph. Lighting ratio, lighting pattern, face view, and angle of view are only some of the factors that must be carefully considered and managed to create a flattering portrait in the classical portraiture tradition.

In a portrait, light is everything. However, there's good news: you won't need to shell out a substantial fortune on elaborate lighting fixtures. All you need is a single light source to set up the ideal lighting for your portraits.

Essentials for Understated Portrait Lighting

Besides the camera, you need:

• An electronic flash (speedlight, strobe, or video light will do);
  a radio transmitter located away from the camera;
• Lighting equipment, including a flash bracket for a tripod or light stand;
• One that spreads the light out more evenly;
• Something that reflects light.

Lighting equipment can quickly become an expensive investment. It was only a few hundred bucks, though, for the portrait lighting equipment we used

Buying old flashes and low-end hardware can help you get by with even less.

Styles of Illumination for Portraits

The way that light and shadow play across one's features to generate varied contours is referred to as one's lighting pattern. In layman's words, what shape does the shadow cast in front take? Five standard portrait lighting setups are as follows:

• Lighting techniques:
• Butterfly Lighting
• Loop Lighting
• Rembrandt Lighting
• Split Lighting
• Lighting techniques:

Additionally, there is Broad and Short lighting, which is more of a style and can be applied to any of the aforementioned designs. Let's look at each of them individually.

Light as a Butterfly

The butterfly shape of the shadow cast below the nose gives this type of lighting its name, butterfly lighting, also known as Paramount lighting. The main light should be high above and behind the camera, slightly down on the subject.

Light should be directed down on the subject from above, creating a "butterfly" effect. Deeper shadows are cast at a steeper angle.

With butterfly lighting, the area surrounding the cheeks, the jawline, and the chin are cast in shadow. Shadows under the cheekbones can be made to look more dramatic when the subject is turned at an angle.

The longer the shadows behind the nose and chin develop the higher you place the light behind you and above the problem. Most people's faces will look good in it.

A reflector or white foam board placed under the subject's chin can easily brighten shadows caused by butterfly lighting.

In butterfly lighting, the main light source is above and directly behind the camera, casting a butterfly-shaped shadow behind the nose.

For this effect, the photographer is positioned underneath the light source. It's most common application is in glamour photography, where it's used to cast dramatic under-cheek and chin shadows. Plus, it's more forgiving to wrinkles on elderly subjects than side lighting.

To get butterfly lighting, place the light source behind the camera, but slightly above the subject's eye level or head level (depends on the person).

Sometimes a reflector is placed exactly under the chin, with the person having the problem holding it. People who have thin faces and pronounced or prominent cheekbones would look good in this pattern. A loop or split would help someone with a round or broad face appear more proportionate.

Using only window light or a reflector to produce this pattern would be more laborious. The sun or a flash is usually required to create the more pronounced shadow under the nose.

Indicative Expression

The light comes down gently from the sky. A little shadow is cast below the nose and chin. The thinner appearance of the subject's face is aided by these shadows. The term comes from the fact that the shape of the shadow under the nose is reminiscent of a butterfly. Each side of the face and the eyes are equally illuminated by this setup.

Initial Conditions

Lighting should be set up immediately behind the camera, from outside the frame. In contrast to a built-in flash, however, the light stand can be elevated to illuminate the subject from above. After then, point the light at a 45-degree downward angle towards the problem area.

Whenever Necessary

The butterfly effect is a simple yet effective method of lighting. The cheekbones and jawline can be highlighted with this portrait lighting arrangement.

You could try switching from soft to complex modifiers. This opens up more possibilities, from subtle and enhancing to bold and imposing.

All skin tones will look good in this lighting. It's reminiscent of a 1950s glamour shot, and it's standard practise in the field of beauty photography. This lighting scheme is also age-appropriate because it hides creases and lines on the skin.

Circular Lighting

A little shadow cast by the subject's nose on their cheeks is used to create loop lighting. To produce loop lighting, the light source must be slightly higher than eye level and about 30-45 degrees from the camera (depends on the individual, you have to learn how to interpret people's faces).

To achieve loop lighting quickly, start with butterfly lighting and then move the light to the side. A nose shadow will be cast on the side of the face opposite the light source.

Circular lighting sometimes has a lengthening affect on the face. It's versatile—you can position it on either side—and looks well in portraits of virtually everyone.

Wherever the light is directed, a shadow will be cast in the opposite direction. To what extent the nose casts a shadow is proportional to the light's location and the size of the nose.

That loopy shadow is created by the tip of the nose. The light source will cause a shadow to form on the other side of the face, on the cheek. Lighting in a loop acts similarly to butterfly lighting, but from a wider angle.

Indicative Expression

Most of the face is still visible under bright light. However, your key light is situated slightly off to the side of the camera. This creates a shady aspect of the face. A small cloud protrudes from the snout of the light, making it easy to spot. The location is neither directly below nor to the side.

Initial Conditions

When a butterfly light is shifted to one side, the result is a loop light. Set up a light source that is not part of the camera to the side and slightly behind it, no more than 45 degrees from the subject.

The light source should be higher than the subject and directed downward. In order to cast shadows on one side of the face, the light source should be offset from the camera. But position it such that the light reaches all sides of your face.

Whenever Necessary

Butterfly lighting is attractive, but loop lighting adds intrigue and depth. This layout strikes a nice balance between stark contrast and delicate glow.

Extra Variation Bonus

To diffuse the darkness of the shadows, place a reflector in the direction opposite the light.

Lights by Rembrandt

Rembrandt lighting, named for the Dutch painter who popularised it, is quite similar to loop lighting. However, when illuminated in a Rembrandt-style manner, the shadow loop cast by the nose extends far enough down the face to meet the shadow cast by the ear. This creates an artificial triangle of light on the cheek.

Rembrandt's light source has a similar appearance to the loop's light source. Placed here at a greater height, further from the centre, and at a more acute angle. Rembrandt lighting resembles a "loop lighting on steroids."

Beginning with a loop lighting setup, move the light up and to the side until the shadows cast by the nose and the cheeks meet. This is a really dramatic and avant-garde approach to lighting. To achieve a more subtle effect, fill with a reflector.

This lighting style, known as Rembrandt lighting, gets its name from the Dutch master painter Rembrandt, who frequently employed it in his works, including this self-portrait.

The triangle of light on the cheek is characteristic of Rembrandt lighting. Rembrandt lighting has that trapped small triangle of light in the middle, as opposed to loop lighting where the shadow of the nose and cheek do not contact.

Creating authentic Rembrandt lighting requires incorporating light into the eye on the face's shadow side and giving it a catch light. The timepiece won't have the same "life" or lustre if the battery dies.

Using split lighting to emulate Rembrandt's more dramatic lighting effects can give your image a moodier, darker tone. Please make proper use of it.

The subject needs to face away from the light source ever-so-slightly to achieve the desired Rembrandt effect. It's important to position the light source above their heads so that the shadow cast by their nose lands on their cheek.

Rembrandt illumination is not possible on everyone's face. It's more likely to be successful for those who already have high or pronounced cheekbones. It may be challenging for them to accomplish this if their nose is small or if the bridge of their nose is flat.

Again, you don't have to construct this exact pattern; as long as the person is complemented and the desired atmosphere is set, the lighting is successful.

To achieve this effect when utilising a window light, you may need to cover the bottom of the window with a gobo or card if it extends all the way to the floor.

Indicative Expression

Rembrandt light is distinguished by a triangle of brightness under one eye. The triangle of illumination appears on the cheek that is furthest from the light source.

The lighting arrangement was named after the well-known Dutch artist Rembrandt. This sort of illumination appears frequently in his paintings. Catchlights are produced in both eyes thanks to the Rembrandt lighting design.

Initial Conditions

Adjust the angle of that loop light so that it is more perpendicular to the wall. Standard Rembrandt lighting is a 45-degree angle. However, the light should be adjusted so that the other side of the face has only a tiny triangle of light on the cheek right below the eye.

The luminaire is suspended about two feet above the viewer's head. There are often two lights used for Rembrandt illumination. Use a reflector on a single lamp to get the desired effect.

Set the reflector at a similar 45-degree angle to the subject as the leading light. Make sure the glass is slanted to reflect some of the light source's primary beam.

Whenever Necessary

The lighting style popularised by Rembrandt is very dramatic. It's not the ideal choice for a rosy-cheeked image, but it can make for a truly terrifying one.

The style is commonly employed when photographing manly or masculine-looking models. It's also less forgiving on skin textures because of the more acute side angle. This cut tends to highlight blemishes and lines.

Light Sources on Either Side

Split lighting, also known as side lighting, is a lighting technique in which only one side of the subject's face is illuminated. It's not as popular as other poses, but it's worth trying for its dramatic, one-of-a-kind effect.

The split lighting effect can be easily achieved by positioning the light source off to one side of the model. A reflector or white foam board can be used to direct light onto the unseen side of the face if you find that effect too intense.

Your leading light should be 90 degrees out to one side of your model. The far side can be completely in shadow, or you can utilise a bounce/fill light to bring out more of the details.

Fill can be used to produce catchlights in the eyes, even if you don't want that side of the face to reveal much detail. Remember that this lighting style will emphasise the texture of your model's face. Split lighting is elegant but not necessarily flattering; it works best for very sombre photographs.

Split lighting, as the name suggests, evenly illuminates half of the face while casting shadow on the other half.

It's a common technique for creating striking portraits of musicians and artists. Since split lighting is typically a more masculine design, it is more relevant to males than it is to women.

Just remember that. Use the material here as a general guideline or starting point, but keep in mind that there are no absolute rules. Always defer to the policy until you have mastered the skill and can execute it in your sleep.

Put the light source to the subject's left or right, and maybe even somewhat behind their head, to create split lighting.

It all comes down to the individual's expression when deciding where to shine the spotlight on the problem at hand. Keep an eye on how the light hits them and make any necessary adjustments. The eye on the face's shadow side does, in fact, pick up light exclusively in the eye, given the right split illumination.

If turning their head to the side causes more light to hit their cheek, they might not be a good fit for split lighting.

REMEMBER that any illuminating pattern can be made on any facial view (full-face front, 3/4 face, or profile). The important thing to remember is that the direction of your light source should mirror that of the initial phase.

As soon as they turn their heads, the path will shift. That fact can be used to your advantage by just twisting the subject's head to make the desired changes to the design.

Exactly what is a "catchlight" supposed to do? Without this light entering the eye, the eyes of the person will appear dark, lifeless, and uninteresting. Having a catchlight in at least one eye will bring your subject to life.

Take note of how it diminishes any dark circles under the eye and lightens the iris. This makes them feel more alive and gives them a glistening quality.

Indicative Expression

A beam of light that precisely divides the face in two, casting equal amounts of light on either side. It's uncertain whether or not a catch light is installed in the secondary eye.

Initial Conditions

Light should be placed somewhat off to the side, at around face level. One side of the face should be illuminated while the other side is left in darkness. The light source can be further away, with or without a diffuser, to provide a more dramatic effect.

Whenever Necessary

Photographs with split lighting are particularly effective when the photographer seeks to convey a sense of tension or mystery. The light is less tolerant to skin blemishes. And the more dramatic style tends to go better with a serious frown than a smiling.

Lights for the Profile or Rim

Because of its heroic appearance, profile lighting (also known as rim lighting) is sometimes utilised in sports portraits.

This style of lighting is commonly used in two settings. In the first, you need to put the light source behind your subject. As a result, your subject will stand out from the background thanks to the outlined area of light that you've created.

Your problem will receive inadequate coverage. If you want more than simply an outline, then you'll need more than one light for this technique.

In the second, your subject should be facing you at a right angle so that you can capture their profile.

Light their face from in front (at an appropriate distance and slightly above eye level to begin with) or from slightly behind the side of their face that is turned away from the camera. To highlight only the person's profile, you should only light their edges.

Indicative Expression

When it comes to rim lighting, it's the highlights that stand out rather than the shadows. This lighting scheme casts a thin halo of light around the subject from one side. In order to highlight the subject's outline, rim lighting is typically used in conjunction with a low exposure.

Initial Conditions

In rim lighting, the light source is positioned at an angle of around 45 degrees to the subject. The problem, however, lies 45 degrees behind the rim light. Position the light a few feet behind and to the side of the subject instead of directly in front of the camera. You may alter the rim's width and position by adjusting its height.

Make use of manual exposure if you're after a black-and-white photo with just the subject's outline visible. For flattering lighting of the subject's face, position a reflector in front of the subject and direct light towards their face.

Whenever Necessary

The dramatic effect of rim lighting is to highlight the form of the subject. As a result, it is perfect for taking pictures of athletes, enhancing curves, or catching a profile.

It's not as flattering if you have skin issues, as the rim of light might be harsh. The face of the subject is difficult to light in the same way that the rim outline is without a fill light.

Advice Extra

For a more eye-catching and entertaining rim light, use a coloured gel.

Broad Lighting

The term "broad lighting" refers more to a general aesthetic than a specific design. There is no requirement for duration in any of the following lighting arrangements: divide, Rembrandt, and loop.

This type of lighting is called "wide lighting," and it occurs when the subject's face is tilted just a little bit away from dead centre, so that the side of the face that is directed towards the camera (is broader) is in the light.

This creates an effect where the amount of light on the front is increased while the area of shadow on the back is decreased. "High key" portraits are often lit with ambient lighting.

A person with a narrow face can benefit from this lighting style since it makes their face appear wider (thus the name).

However, this lighting is not ideal for someone who is larger or has a rounder face because most people desire to appear narrower rather than wider.

Facial rotation away from the light source produces diffuse illumination.

Take note of how the side of the face closest to the camera is lit up the most and the side furthest from the camera is cast in shade. The most noticeable features of a person's face are highlighted by ambient lighting.

A Lack of Light

In contrast to broad illumination, short lighting focuses on a specific area. The side facing the camera (and hence appearing larger) is shown here to be in deeper shade due to the use of fast lighting.

It's common for portraits to be taken in a dark or muted setting. It's slimming and flattering for most people because it casts more shadow on the face, which acts as a sculptor and adds 3D qualities.

When using short lighting, the face is angled so that it faces the source of illumination.

Take note of how the face is lit most brightly on the side facing away from the camera, and how the side closest to the camera is cast in darkness. Simply defined, the most prominent features of the face are hidden by the light source under short lighting.

Harmonizing the Whole

You'll get a better grasp on when and when to use various lighting techniques once you've mastered identifying and creating them.

The sort of portrait and the intended mood can be determined through a study of the subject's face, which can help you determine the optimum lighting scheme.

A person with a round face who wants to look thinner in their senior portrait will be lit substantially differently than a person who wants to appear cruel or angry in a band commercial shot.

You will be well-equipped to meet the challenge once you have learned all the patterns, recognised and mastered the quality of light, the direction of light, and the ratio.

Needless to say, being able to relocate the light fixture makes it much simpler to alter the lighting scheme. It's a little trickier if the only available light comes from outside, such as from a window or the sun.

To alter the lighting without physically repositioning the light source, you must instead rotate the subject in relation to the light source.

Alter the angle from which you're filming. Or they could shift their posture. If you can't shift the light fixture itself, shift what you can to avoid being illuminated.

Practice Exercise

Find a model  and give yourself a chance to practise the lighting techniques we covered.

• Light as a Butterfly
• Rembrandt Lighting
• Rem-Loop Lighting
• Lights Thatre Separated

For each of the various patterns, be sure to depict both natural light and artificial light. Focus on perfecting the routines first rather than worrying about other details (ratio, fill light, etc.).

In order to see what's going on, use a light source such as a window, a floor lamp with a naked bulb (remove the shade), or the sun (don't use flash until you've acquired more experience; it's more challenging to learn with because you can't see it until after the photo has been taken). It's ideal to begin with the subject looking straight into the camera; any turning should be done solely for the purpose of establishing the broad and short.