Portrait Photography Tips And Tricks – From ‘portrait mode’ to ‘slofies’ (slow-motion selfies), technological advances in recent years have taught us that portrait photography is for everyone, whether it’s a DSLR or a camera phone.
A quick scroll through trending hashtags on social media like #PostMorePortraits, #Portrait_Perfection and #AGameofPortraits confirms that portraiture is alive and well in the modern age. In fact, many of today’s photographers turn to history to inspire their work; while some Renaissance painters channel a dramatic lightwood effect, others play with contrast by turning their portraits into black and white.
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In honor of this well-established genre, let’s take a look at some of the most used lighting models used for portraiture over the years – and how they’re set up. For some of them you can use a window light or use a studio light of your choice.
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For now, we will just look at the position of the light and how it looks on the face, focusing on the settings you can achieve with a single light source. It’s easier to learn these with continuous lighting so you can observe the patterns in real time, but you can also use strobe if you like.
Butterfly lighting gets its name from the shape of the small shadow that appears under the nose when the light source is positioned slightly above the camera, lower on the face. It is centered directly in front of the model, not on the left or right.
The higher you place the light, the lower the shadow falls; Put it too low and you won’t get that beautiful butterfly shape, but move it too high and the shadow will drag down your face and chin. An angle of about 25-45 degrees above the face is a good starting point, although this should be adjusted based on the shape of the face.
This type of lighting is perfect for creating flattering shadows under the cheekbones and helping to even out the complexion. One thing to look out for is the defined chin shadow, but you can always use another softbox or fill in the bottom card. If you use a rechargeable lamp for this purpose, it is called “shell” lighting.
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Butterfly lighting is also known as “high” because many stars of the golden age of Hollywood insisted on being photographed only with this model.
Named after the Dutch painter, this pattern occurs when the subject’s nose and face shadow form a triangle accented on the far side of the face. To get this look, simply place the key light at about a 45 degree angle to the side, pointing at your subject.
If you are working with studio lighting, move the key up or down until the signature triangle appears under the eyes, or rotate the model’s head slightly to position it correctly. Aim for the triangle to be about the same size as the eye above and no more; The marked triangle also needs to stop before it passes the nose, so it may need some adjustments based on the model’s face.
Don’t be afraid of the natural light from the windows either; just remember to cover part of the window if it is on the longer side because all the light should come from above the object. Whatever light source you use (natural or artificial), you want to make sure it’s diffused like a soft box or window shades.
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As its name suggests, this type of lighting results in dramatic, atmospheric portraits. If the shadows are too dark on the far side of the face, smooth them with a fill card until it is there. You can also bring in a rechargeable lamp if the card doesn’t do the trick.
This pattern also occurs when the shadow of the nose is cast on the face, but unlike Rembrandt’s lighting, it never completes this closed triangle of light when it meets the shadow of the face. To do this, you need to place the key light somewhere near the Rembrandt (at about a 45 degree angle to the subject) and the butterfly (right in front of the subject).
About 30-40 degrees to the right or left of the model is a good starting range, but it depends on the shape of the face; move until a “loop” of shadow appears below and to the side of the nose.
By moving the button lighting up or down, you can change the shape of the loop and play with the distance between the light and the object to see what works. This model is the perfect medium and works with most faces; it’s not as dramatic as Rembrandt’s, but it adds depth and separates the features nicely.
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This model is exactly what it sounds like; it divides the face into two parts, a lighted part and a shadowed part. To achieve the view, position the key light at a 90-degree angle to the right or left side of the subject’s face, approximately at eye level. Ideally, for true split lighting, the face should be divided right in the middle, without a gradual transition from light to dark. Needless to say, this look is dramatic; Feel free to use the fill tab on the shadow side to reduce the contrast.
Cliché occurs when the subject’s eyes reflect the light source; if your lamp is round, then your headlights are round, while square lamps are square. They are important because they create a “shine” or “spark” in your model’s eyes, bringing life to the entire portrait.
Regardless of the lighting model you use, keep an eye on the headlights; you can add (or remove) them at any time during post-processing, but it’s best to remember them while shooting. If you have trouble finding the headlights, always bring a reflector to make it bigger.
Having a round reflector in both eyes usually results in the most natural portrait as it mimics the look you would get if you were just shooting in daylight; portrait photographers often place them at the “10 o’clock” or “2 o’clock” position in relation to the subject’s eyes, although you can mix it up depending on the mood you’re going for. For a full effect, make sure the eyes are focused.
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In portraiture, “wide exposure” refers to settings where the side of the subject’s illuminated face is facing the camera. “Brief lighting” does the opposite; the darker, shadow side of the face is closer to the camera. Needless to say, it widens the face, while the low light forms it and adds contrast for a more muted mood. You can switch between broad light and low light by moving the pattern or the light to see what works.
These are just some of the best lighting patterns for portrait photographers, so think of them as a starting point, not an end point. Lighting options vary depending on the shape and features of the subject’s face, so what works for one person may not work for another. In addition, we do not even touch lighting settings and additional sources that can separate the subject from the background (sometimes called “light kicker”).
Your lighting model depends not only on the subject, but also on the mood and intention of the photoshoot; if the goal is to convey mystery, split lighting can work, while a flash shot can be more suitable for butterfly lighting. Exercise your eyes by studying the images you love, from museum photos to portraits in 500p resolution. Learn how artists of the past used these patterns to their advantage—and reworked them to meet their needs. Capturing the essence of a subject in portrait photography is an art that requires a combination of technical skill and creative vision.
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This genre can vary from formal studio portraits to candid shots and often try to reveal something about the subject’s character or life.
Portrait photography requires skill in lighting, composition, and the ability to connect with your subject to evoke natural expressions and poses.
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Ambient light and studio light are two paths we move through; the first is to use available opportunities, and the second is to create conditions that meet our visions.
The quality of natural light can complement the features of your subject and add a layer of realism to your shot that is difficult to reproduce artificially.
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