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

In a classic portrait, there are a few things to keep in mind and think about how to make the most winning portrait of the model, showing her from the best side. This is the ratio of illumination, light and shade pattern, type of face and angle of view. I suggest you get to know these basic concepts, because in order to break the rules, you need to know them. However, if you study well and apply this knowledge in practice, it will help you shoot portraits of people much better. This article focuses on lighting patterns: what they are and why it is important to know and use them. Perhaps in the future, in other articles, if you like, I will talk about other components of a good photo portrait.

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

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

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

1. Side light

Side light breaks 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 painter. Such light is more suitable for male portraits and, as a rule, is rarely used for female portraits. However, keep in mind that there are no hard and fast rules in photography, so I suggest that you use the information received as a starting point or guideline. Until you are sure of your knowledge, it is better to proceed as the classic guides suggest.

To achieve the effect of side light, you just need to put the light source at an angle of 90 degrees 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. See how the light falls on the face, and move the source. At correct staging side light in the eye on the shadow side of the face should be a glare. If this does not get rid of light on the cheek, it is possible that this type of face is not suitable for side light.

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

What is a "glare"?

Please note that in the photo above, there are reflections of the light source in the eyes of the child. They have the appearance of small white specks, but if we look closer, we can see the shape of the source that I used when shooting this portrait.

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

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

2. Loop lighting

Loop lighting creates a slight shadow from the nose on the cheek. To get such lighting, you need to place the source a little 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 is cast and on the left side you will also be able to see a small shadow from the nose. In the loop scheme, the shadow from the nose should not go too far on the cheek, and even more so it should not merge with the shadow from the cheek. Try to keep the shadow small and look down a little, but keep in mind that if the source is raised too high, the shadows may look strange, and the glare in the eyes may also disappear. The loop circuit seems to be the most popular as it is easy to create and suits most people.

In this diagram, the black background represents the tree background. The sunlight comes from behind the trees, but they are completely in the shade. A white reflector, located to the left of the camera, reflects the 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 about 30-45 degrees from the camera. The reflector should also be positioned just above their eye level so that the shadow from the nose falls slightly down to the corner of the mouth. One of the most common beginner mistakes is placing the reflector low and tilting it. As a result, the face and nose are highlighted from below, which looks ugly.

3. Rembrandt light

The scheme is called Rembrandtian because Rembrandt's paintings often feature this type of lighting, as can be seen in his self-portrait above. Rembrandt lighting determined by the presence of a light triangle on the cheek. In contrast to the loop light, where the shadow from the nose and cheek does not close, here they merge together, which creates a light triangle on the shadow side on the cheek under the eye. To create a correct scheme, you must make sure that there is a glare 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 the chiaroscuro pattern creates a more restless mood in the portrait. Use it appropriately.

To create Rembrandt lighting, the model needs to be slightly away from the light. The source should be above the top of the head so that the shadow from the nose falls on the cheek. Not every face is suitable for this scheme. If it has high or prominent cheekbones, the scheme may work. If the model has a small nose or a flat nose bridge, this lighting can be difficult to achieve. Again, remember that you don't have to make this particular circuit with this particular model. Choose what will emphasize the advantages of the model and present it in the most beneficial 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 hits 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" for the shape of the nose shadow that is created. if the light source is placed above and directly behind the camera. Basically, with this scheme, the photographer is under the light source. The "butterfly" scheme is often used to shoot glamor, emphasizing the cheekbones of the model. It is also suitable for photographing older people, since, unlike other schemes, it emphasizes wrinkles less.

The butterfly pattern is created by a light source just behind the camera and slightly above the eyes or head, depending on the type of face. Sometimes the scheme is supplemented with a reflector right under the chin, the model can even hold it herself. This scheme is suitable for models with beautiful cheekbones and a narrow face. A round or wide face will look better with a loop scheme or even a side light. This pattern is more difficult to create with 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 coverage

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

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

To create wide coverage, the face must be turned away from the light source. Note that the side of the face closest to the camera is lit, and the shadow is cast on the far side. Simply put, a wide light illuminates most of the face that we see.

6. Short lighting

Short coverage is the opposite of wide coverage. As you can see in the image above, in short light, the side of the face facing the camera (wide) is in shadow, and the side farthest 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, sculptural, visually narrows the wide face, which most people like.

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

Putting it all together

Once you learn to recognize and create each of the lighting schemes, learn how to apply them in different situations. By studying people's faces, you will know which lighting scheme better fit of this particular person in order to create a mood in the portrait and show the person in the best 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 picture. When you know all the schemes, know how to control the quality of light, its direction and ratio, you will be able to 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 location of the camera. Thus, if you cannot move the light source, you need to move yourself and move the subject.

Practical exercises

Choose your subject to shoot (preferably a person, not your dog) and practice creating each of the lighting schemes. which we analyzed:

Butterfly
A loop
Rembrandt
side light

Keep in mind that there is also wide and short lighting, and apply it to different types of model faces where appropriate. Don't worry about other aspects (light/shadow ratio, fill light, etc.) this moment focus on getting good drawing. Use the light from the window, a floor lamp without a lampshade or the sun, that is, a source with which you can see how the light and shadow fall on the 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 can make your learning difficult.

It's also best to start with your face directly facing the camera, with no twists (other than practicing wide and short lighting).

Show us your results and write about the problems you've encountered. I will try to help you solve them so that you and others do 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 apply in order to convey the right mood, the right image or the most flattering presentation of the model in the portrait.

It is worth remembering these rules in order to easily follow them, and most importantly, to know when and how to break them. Learn these 6 rules and they will be your milestones on the road to great portrait photography. And do not forget that the best training is to mix theory with practice.

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

side lighting;
classical lighting;
Rembrandt lighting;
butterfly.

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

1. Side lighting (Split Lighting)

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

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

NOTE. Keep in mind that in order to maintain a coherent lighting pattern, your light source must move depending on whether the model moves. Whether you're taking a frontal shot, ¾ of a face, or even a profile, the light has to "follow the pattern." If the model simply turns its head, the whole picture will change. You have to adjust the lighting by moving the source or slightly turning the model 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. Highlights look like white specks in the eyes of the child in the photo above. If you look closely, you can see the contours of the devices that were used when shooting 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 glare. Without a glare, the eyes of the model become dark and look unimpressive. When shooting, make sure that at least one eye captures the full glare. Note that the highlight also slightly changes the color of the iris and the brightness of the eyes in general, which enhances the feeling of vitality and adds sparkle to the eyes.

2. Classic lighting (Loop Lighting)

Such lighting is considered classical, which creates a small shadow from the nose on the cheeks, thus forming a light-shadow loop. To get this, you need to position it a little above eye level, and at about a 30-45 degree angle from the camera (depends on the person, you have to learn to read people's faces).

Look at this image and notice how the shadows are falling. On the left and right, small shadows near the nose can be seen. They are always left, just make sure that the shadow is slightly directed downwards. To do this, position the light source not too high, as this can lead to unwanted shadows on the face and loss of glare in the eyes of the models.

Classical lighting is considered the most popular lighting model in portrait photography, because the resulting pattern of light and shadow is the best and emphasizes the dignity of most people.

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

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

3. Rembrandt lighting

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

Lighting Rembrandt is identified with a triangle of light on the cheek. Unlike the lighting loop, where the shadows of the nose and cheeks should not be touched, in Rembrandt lighting you only need to get a small triangle of light in the middle of the cheek. When creating proper shadows, make sure that enough light falls on the eye in the shadow side of the portrait, otherwise it will look lifeless. Rembrandt lighting is considered dramatic, because due to the "split" in the chiaroscuro, a special mood is created in the portrait, which can contribute to the tragic expression of the face.

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 faces 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 work of the photographer and it is unlikely that the desired effect will be achieved. The use of this or that lighting scheme depends only on the model that is being shot and on the mood that the photographer wants to convey in the picture.

If you use light from a window that is closer to the floor, you can cover the bottom of the window to try and get Rembrandt type lighting.

4. Butterfly Effect (Butterfly Lighting)

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

The butterfly effect is created by having a light source behind the camera and just above the subject's eyes. As 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 pronounced cheekbones or objects with delicate features. For a round or wide face, it is better to use a standard (classic) lighting scheme or even Rembrandt type lighting.
The scheme is difficult to reproduce if only a light disk is available - then it will be difficult to cope with it without an assistant.

5. Wide coverage

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

Wide is such an option when the face of the object is slightly turned away from the center and light falls on most of it. The shadow side, respectively, 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, thin pointed features. Most people want to look slimmer in portraits, so be careful when photographing chubby faces. Simply put, wide lighting focuses on most of the face.

To create wide illumination, the model should be turned away from the light source. Note that on the side of the face that is closer to the camera, the light is just the right amount of light to form 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 coverage. As can be seen from the example, the model must be positioned in such a way that most of the face is in shadow. This technique is most often used when shooting portraits in a low key. At the same time, the faces become more sculpturally defined, which gives the image volume. This is a very flattering way of lighting for most people.

The face is turned towards the light source. Note that the part of the face that is turned away from the camera also has very significant shadows. Narrow 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 shooting a portrait. Studying the faces of people, practicing, you will figure out which lighting schemes will be best for a particular type of face and convey a certain mood, you will find your own unique style.

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

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

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

Many photographers ask 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.

In order to make the circuits easy to repeat in most studios, we used 3 Hensel 500 Integra monoblocks.

And the most popular light-shaping nozzles: 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 have).

In addition, we used reflective panels and black flags.

Scheme 1

Used as key light lighting fixture with a silver umbrella mounted slightly to the right of the camera. We placed two illuminators with stripboxes on the sides and slightly behind the model.

To prevent the lights from affecting the background, we installed white panels between the background and the lights. 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 is easily controlled by the position of the key light. If you raise the lamp with an umbrella higher and tilt it more steeply towards the model, then the main light falls on the model, and on the background - only the light from the upper peripheral part of the octobox, 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, saturated colors of clothes look great on a completely white background.

At maximum background illumination, 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 lights, without falling on the model, went directly to the background, illuminating it and reflecting, making the background absolutely white, without a shadow from the model, and the white panels acted as a backlight, reflecting the incident light from the key light.

The picture turned out to be contrasting with an excellent study of the details of clothing.

Scheme 3

A very simple circuit. As a key light, we used an octobox lamp.

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

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 - monolight with 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 photo.

As you can see, the background is evenly lit.

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

Scheme 5

In this scheme, the painter is an octobox, a backing stripbox, separated from the background by a reflector so that it has less effect on the background.

To get a gradient on the background, we put a monoblock with a reflector and honeycombs.

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

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

Scheme 6

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

By adding the background light we already used with a standard reflector and honeycombs to the frame, we illuminated the background and changed the mood in the frame.

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

Scheme 7

Photographing a fairly tall model in full growth required uniform lighting from the top to the bottom of the frame. This is easily achieved by using a long stripbox illuminator as a key light.

A stripbox was also used as a backlight. Black light-absorbing panels were installed on the sides of the model. The light from the sources fell on the model, the light-absorbing panels excluded its uncontrolled reflection in the frame.

Scheme 8

As a key light, we used an octobox lamp.

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

Such a 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.

We used a silver umbrella as key light, which gives off a soft, enveloping light that is extremely difficult to control.

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

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

Scheme 10

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

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, turned out against a completely black background.

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

Results

At the end of this review, I would like to say that good shots can be made with one or two light sources, combining them according to your imagination. The use of three light sources when shooting makes your possibilities practically limitless. No wonder so many famous companies, and among them Hensel, which manufactures and sells lighting equipment, complete sets of three illuminators and light-shaping nozzles, packed in a convenient branded case.

Backstage

Thanks

Thanks 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 Technician:

To achieve the effect of side light, you just need to put the light source at an angle of 90 degrees 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. See how the light falls on the face, and move the source. With the correct setting of the side light in the eye, there should be a glare on the shadow side of the face. If this does not get rid of light on the cheek, it is possible that this type of face is not suitable for side light.

What is a "glare"?

Look, is this bright spot actually a hexagon with a dark center? This is the little hexagonal softbox on my Canon flash that I used to shoot.

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

There are different types of light, types of light devices. One of the most significant classifications is made on the basis of the directivity 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?

Side light

Choosing the right and profitable 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 an illuminator can be placed along its edges.

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

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

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

The sun in the lateral position usually falls on the period before noon, or already 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, or rather it takes them down, they tend to the earth. In humans, this will be expressed, at least, in terrible dark bags under the eyes and chin.

The Importance of Light

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

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

Also, between the lateral and frontal, there is a 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 a suitable situation and with skill. But it is the side (or side - diagonal) that is considered the most successful.

What are its properties?

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

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

Examples of using

To learn how to understand and control light, the best solution is to work with a single view. To start. Then you can add more sources and freely experiment with lighting schemes. I invite readers to try this option on their own and see what result can be obtained. We are talking below about studio conditions.

So, within the framework of this theme, the main key light is presented from the side and directed at the model, one or two other devices illuminate the background. With this setting, we can get a shadow or highlight effect where one side of the face is lit and the other is not. BS will fall just in the ear of a person.

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 shade. In such a half-turn, the border of light and shadow passes along the profile and line of the nose.
Second: we turn the 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, facial expression the client will take will already 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. It can be full face, easy or classic turn, etc.

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

Are you completely clueless about your SLR camera? Do you only take pictures in 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 learning, learn how to take amazing photos that your friends will envy!

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

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

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

All the best to you, Timur Mustaev.