Classic Lighting Styles

Portrait lighting styles are not set in stone, the lighting positioning and styles discussed in this article are generally accepted and expected lighting parameters that have endured the test of time to bring out the best look for portraits. These lighting patterns can be used as a starting point for more complex portrait lighting styles you can develop individually as an artist.

Light Positioning

There are three basic light positions that form a direct relationship between the subject’s face and the light position. Note that the lighting pattern must follow the direction of the front of the face and this relationship has nothing to do with where the camera is, if the face rotates, so must the light to maintain the same light positioning.

Short Lighting

Short lighting illuminates the part of the face that is not facing directly at the camera. In Figure Z, we can see that the side of the face facing the camera is in the shadow side. Short lighting often is the preferred light positioning for most portraits especially for rounder faces or faces less defined facial features.

Putting the shadow side of the face closer to the camera narrows down the face and works well for majority of subjects except those with long or thin faces.

Broad Lighting

Broad lighting is the opposite of short lighting where the lit portion of the face faces the front of the camera. Showing the lit portion of the face directly at the camera broadens the face as it illuminates majority of the subject’s face instead of hiding it in the shadows.

While not as popular as short lighting, broad lighting can be used effectively with thinner faces and can make subjects such as the elderly look more radiant and lively. Broad lighting is a “cheerful” light position that portrays openness and excitement.

Frontal Lighting

Frontal light is the least preferred standard lighting position as it requires careful angle positioning to create dimension and contours while making sure not to cause unsightly shadows in the wrong places.

Frontal lighting is useful when we need to minimize the appearance of facial blemishes such as wrinkles, pores and other imperfections. As the light doesn’t skim across the face at an oblique angle, less shadows are formed therefore minimizing any age lines or blemishes.

Lighting Pattern

Rembrandt Light

The Rembrandt light is named after Rembrandt Harmenszoon van Rijn, a Dutch painter in the mid 1600’s. His portrait style includes his distinct lighting pattern on his portrait paintings where a triagular-shaped light is formed underneath the subject’s eye in the shadow-side of the face. The general rule of the Rembrandt triagle is that the width of the triangle should be no wider than the eye’s width, and the length should not extend beyond the length of the nose. The Rembrandt lighting is best used for moody portraits and portrait study.

Going over or under this “rule” would often turn a Rembrandt into a loop light or a butterfly light (discussed below).

Loop Light

The loop light is best identified by the looping shadow created under and to the side of the subject’s nose. This is the most common lighting pattern used as it suits almost all facial forms regardless of gender or age.

Regardless of whether a short or broad lighting pattern is used, a loop light is often placed above the subject’s face, angling down at an angle between 30-60 degrees towards the subject.

Paramount/Butterfly Light

The butterfly or Paramount light pattern is characterized by the butterfly-like shape underneath the subject’s nose. The lighting style is often used by Hollywood (named after Paramount Studios) to emphasize the actors and actresses’ cheek bones and facial features. This lighting pattern is best for subjects with angular faces and high cheekbones as the high positioning of the light creates dramatic triangular shadows right underneath the cheekbones as well.

This light pattern is created by placing the light directly above the subject’s head angled downwards at an angle between 30-60 degrees on the same axis as the subject’s nose.

It is a very frontal light and creates vertical shadows due to the high angle of the light. Angling the light very slightly off-center would create better lateral shadows that makes this lighting pattern more versatile than an on-axis light.

Split Light

The split light is mainly a side lit light pattern and creates a distinct highlight-to-shadow transition as the light crosses the bridge of the nose. The split light creates a very dramatic and moody image best suited for male subjects as skin imperfections and facial hair tends to be more pronounced with such high-contrast lighting.

The light is mainly positioned 90-degrees to the side of the subject or slightly behind the subject’s head at roughly the same height as the subject.

Key Points

Light Height

The height positioning of the light causes direct changes to how the face of the subject is presented. Varying the height of the light changes the appearance of the subject’s eye socket, nose length, chin depth, and catchlight positioning (the reflected appearance of the light source in the subject’s eyes).

Positioning the light at the same level as the subject’s face creates flat lighting in most cases with the exception of the split light.

By increasing the light by a couple of feet, the angular features of the brow, cheekbones, nose, and chin becomes more apparent and elongates the face depending on the height of the light.

Subject Positioning in Available Light Situations

In all of our examples above, we made the assumption of being able to move our lightsource in different places while the subject’s position remains constant. In available light situations where our key light cannot be moved physically (the sun’s position or window position, for example), the reverse applies and the subject and camera has to move to match the light source’s direction.

The height of the light will almost always be at a higher angle than the subject unless the sun is about to rise or set. We can also change the angle of the light by changing the angle of the face of the subject and camera. So basically, instead of moving the light around, we move the subject around so that we can dictate where the highlights and shadows are on our subjects.

Summary

The key to understanding lighting pattern isn’t just about knowing where to place the light. Merely knowing the light patterns discussed will not be very useful if a photographer fails to analyze the subject first. Understanding what lighting pattern best suited for a subject’s facial features differentiates a run-of-the-mill portrait versus creating a portrait that conveys emotions, character, and clear representation of the subject’s personality. By carefully watching where the shadows fall, where the catchlight appears, and how the elements shape and form the subject’s face, you can develop a consistent lighting style that best suits your subjects’ facial shapes.

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