The most common lighting scheme is called “Rembrandt light”. She received it in honor of the famous Dutch painter Rembrandt Van Rijn, who in most of his portraits used light that creates chiaroscuro on a person’s face in the form of a triangular corner under the eye on the dark side of the face.
Strong contrast between dark and light areas creates volume. And since the artist is deservedly considered a master of light and shadow, his technique began to be used in portrait photography and, of course, became classic.
How to Create Rembrandt Lighting
This type of lighting can be created using one. It must be positioned at an angle of approximately 45 degrees, one and a half meters above the head of the model and about two meters in front of the camera.
Why approximately? Because it partly depends on the lighting source used and the structure of the person's face. It's no secret that eyes can be bulging or deep-set.
To create the images used in this photography lesson, was taken studio flash with standard reflector, with the help of which we got quite hard (sharp) shadows. But it is quite possible to try to recreate the classic lighting model with a different light modifier. A reflector was also used, placed at a 45 degree angle to the flash, to highlight the shadows without losing image detail in the shadows. In addition, a flag was used so that the light from the monoblock did not fall directly on the background.
The main mistake of portrait photographers when mastering Rembrandt's lighting scheme is that the eye from the side of the painting light turns out to be completely illuminated. This suggests that the main light source was too low above the model.
Erroneous Rembrandt lighting
Therefore, through trial and error, you need to try to move the light source higher, while maintaining the position in place studio stand .
If you make the adjustments correctly, you will get an excellent Rembrandt diagram when light touches the eyelids, forms a triangle of light, but no wider than the eye and no longer than the nose. This triangle is called - Rembrandt triangle.
Correct Rembrandt triangle effect
The intensity of the light source did not change, only the height and angle of incidence of the light were changed, but it is clearly visible that changing just one parameter affects the final result. To make sure of this, you need to try installing the light yourself! More practice, friends! Any theory is useful only if it is supported by practice.
Effect
Although only one light source (perhaps with a reflector) is needed to create Rembrandt lighting, the design is effective in its simplicity and effectiveness. Correctly recreating this scheme guarantees a beautiful and high-quality portrait. The scheme is especially good for photographing full or round faces. Thanks to the transition of light into shadow and hiding part of the face in the shadow, the face visually becomes elongated and a certain slimming effect is obtained. That is why it is better not to use Rembrandt light for narrow faces, unless, of course, the task is to convey the strong negative emotions that the model is “experiencing,” because the face will look haggard.
Some photographers believe that Rembrandt lighting is a formulaic light for male portraiture and should not be used in female portraiture. But every rule of photography should be taken with a grain of salt and be thoroughly tested. Rembrandt lighting is no exception! After all, even Rembrandt Van Rijn himself used such light for portraits of women.
Try also to increase the contrasting effect of chiaroscuro by using additional lighting to create a spot of light against the background - emphasizing the dark side of the face, thus creating a feeling of darkness and mystery.
As an example of an atypical use of classical lighting, we can cite this photograph, where it can be seen that a gray light background was taken for the work, the light source was used with a softbox, and fill light was obtained using a reflector. The result is a wonderful, bright portrait of a child with the right classic Rembrandt lighting.
You should have a good understanding of how this effect is achieved so that you can start using it with ease in everyday portrait photography, as in the example above, and also try to reproduce this lighting in different poses of the model.
In future photography lessons, we'll look at other lighting techniques for portraiture. Anyone who is just learning studio skills portrait photography, you will need to familiarize yourself with them to improve your skills.
If you can understand these recommendations and learn to implement them, this will be the beginning of your path to high results in portrait photography. In this article we will look at the issue of lighting - what it is, and why it is so important to install lighting correctly.
Lighting can be defined as the play of light and shadow on the face, which ultimately creates the whole image of a portrait. There are four main types of lighting in portrait photography, namely:
Split lighting;
Loop lighting;
Lighting "Butterfly";
Lighting "Rembrandt";
Now let's look at each type of lighting separately. Let's highlight the features of lighting and find out when and what type is best to use.
Split lighting
The name speaks for itself, Split lighting divides the face into equal halves, one half is fully illuminated, the other is in shadow. This type of lighting is most often used to create a dramatic image when photographing a musician or artist. It is believed that Split is a male version of lighting. The serious, strong image that Split gives to a photograph is more suitable for male portraits than for female ones. Of course, there are no clear rules, and gender divisions into feminine light and male, all information given in this article is given for information and reflection. It can only serve as a starting point; the final decision is yours to make.
To achieve the effect of split lighting, you need to place the light source 90 degrees to the left or right of the subject, so that it is placed slightly behind the head. Where exactly you place the light source depends on individual characteristics faces. When exhibiting lighting fixtures watch how the light falls on the person. It may be that more light or shadow falls on the eyes, in this case it is better to change the direction of the lamps; if the light falls on the cheeks, it means that all the equipment is displayed perfectly.
Note: in any lighting, the face can be in any position, it can be in a frontal position, ¾, or even in profile. The most important thing is to keep an eye on the light source, which should be directed towards the face to maintain the lighting of the photo. Please note that if a person turns his head, the light will fall differently. At the same time, if the technique is set a little incorrectly, then a slight turn of the head in one direction or the other can correct everything.
What is "blink"?
Notice the photo of the child above. The light source used in the photograph is reflected in the baby's eyes. This is what is called "flare". Without glare, the eyes will appear dark and lifeless. You should always make sure that there is at least one highlight in the eyes. As a rule, it makes the eyes brighter, gives them shine and life.
Loop lighting
Lighting is done by creating a small shadow on the nose or cheeks. To achieve this effect, it is necessary to place the light source above eye level, at an angle of 30-45 degrees relative to the camera (the exact placement depends on the individual characteristics of the person).
Take a look at the image of the newlyweds above, notice how the shadows fall, you can see a small shadow on the left cheek, falling from the nose. Otherwise, the face is illuminated evenly. The light source is located slightly above eye level, this creates soft shadows and pleasant illumination of the face. Loop lighting is perhaps one of the most common types of lighting, due to the fact that it does not require particularly precise settings, and is suitable for almost all people, making them attractive in the photo.
In the diagram, the black rectangle represents the trees in the background of the photograph. The sun is behind the trees, the bride and groom are in the shade. The white reflector to the left of the camera is the light source directing the reflected rays of the sun to the newlyweds. By changing the position of the reflector, its angle of reflection and height, you can change the illumination of the image. For Loop lighting, the angle should be 30-45 degrees compared to the camera. As mentioned earlier, the light source (in this case, the reflector) is located above eye level, thanks to this the shadows lie smoothly, the darkest places on the face are in the corners of the mouth and near the nose. As practice shows, the main mistake beginners make is that they install the reflector too low.
Lighting "Rembrandt"
Lighting is named after the artist Rembrandt, who used this type of lighting in his paintings. Here is a self-portrait of Rembrandt, and the distribution of light and shadow in the painting is the same as with the same type of lighting. In this case, a triangle of light falls on the face, approximately equal to the height of the nose and the width of the eyes. It is best to place the light source at the level of the cheeks, and it must be installed in such a way that the light falls on the eye located on the dark side, otherwise it will come out lifeless, there will be no shine in it. Rembrandt's lighting is quite dramatic, and it is best used when photographing men, or in cases where drama is appropriate.
When lighting Rembrandt, the subject should turn slightly away from the light. The light source is located above head level. The shadow of the nose falls on the lower part of the cheek. This type of lighting is not suitable for every face type. If a person has well-defined cheekbones and a generally very expressive face, then Rembrandt-type lighting is suitable for him, but if a person has a small nose and a flat bridge of the nose, it is better to choose a different type of lighting. If you are using a beam of light coming from a window, make sure that the light does not fall on the floor; if this happens, then cover the bottom of the window with a cloth so that the light comes from above and falls directly on the subject. As in other cases, the choice of lighting is up to you and depends on the person you are photographing.
Butterfly lighting
Butterfly lighting is so named because the shadow formed under the nose is shaped like a butterfly. When using this type of lighting, the light source is placed directly in front of the subject's face, above eye level. The photographer takes pictures from below the light source. This type of lighting is often used for glamor photo shoots of stars, as with its help the face is beautifully illuminated and appears thinner and longer. Butterfly lighting is also suitable for shooting adults, since thanks to direct lighting it does not emphasize wrinkles and makes them more invisible.
As shown in the diagram, the light source is located behind the camera, above the eye level of the subject being photographed (depending on the shape of the person's face). Sometimes they also use a reflector, which is placed under the chin. People with defined cheekbones will get the perfect image of their face when photographed with Butterfly lighting. Round or wide faces will look longer and more petite. To create a “butterfly” effect, a professional one is better suited studio lighting, sunlight, or flash light may not be enough to create the desired effect.
Wide illumination
This is not so much a specific style of shooting as a general manner of lighting. Almost any of the lighting presented above can be wide.
The subject's face is slightly turned ¾ away from where the camera is positioned. This slight rotation creates a larger area of illumination on the face, while the shadow side is smaller. Wide lighting is sometimes used for high key portrait photography. This type of lighting visually makes a person’s face wider, which is what gave the type of lighting its name. Due to its nature, lighting is best used when photographing a very thin person, or a person with a face that is too elongated to widen the model’s face. Most people still want to appear slimmer, so be careful when choosing this type of photography, and never use it on chubby people.
To create broad lighting, it is best to turn your face slightly away from the light source. The light falls well on most of the face, the shadow falls on the part of the face that is away from the camera. In a nutshell, you get the most illumination from the closest part of your face.
Short lighting
Short lighting is the opposite of wide lighting. As you can see in the example in which this type of lighting was used. The light source is placed on a more distant side, that is, the part of the face that is closer to the camera remains in shadow. Most often, short lighting is used when shooting with low key, or for dark portraits. This lighting gives the portrait a sculptural look, creating something like a 3D effect. Short lighting slims the face well, which means it is suitable for overweight people or people with a round face.
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 is defined by the presence of a triangle of light 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 or even 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.
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 best features 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!
artpaladin V
Every photographer knows that light is the most important tool when creating a great portrait. Below the cut, I offer for consideration a simple classification of studio lighting schemes that will help you achieve better results.
Painting light
The main and powerful light source that creates hard (reflector with shutters) or soft shadows (diffuser, softbox, umbrella, reflector).Fill light
Additional lighting sources with softboxes, diffusers, etc. You can also use reflectors, background light, and backlight for a fill effect. Often shutters are used to allow you to control which areas to illuminate and which to leave in the dark.The procedure for setting the light in the studio
First of all, you must set the background light and then set the backlight. This order will allow you to see the effect produced by these light sources. The next step is to install the fill and then the key light. It is also important to know what effect each light source gives; to do this, turn the flashes on and off one by one. And you will definitely get a result that will satisfy you.There are several types of illumination of the model's face: wide light and short light (front, side, and various options thereof)
Wide light - full illumination of the side of the face aimed at the camera
Universally positioned key light for formal photography. The light source is placed near the camera to illuminate the side of the face facing the camera. Shadow is minimized. This is the most suitable type of lighting for normal and narrow faces.This type of light is named after the Paramount studio and is also known as butterfly, Hollywood or glamor light. This is a soft and “feminine” highlighting light aimed directly at the model’s face and allows you to idealize her skin as much as possible. The drawing light is placed on the right above eye level, the filling light is there, but below the drawing light. You can also use a reflector on the side of the model. This way we will form a symmetrical shadow from the nose, which should be no more than half the length of the lips.
This light pattern allows you to create a beautiful shadow on the model’s cheek, which is closest to the highlighting light. The key light should be lower than when used in the Paramount scheme and placed closer to the background. The fill light should be level with the camera, higher in relation to the main light and located opposite. Lighting Loop helps to widen the face and is suitable for working on narrow faces with ruddy skin. The loop from the nose area should not touch the shadow area of the side of the face. This is the most interesting lighting scheme. This lighting scheme creates an interesting three-dimensional effect on the model's face and body.
Short light - full illumination of the side of the face that is not directed towards the camera
Partial (narrow) illumination of the side of the face that is directed towards the camera. These patterns are useful when you are photographing wide faces. This is a very interesting and dramatic lighting scheme as the viewer sees more shadows. Also, this light sharpens the facial features a little.Light sources are located in 3 quarters: the universal location of the key light is suitable for various types of faces. Minimum illumination visually narrows the face. This is an acceptable lighting solution, even if the model turns her head to the side during shooting.
Dramatic, “masculine”, mood light. A very interesting light scheme where the key light source is placed at the level of the cheek. This is not a bright light. On the shadow side of the face you get a typical light triangle.
This type of lighting creates an effect similar to a burning candle: only one part of the face is illuminated. The key light is at nose level. The fill light can be raised or moved closer to the camera. This is very effective for significantly “narrowing” the face and nose, hiding any facial defects.
Lighting the profile/contour of the model. The key light (when photographing the model's profile) is placed behind the subject (the person is looking at the reflector or the key light source). Profile-edge. You must create outline lighting using a key light. When using a key light to highlight the haircut, raise the light source slightly to achieve the effect.
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