LIGHT BASICS :: WHAT TO PUT WHERE
From the earliest days of photography, generating enough light to get the proper exposure has been a persistent issue. Most people have seen pictures of the early photographer holding a flash tray full of powder that would ignite, not only lighting the subject(s), but frightening small children and killing any birds that happened to be so unlucky as to fly overhead at that particular moment. We've progressed just a little bit since those days, but many still wrestle with just exactly how best to light a subject, especially indoors.
There are many options, of course, and it would be inappropriate to say that one method is better than another. Ultimately, what determines where and how to set lights is the specific look and effect one wishes to achieve. However, there are four basic set-ups that provide an excellent place to begin experimenting.
BROAD LIGHTING
Broad lighting places the light closer to the camera's axis so that the light falls on the side of the face that is closest to the camera. This lighting style is especially effective with people whose face is relatively thin. The photographer will want to pose the subject so that the nose is pointing away from the light, allowing the broad side of the face to catch as much illumination as possible.
There are a couple of obvious challenges to using this style. For a person with a very full, round face, this lighting can give the appearance of added weight, even making them seem to grow jowls. Such an effect is not likely to win a photographer many friends! The other issue that arises from this technique is that skin oils reflect a higher amount of light (because more skin is exposed directly to the light), can can result in glare or over-exposed highlights. When using broad lighting, it is wise to have some powder handy to tone down the more shiny regions of the face.
SHORT LIGHTING
Short lighting is, obviously, the opposite of broad lighting. Consider the subject's nose as the dividing line on the face and bring it toward the main light. This leaves the broad side of the face in shadow. Using this technique flatters someone who has a broad nose, or whose eyes are noticeably different in size (put the smaller eye toward the camera).
Short lighting is common among photographers who only have one light equipped with umbrella or soft box, but can be rather dangerous to use because of the degree of shadow on the broad side of the face. Too much or too little fill can completely destroy the look. Photographers must use a careful hand in lighting this set-up. Keep the main light at the same level, 90 degrees from the subjects nose. Use fill that is on the same side of the camera, but closer to center and bring the power level down.
BUTTERFLY LIGHTING
This style gets its name from the small, butterfly-shaped shadow that occurs under the nose when the light is positioned correctly. If the shadow is not present, the light is not in the right place. This light is most flattering to young models with hollow cheek-bones. With such a model, there will be a perfectly symmetrical butterfly shadow under the nose, and nice, thin shadows just under the cheek-bones, giving her that glamour look made popular in 1940's Hollywood.
To get this effect, the main light needs to be higher than the subjects face, and is typically placed at a 45-degree angle to the subject. Line the light with the subject's nose and then raise the light until you see the butterfly shadow. Fill with a small (16x20) soft box positioned near the camera on the opposite side from the main light.
REMBRANDT (45-DEGREE) LIGHTING
WARNING: THIS IS NOT A CORRECTIVE LIGHT! USE WITH CAUTION!
This is a model's light, and does not work well at all with round faces, jutting eyebrows, large noses, protruding chins or severe over bites. Sadly, a large number of commercial, high-volume portrait studios use this lighting scheme exclusively, resulting in less-than-flattering images for many of their clients.
Think "Mona Lisa" when setting lights in this position, for that is exactly the light pattern for which this method is named. Prior to Mr. Edison's gift of the light bulb, artists relied primarily on light coming through high windows. Rembrandt would set his subjects near a North-facing window (no direct sunlight) and position them so that the light illuminated the face at a 45-degree angle.
For this method, position the main light high, at a 45-degree angle from the subject's nose. The shadow should just touch the subject's upper lip, producing a triangle on the shadowed cheek. The shadow should not come below the lip for any reason.
Keep expressions serious when using this lighting. Big smiles are an absolute no-no as such results in deep pockets of shadow under the eyes and at the corner of the mouth. For a true model, the effect is marvelous. For anyone else, absolute disaster.
SPLIT LIGHTING
Much more kind to the average face, split lighting does exactly what the name implies: splits light right down the center of the face. Set-up is easy: duplicate short lighting, but have the subject look straight ahead so that light hits half the face, leaving the other half in shadow.
This arrangement gives the photographer a lot of flexibility as it eliminates highlights on the shadow side of the face. Split lighting reduces the appearance of puffy bags under the eyes and it is almost impossible to catch an unflattering nostril highlight. The effect is dramatic, but does require a fill light to prevent eyes from having a "dead" look.
Are those the only four lighting options? Of course not! They are merely a place to start one's experimentation with lights, and experiment is exactly what every photographer should do. One will find various adjustments necessary depending on body type, skin type, hair styles, height, background and myriad other variables. Items such as fill lights, barn doors, gels, and snoots are a each separate articles in their own right. Keep watching and eventually all will be addressed!
Now go shoot!
There are many options, of course, and it would be inappropriate to say that one method is better than another. Ultimately, what determines where and how to set lights is the specific look and effect one wishes to achieve. However, there are four basic set-ups that provide an excellent place to begin experimenting.
BROAD LIGHTING
Broad lighting places the light closer to the camera's axis so that the light falls on the side of the face that is closest to the camera. This lighting style is especially effective with people whose face is relatively thin. The photographer will want to pose the subject so that the nose is pointing away from the light, allowing the broad side of the face to catch as much illumination as possible.
There are a couple of obvious challenges to using this style. For a person with a very full, round face, this lighting can give the appearance of added weight, even making them seem to grow jowls. Such an effect is not likely to win a photographer many friends! The other issue that arises from this technique is that skin oils reflect a higher amount of light (because more skin is exposed directly to the light), can can result in glare or over-exposed highlights. When using broad lighting, it is wise to have some powder handy to tone down the more shiny regions of the face.
SHORT LIGHTING
Short lighting is, obviously, the opposite of broad lighting. Consider the subject's nose as the dividing line on the face and bring it toward the main light. This leaves the broad side of the face in shadow. Using this technique flatters someone who has a broad nose, or whose eyes are noticeably different in size (put the smaller eye toward the camera).
Short lighting is common among photographers who only have one light equipped with umbrella or soft box, but can be rather dangerous to use because of the degree of shadow on the broad side of the face. Too much or too little fill can completely destroy the look. Photographers must use a careful hand in lighting this set-up. Keep the main light at the same level, 90 degrees from the subjects nose. Use fill that is on the same side of the camera, but closer to center and bring the power level down.
BUTTERFLY LIGHTING
This style gets its name from the small, butterfly-shaped shadow that occurs under the nose when the light is positioned correctly. If the shadow is not present, the light is not in the right place. This light is most flattering to young models with hollow cheek-bones. With such a model, there will be a perfectly symmetrical butterfly shadow under the nose, and nice, thin shadows just under the cheek-bones, giving her that glamour look made popular in 1940's Hollywood.
To get this effect, the main light needs to be higher than the subjects face, and is typically placed at a 45-degree angle to the subject. Line the light with the subject's nose and then raise the light until you see the butterfly shadow. Fill with a small (16x20) soft box positioned near the camera on the opposite side from the main light.
REMBRANDT (45-DEGREE) LIGHTING
WARNING: THIS IS NOT A CORRECTIVE LIGHT! USE WITH CAUTION!
This is a model's light, and does not work well at all with round faces, jutting eyebrows, large noses, protruding chins or severe over bites. Sadly, a large number of commercial, high-volume portrait studios use this lighting scheme exclusively, resulting in less-than-flattering images for many of their clients.
Think "Mona Lisa" when setting lights in this position, for that is exactly the light pattern for which this method is named. Prior to Mr. Edison's gift of the light bulb, artists relied primarily on light coming through high windows. Rembrandt would set his subjects near a North-facing window (no direct sunlight) and position them so that the light illuminated the face at a 45-degree angle.
For this method, position the main light high, at a 45-degree angle from the subject's nose. The shadow should just touch the subject's upper lip, producing a triangle on the shadowed cheek. The shadow should not come below the lip for any reason.
Keep expressions serious when using this lighting. Big smiles are an absolute no-no as such results in deep pockets of shadow under the eyes and at the corner of the mouth. For a true model, the effect is marvelous. For anyone else, absolute disaster.
SPLIT LIGHTING
Much more kind to the average face, split lighting does exactly what the name implies: splits light right down the center of the face. Set-up is easy: duplicate short lighting, but have the subject look straight ahead so that light hits half the face, leaving the other half in shadow.
This arrangement gives the photographer a lot of flexibility as it eliminates highlights on the shadow side of the face. Split lighting reduces the appearance of puffy bags under the eyes and it is almost impossible to catch an unflattering nostril highlight. The effect is dramatic, but does require a fill light to prevent eyes from having a "dead" look.
Are those the only four lighting options? Of course not! They are merely a place to start one's experimentation with lights, and experiment is exactly what every photographer should do. One will find various adjustments necessary depending on body type, skin type, hair styles, height, background and myriad other variables. Items such as fill lights, barn doors, gels, and snoots are a each separate articles in their own right. Keep watching and eventually all will be addressed!
Now go shoot!
posted by Charles at
10:33 AM
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