Side light. Basics: location of the light source The light fell from the side

In a classic portrait there are a few things you need to keep in mind and think about how to make the most flattering portrait of your model, showing her at her best. These are the ratio of illumination, light and shadow pattern, type of face and angle of view. I suggest you become familiar with these basic concepts because to break the rules you need to know them. However, if you study well and put this knowledge into practice, it will help you take portraits of people much better. This article is about light patterns: what they are and why they are important to know and use. Perhaps in the future, in other articles, if you like it, I will talk about other components of a good photographic portrait.

I define black and white drawing as the play of light and shadow on the face, creating various shapes. Simply put, it is the shape of shadows on the face. There are four main lighting schemes for portraits:

Side lighting
Loop lighting or "loop" pattern
Rembrandt light diagram
Butterfly pattern

There are also concepts of wide and short light, this is more of a style of lighting and can be combined with most of the schemes above. Let's look at each scheme separately

1. Side light

Side light splits the face into two equal parts, one of which is illuminated and the other is in shadow. It is often used to create dramatic portraits, such as a portrait of a musician or artist. This light is more suitable for male portraits and, as a rule, is rarely used for female ones. However, keep in mind that there are no hard and fast rules in photography, so I suggest you use the information you've learned as a starting point or guide. Until you are confident in your knowledge, it is better to act as the classic manuals suggest.

To achieve the sidelight effect, simply place the light source at a 90-degree angle to the left or right of the model, sometimes even slightly behind the head. The placement and position of the light source will depend on the person's face. Watch how the light falls on your face and move the source. At correct positioning side light in the eye on the shadow side of the face there should be a highlight. If you can't get rid of the light hitting your cheek, it is quite possible that this type of face is not suitable for side light.

Note: any lighting scheme can be used with any head rotation (full face, when both ears are visible, ¾ face, or even profile). Just keep in mind that the position of the light source must change in accordance with the rotation of the head to maintain the desired cut-off pattern.

What is a "blink"?

Notice that in the photo above there are reflections of the light source in the child's eyes. They appear as small white specks, but if we look closer we can see the shape of the source I used to take this portrait.

Look, this bright spot is actually a hexagon with a dark center? This is a small hexagonal softbox on my Canon flash, which I used for shooting.

This is the "flare". Without glare, the eyes appear dark and lifeless. You need to make sure there is a highlight in at least one of the model's eyes to bring the photo to life. Note that the highlight also brightens the iris and makes the eyes appear brighter overall. This enhances the feeling of life and gives them shine.

2. Loop lighting

Loop lighting creates a slight shadow from the nose onto the cheek. To get such lighting, you need to place the source slightly above eye level and at an angle of 30-45 degrees from the camera (depending on the person’s face, to correctly set up any scheme you need to learn to read people’s faces).

Look at this photo to see how the shadow falls, and on the left side you can also see a small shadow from the nose. In a loop pattern, the shadow from the nose should not extend too far onto the cheek, much less overlap with the shadow from the cheek. Try to keep the shadow small and pointing slightly downward, but keep in mind that if the source is raised too high, the shadows may look strange and the highlights in the eyes may disappear. The loop design seems to be the most popular as it is easy to create and suits most people.

In this diagram, the black background represents a background with trees. Sunlight comes from behind the trees, but they are completely in the shade. A white reflector located to the left of the camera reflects light back onto the subjects' faces. By choosing the location of the reflector, you can change the illumination of people's faces. Loop lighting is achieved by positioning it approximately 30-45 degrees from the camera. The reflector should also be positioned just above their eye level so that the shadow of the nose falls slightly down towards the corner of the mouth. One of the common mistakes made by beginners is the low location of the reflector and its tilt. As a result, the face and nose are illuminated from below, which looks unsightly.

3. Rembrandt light

The design is called Rembrandt because this type of lighting is often found in Rembrandt's paintings, as can be seen in his self-portrait above. Rembrandt lighting determined by the presence of a light triangle on the cheek. Unlike loop light, where the shadow from the nose and cheek does not close together, here they merge together, which creates a light triangle on the cheek under the eye on the shadow side. To create the correct scheme, you should make sure that there is a highlight from the light source in the eye on the shadow side, otherwise the eyes will be “dead”, without a pleasant shine. Rembrandt's lighting is more dramatic, as such a chiaroscuro pattern creates a more restless mood for the portrait. Use it accordingly.

To create Rembrandt lighting, it is necessary for the model to be slightly away from the light. The source should be above the top of the head so that the shadow of the nose falls on the cheek. Not every person is suitable for this scheme. If it has high or prominent cheekbones, the design may work. If the model has a small nose or a flat bridge, this lighting may be difficult to achieve. Again, remember that you don't have to do this exact circuit with this exact model. Choose something that will highlight the model’s advantages and present it in the most advantageous way. Then the lighting will work as it should. If you are using a window as a light source and the light from the window falls onto the floor, you may need to cover the bottom of the window with a gobo or panel to achieve this type of lighting.

4. Butterfly pattern

This pattern is aptly named "butterfly" after the shape of the nose shadow it creates. if the light source is placed above and directly behind the camera. Basically, with this setup, the photographer is under the light source. The butterfly pattern is often used for glamor shots, highlighting the model's cheekbones. It is also suitable for shooting older people, since, unlike other schemes, it emphasizes wrinkles less.

The butterfly pattern is created by a light source directly behind the camera and slightly above the eyes or head, depending on the type of face. Sometimes the scheme is supplemented with a reflector directly under the chin; the model can even hold it herself. This scheme suits models with beautiful cheekbones and a narrow face. A round or wide face will look better with a loop pattern or even a side light. This pattern is more difficult to create using light from a window or reflector. Often, to make shadows more pronounced, a more powerful and directional light source, such as the sun or a flash, is needed.

5. Wide illumination

Broad lighting is not so much a pattern or pattern as it is a style or variety. Any of the following patterns can be done with a wide or short light: loop, Rembrandt, side light.

Wide lighting is when a person's face is slightly turned and illuminates the side of the face that is closer to the camera. The illuminated side is larger in area than the shadow side. Wide lighting is sometimes used for high key portraits. This type of lighting makes a person's face appear wider (hence the name) and can be used on models with a narrow face to make it look wider. Most people, however, want to look slimmer, not wider, so this lighting is best not used on wide or round faces.

To create wide illumination, the face must be turned away from the light source. Notice that the side of the face closest to the camera is illuminated, while the shadow falls on the far side. Simply put, broad light illuminates most of the face that we see.

6. Short lighting

Short lighting is the opposite of wide. As you can see in the photo above, in short light the side of the face facing the camera (wide) is in shadow, while the side away from the camera (narrow) is illuminated. This type of lighting is often used for low key or dark portraits. It makes the face more voluminous, sculpted, and visually narrows a wide face, which most people like.

For this design, the face should be facing the light source. Note that this illuminates the side of the face facing away from the camera, while the shadow falls on the side facing the camera. Simply put, in short light, most of the face we see is in shadow.

Putting it all together

Once you learn to recognize and create each of the lighting patterns, learn to apply them in different situations. By studying people's faces, you learn what lighting patterns would be better suited of this particular person in order to create the mood in the portrait and show the person in the best possible way. If a person has a round face and wants to appear slimmer, then they should be lit differently than a person who wants to take a dramatic photo. When you know all the patterns, know how to control the quality of light, its direction and ratio, you can cope with any shooting task.

Of course, it is much easier to change the lighting by moving the source. However, if the source is the sun or a window, you don’t move them much. Here, instead of moving the source, you need to change the position of the model or object, rotate them in relation to the light. Or change the camera location. So, if you can't move the light source, you need to move yourself and move your subject.

Practical exercises

Choose your subject (preferably a person, not your dog) and practice creating each lighting scheme. which we analyzed:

Butterfly
A loop
Rembrandt
Side light

Remember that there is also wide and short lighting and apply it to different types of models' faces where necessary. Don't worry about the other aspects (light/shadow ratio, fill light, etc.) this moment concentrate on getting good drawing. Use light from a window, a floor lamp without a lampshade, or the sun, that is, a source from which you can see how light and shadow fall on your face. I suggest you don't use flash at first, as you don't have enough experience yet to visualize the result before the photo is taken. This may hinder your learning.

It's also best to start working with your face facing directly towards the camera, without turning (except to practice creating wide and short lighting).

Show us your results and write about the problems you encountered. I will try to help you solve them so that you and others will not make similar mistakes next time.

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 use in order to convey the right mood, the right image, or the most flattering representation of the model in a 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 become your milestones on the path to great portrait photography. And don’t forget that the best learning is to alternate theory with practice.

What are lighting modes in portrait photography? We can say that it 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 elements of style and can be used simultaneously with the basic lighting modes in a portrait: wide and narrow lighting.
Let's look at each type of lighting separately.

1. Side lighting (Split Lighting)

In this mode, the light “splits” 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 when taking portraits of musicians or artists because it adds drama to the portrait. There are no hard and fast rules for using a particular type of lighting, only recommendations based on average perception. It is necessary to know such rules so that they can be used as a basic starting point.

To achieve a similar effect, place it 90 degrees to the left or right of the subject, and perhaps even slightly behind the head. The placement of the light in relation to the subject depends on the shape of the person's face. See how the light hits your face and adjust accordingly. The light from the shadow side should fall only on the eyes and shape the face in such a way that the light-shadow boundary runs clearly in the middle. If, when rotating around a person's face, you see that the light falls more on the cheek, it is quite possible that the model is simply not suitable for this scheme, which should have ideal light breakdown.

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're taking a frontal shot, ¾ of the face, or even a profile, the light needs to "follow a pattern." If the model simply turns her head, the whole picture will change. You must adjust the lighting by moving the source or turning the model slightly in the desired direction.

What is a glareand why is it needed?

Pay attention to the reflection of the actual light source in the model's eyes. The glare appears as white specks in the child's eyes in the photo above. If you look closely, you can see the outlines of the devices that were used to take 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 glare, the model's eyes become dark and look inexpressive. When shooting, make sure that at least one eye has the full glare reflected. Note that the highlight also subtly changes the color of the iris and the overall brightness of the eyes, which enhances the feeling of vitality and adds shine to the eyes.

2. Classic lighting (Loop Lighting)

Classic lighting is considered to be one that creates a slight shadow from the nose on the cheeks, thereby creating a light-shadow loop. To achieve this, you need to position it slightly above eye level, and at about a 30-45 degree angle from the camera (depending on the person, you have to learn to read people's faces).

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, just make sure that the shadow is slightly directed downwards. To do this, do not place the light source too high, as this can lead to the formation of unwanted shadows on the face and loss of highlights in the eyes of the models.

Classic lighting is considered the most popular lighting model for portrait photography, because the pattern of light and shadows created is the best and highlights the dignity of most people.

In the diagram, a black background indicates a strip of trees, which is located behind the couple, while the sun is hidden behind the greenery. Used to get enough light onto the faces. If you slightly change its position, you can choose different lighting options.

With the classic lighting method, it is installed at an angle of 30-45 degrees. away from the camera and just above the models eye level. Care must be taken to ensure that the light-shadow loop does not touch the nasolabial fold. A common mistake among beginners is to place the reflector too low, casting too much light on the lower part of the face, creating an unflattering picture for the subject.

3. Rembrandt lighting

The lighting bears the name of the famous artist because Rembrandt often used this 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 loop lighting, where you don't want to touch the shadows of the nose and cheeks, in Rembrandt lighting you only want to get a small triangle of light in the middle of the cheek. When creating proper shadows, make sure that there is enough light falling on the eye in the shadow side of the portrait, otherwise it will look lifeless. Rembrandt's lighting is considered dramatic because, due to the "split" in chiaroscuro, a special mood is created in the portrait, which can contribute to a tragic facial expression.

To create Rembrandt lighting, you need to turn 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 individuals are suitable for such a scheme. If the model has high or prominent cheekbones, Rembrandt lighting can produce interesting results. A small nose and a flat bridge of the nose will significantly complicate the photographer’s work and it is unlikely that the desired effect will be achieved. The use of one or another lighting scheme depends only on the model being photographed and on the mood that the photographer wants to convey in the photo.

If you'll be using light from a window that's closer to the floor, you can cover the bottom of the window to try to achieve Rembrandt-type lighting.

4. Butterfly Lighting

It is not for nothing that such lighting is aptly called “butterfly” or “butterfly”. The outline of the chiaroscuro resembles the shape of a butterfly, because it creates shadows under the model’s nose that resemble wings. The main light source is placed higher and directly behind the camera. This design is often used for glamor photography and is also ideal when photographing older people as it places less emphasis on wrinkles.

The butterfly effect is created by having 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 faces with prominent cheekbones or subjects with delicate facial features. For a round or wide face, it is better to use a standard (classical) lighting scheme or even Rembrandt-type lighting.
The scheme is difficult to reproduce if you only have a light disk - then it will be difficult to cope with it without an assistant.

5. Wide illumination

Broad lighting is not a specific lighting scheme, but rather a shooting style. Any of the lighting patterns discussed above can be shot using a wide or narrow lighting method.

Wide is an option when the subject's face is slightly turned away from the center and light falls on most of it. The shadow side, accordingly, will be smaller.
Wide lighting is sometimes used when shooting portraits in high key. This type of lighting visually slightly expands the face (hence the name). It is better to use for those who have a very narrow oval face and thin, pointed features. Most people want to look slimmer in portraits, so you should be careful when photographing chubby people. Simply put, wide lighting puts emphasis on more of the face.

To create wide illumination, the model should be turned away from the light source. Please 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 model’s face farthest from the camera.

6. Narrow lighting

This method is the opposite of wide lighting. As can be seen in the example, the model must be positioned so that most of the face is in shadow. This technique is most often used when shooting low key portraits. At the same time, faces become more sculpturally outlined, which gives the image volume. This is a very flattering way of lighting for most people.

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

Putting it all together

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

Someone with a very round face will probably want to appear slimmer and will be happy if the portrait emphasizes the sophistication of the face. You will be able to use correct scheme, if you are faced with the task of relieving anger or taking a group photo. When you learn to read and recognize patterns, master the quality of light, can control the correct position of light sources and know relationships and proportions, you will be completely 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 rotate the source around the model, but rotate the model so as to get the lighting you need. You will have to move the model or change the position of the camera to change the direction of the light and use shadows to create the desired pattern, but as practice shows, it’s worth it!

Ten lighting schemes with a standard set of three Hensel illuminators.

Many photographers ask the question of how to set the light in the studio when shooting a portrait. Realizing that it is very difficult to learn without examples, we decided to write an article about fashion photography.

To ensure that the circuits could be easily replicated in most studios, we used 3 Hensel 500 Integra monoblocks.

And the most popular light-shaping attachments: octobox 80 cm, silver umbrella 120 cm, beauty dish, standard reflectors, stripboxes 60x120 cm and 30x180 cm (ideally they should be the same, but I had to work with what I had).

In addition, we used reflective panels and black flags.

Scheme 1

Used as a highlighting light lighting fixture with a silver umbrella positioned slightly to the right of the camera. We placed two lights with strip boxes on the sides and slightly behind the model.

To prevent the backlights from affecting the background, we installed white panels between the background and the lamps. The panels cut off excess light from the background and redirected it to the model, making the backlight more voluminous, and the background itself was illuminated only by the main key light.

The intensity of the background illumination in this scheme can be easily adjusted by the position of the key light. If you raise the lamp with the umbrella higher and tilt it more steeply towards the model, then the main light falls on the model, and only the light from the upper peripheral part of the octobox hits the background, the background in this case becomes darker.

If you lower the drawing lower and turn it more frontally, then in this case quite a lot of light from the main source will fall on the background, it will become whiter, but a shadow from the model may appear on the background.

Scheme 2

Bright, richly colored clothing models look great against a completely white background.

When the background light is at its maximum, there is a danger that the light reflected from the background will be so powerful that it will flood the entire scene with light.

As a result, the side light from the background lamps, without hitting the model, went directly to the background, illuminating it and being reflected, making the background completely white, without a shadow from the model, and the white panels served as backlight, reflecting the light falling from the drawing light.

The picture turned out to be contrasting with excellent detailing of the clothing.

Scheme 3

A very simple scheme. We used an octobox lamp as a key light.

The model starred in full height, and for backlight we used a 30x180 cm tall stripbox, which we installed to the left of the model. This stripbox is convenient for shooting full-length models.

As a result, we got a brightly lit model that stands out against the dark gray background.

Scheme 4

Scheme with one light source. Key light from our favorite - a monoblock with an octobox. On the sides of the model are two wide reflective panels to fill with light.

This turned out to be quite enough to get an interesting photograph.

As you can see, the background is illuminated evenly.

Why did I call octobox a favorite? I always liked it - quite soft, almost like an umbrella, but easily controlled light. And there is no square highlight in the model’s pupils, unlike a regular softbox.

Scheme 5

In this scheme, the octobox, a backing stripbox, separated from the background by a reflector so that it has less influence on the background, became the drawer.

To get a gradient on the background, we installed a candy bar with a reflector and honeycombs.

A light spot on a gray background brought the image to life.

With enough imagination, color filters installed on a background lamp will add the desired effect to the image and turn a soft gray background into color. The spot size can be easily adjusted by installing a honeycomb grid of different degrees.

Scheme 6

In the previous frame we got a uniform dark gray background.

By adding into the frame the background light we were already using with a standard reflector and honeycomb, we illuminated the background and changed the mood in the frame.

This example best shows how any scheme can be modified and expanded to achieve a specific goal.

Scheme 7

Photographing a fairly tall full-length model required uniform lighting from the top to the bottom of the frame. This can be easily achieved by using a light with a long stripbox as a key light.

A strip box was also used as backlight. Black light-absorbing panels were installed on the sides of the model. Light from the sources fell on the model, and light-absorbing panels prevented its uncontrolled re-reflection in the frame.

Scheme 8

We used an octobox lamp as a key light.

A backlight with a stripbox was installed behind the model on the left and high enough to highlight the hairstyle.

This staging scheme allowed us to slightly dim the background lighting and outline the model with backlight.

Scheme 9

The umbrella is rarely used in the studio, but on the road it is very popular due to its compactness and quick readiness for work.

For the key light, we used a silver umbrella source, which produces a soft, enveloping light that is extremely difficult to control.

Light spreads from the source in a continuous wave of light, illuminating almost everything in its path. In our case, a large parabolic umbrella was used, the light beam from which was still controllable; it expanded or narrowed by simply moving the light source on the axis of the umbrella (closer to the umbrella or further away).

The umbrella was placed almost above the photographer’s head, a little to the right, and directed steeply down.

Scheme 10

We used a beauty dish as a key light. To get a more directed beam of light, put on a honeycomb grille.

Light-absorbing panels, the so-called French flags, were installed on both sides of the model. A model in a black leather jacket, illuminated by a narrow beam of light, appeared against a completely black background.

To prevent the jacket from blending into the background, we illuminated the background using a standard reflector.

Results

Concluding this review, I would like to say that good shots can be done with either one or two light sources, combining them according to your imagination. Using three light sources when shooting makes your possibilities practically limitless. No wonder many well-known companies, and among them Hensel, which produces and sells lighting equipment, complete sets of three illuminators and light-shaping attachments, packaged in a convenient branded case.

Backstage

Acknowledgments

Thank you for technical assistance in organizing the shooting of hensel-studio.ru, the exclusive distributor of Hensel products in Russia.

Team

Photographer and style: Ira Bachinskaya, @irabachinskaya_photographer
Author and technical specialist:

Side light splits the face into two equal parts, one of which is illuminated and the other is in shadow. It is often used to create dramatic portraits, such as that of a musician or artist. This light is more suitable for male portraits and, as a rule, is rarely used for female ones. However, keep in mind that there are no hard and fast rules in photography, so I suggest you use the information you've learned as a starting point or guide. Until you are confident in your knowledge, it is better to act as the classic manuals suggest.

To achieve the sidelight effect, simply place the light source at a 90-degree angle to the left or right of the model, sometimes even slightly behind the head. The placement and position of the light source will depend on the person's face. Watch how the light falls on your face and move the source. If the side light is positioned correctly, there should be a highlight in the eye on the shadow side of the face. If you can't get rid of the light hitting your cheek, it is quite possible that this type of face is not suitable for side light.

What is a "blink"?

Look, this bright spot is actually a hexagon with a dark center? This is a small hexagonal softbox on my Canon flash that I used for shooting.

Good afternoon In touch, Timur Mustaev. Any photographer understands how important lighting is in his work. The ability to use it correctly is a key skill that will help even in difficult environmental conditions.

There are different types of light, types of lighting devices. One of the most significant classifications is made based on the directionality of the light source. In this regard, I want to ask you: side light in photography - what do we know about it? How and when is it best to use it?

Light from the side

Choosing the right and beneficial type of lighting is not easy in itself. So, in addition to general points on this issue, there is also different position light sources, which, of course, affects the image.

If we mentally draw a circle, in the center of which there will be an object/subject of shooting, then along its edges we can place a light fixture.

Directly lateral light is considered to be light standing on the side of the model and directed at her so that there is an angle of 90 degrees between the light and the photographer.

Outlines, texture - in this case they will become more attractive, clearer, due to which volume will appear. BS is often used in portraits, but landscape photographers also love it, and the architecture of the city looks impressive with it.

When photographing outdoors, be it nature or people, you always need to remember that, compared to a studio, the light here changes depending on the time of day and you need to have time to catch it.

The sun in a lateral position usually occurs before noon, or towards the end of the day. Why is that? The sun at its zenith (at its highest point) shines from above and practically does not create shadows on objects; more precisely, it leads them down, they tend to the ground. In humans, this will be expressed, at a minimum, in terrible dark bags under the eyes and chin.

The importance of light

Where the light will stand, and therefore where the light will come from, is a deciding factor. A small deviation - and you will get a different type of picture!

In addition to the lateral, we can talk about the frontal (front) and the opposite (rear).

Also between the lateral and frontal ones there are diagonal (at 45 degrees), nameless and sliding, which are located on both sides of the diagonal. Of course, any type can be presented very competently and interestingly if used in the right situation and with skill. But it is the side (or side - diagonal) that is considered the most successful.

What are its properties?

Firstly, it is convenient for us. After all, it shines from the side, that is, not clearly directly at the model, being somewhere behind the photographer, who may be blocking it, and not behind the subject of the photo shoot, getting into the lens and thereby causing him some harm.
Secondly, it, as already mentioned, gives three-dimensionality in contrast to the frontal one, which makes the photo flat. And at the same time, the side one does not create strong problems, such as light from behind: in the latter case we have overexposure, a dark object and an overly bright background, very hard contrast.

Thus, with side lighting, we get a beautiful image without unnecessary fuss in post-processing. Although some may call it a predictable and easy option due to the described positive features.

Examples of using

To learn to understand and control light, the best solution is to work with one type. To start. Then you can add more sources and experiment freely with lighting schemes. I suggest readers try this option on their own and see what results can be obtained. We talk below about studio conditions.

This means that within the framework of this theme, the main highlight light is presented from the side and is directed at the model, one or two other devices illuminate the background. With this setup we can get a shadow or highlight effect where one side of the face is lit and the other is not. The BS will fall precisely on the person’s ear.

First type: the face is slightly turned towards the light so that the narrow part of the face is illuminated, and the wide part - more facing the photographer - is in the shadows. In such a half-turn, the border of light and shadow passes along the profile and line of the nose.
Second: we turn our face away from the source, then the narrow part of the face is shaded, but the wide part remains in the light.

The main thing is to clearly position the illuminator; what pose and facial expression the client takes will be the subject of creative vision.

In this case, the rotation of the model’s head relative to the source may not necessarily be the same as I described above. Vary it, thereby creating completely different images and patterns. This can be a full face, a slight or classic turn, etc.

I understand that many factors need to be taken into account, but I ask you to take one more into account: as soon as a glare from the light appears in the model’s eyes, the entire photo will immediately seem alive and expressive.

Are you completely clueless about your DSLR camera? You only take pictures on automatic mode? Then why do you reflex camera? I recommend you a course that will teach you how to use all the functions of the camera. After studying, learn how to take amazing photos that will be the envy of your friends!

Digital SLR for a beginner 2.0- for those who have a NIKON SLR camera.

My first MIRROR- for those who have a CANON SLR camera.

Sincere wishes for further success! Your guide to the world of photography.

All the best to you, Timur Mustaev.