6 Portrait Lighting Patterns

If you want to capture flattering portraits, then you must master lighting.
Fortunately, this is pretty easy, thanks to lighting patterns – that is, simple portrait
lighting setups you can consistently use for nice-looking images.

In fact, portrait lighting patterns are great for beginners and advanced shooters
alike; as an experienced portrait photographer, I use these patterns all the time in
my own work.

Below, I share six useful photography lighting techniques that every portrait artist
should know. I also include lighting diagrams, so you know exactly how to replicate
the pattern in your own studio.

1. Split ligh ng
Split lighting looks the way it sounds; it splits the face into equal halves, like this:

Because this half-shadow effect is pretty

dramatic, especially when the light is hard, it’s
often used to create moody shots of
musicians and artists.

To achieve split lighting, simply put the light

source 90 degrees to the left or right of the
subject (you can even move it slightly behind
their head). In true split lighting, the only part
of the “shadowed” face that should be lit is the
eye (as shown in the photo above). Here is the
simple split lighting diagram, though note that
you can always spruce up a split-lit image with
fill lights, rim lights, and background lights:
 Also, make sure at least one of
your subject’s eyes contains
a catchlight (a bright spot of
light that reflects from the light
source). Otherwise, the eyes
will appear lifeless, and the
entire shot will likely be ruined.

2. Loop ligh ng
Loop lighting positions a small shadow
from the subject’s nose across their
cheek. Look at the photo below; see how
the nose shadow falls slightly to the right
of the nostril?

Loop lighting is probably the most

common lighting pattern you’ll encounter
in portrait photography. Why? It’s easy to
create, plus it flatters most people! That’s
why some photographers consider it the
absolute best lighting for portraits
(especially if you’re a beginner).

Note that, in loop lighting, the shadow of

the nose and the shadow on the cheek do
not touch. That’s a different lighting
pattern, as I discuss in the next section.
Instead, keep the shadow small and pointing slightly downward (though don’t put
the light source too high; otherwise, you’ll create odd shadows and lose the
essential catchlights). Here’s another example, with a soft shadow falling to the
right of the viewer:
To create loop lighting, place the light source slightly above eye level and about 30-
45 degrees from the camera. The exact angle depends on the person’s face, so feel
free to turn on your modeling lamp (if your light has one) or take several shots with
the strobe positioned in different places. Over time, you’ll get better at reading
people’s faces, and you’ll be able to identify the perfect loop-light position from the
get-go.

The diagram below models the lighting conditions for the couple image I’ve shared
above:
3. Rembrandt ligh ng
Rembrandt lighting gets its name from the 17th-century artist Rembrandt, who
used it in his painted portraits. It’s identified by a clear triangle of light on the
subject’s cheek, like this:

Note that the shadow of the nose and the

cheek do meet, which creates that little
triangle; this is different from loop lighting,
where the shadows shouldn’t touch. Also note
that Rembrandt lighting is more dramatic
than loop lighting, so use it for moodier
portrait sessions and not for standard family
photoshoots.

To create Rembrandt lighting, place the light

off to the subject’s side, and ask your subject
to turn slightly away from the light. The light
should be above their head so that the nose
shadow falls down toward the cheek. Here’s a
Rembrandt lighting diagram, with a window
instead of a strobe (though you can, of
course, use any type of light source):

Not every person’s face is ideal for creating

Rembrandt lighting. If they have high or
prominent cheek bones, it’ll probably work –
but if they have a small nose or flat nose
bridge, it may be difficult to achieve.

Keep in mind that you don’t always need to

create this pattern exactly; as long as your
subject is flattered and you get the mood
you’re after, then the light is working.
 Note that the black backdrop represents the bank of
trees behind the subjects. The sun is coming over the
trees, and I’ve placed a white reflector at camera left to
bounce light back into the subjects’ faces. In a standard
studio setup, you would position a strobe instead of
the reflector, though in this situation – with the natural
light from the sun – a reflector works just fine!

And remember: Your light should be slightly above the

subject’s eye level. Beginners mess this one up a lot by
putting the light down low and angled upward. That
lights the bottom of your subject’s nose, and the result
isn’t so flattering.

4. Bu erfly ligh ng
Butterfly lighting is named for the butterfly-shaped shadow that is created under
the nose, like this:

The result is a very glamorous photo, with

shadows under the cheeks and chin, so you’ll
often find it in fashion magazines and shots of
movie stars. It is also flattering for older
subjects as it deemphasizes wrinkles, as well as
slim-faced subjects (whereas subjects with
round, wide faces look better with loop lighting
or split lighting).

Butterfly lighting is super simple to create. Just

place the light source directly behind the
camera and slightly above eye or head level of
the subject:
If the shadow under the nose is too strong, you can place a
reflector directly under the chin (your subject can hold it, if need
be).

This pattern is tough to create using only window light or a

reflector. You’ll often need a hard light source – such as the sun or
a flash – to produce the more defined shadow under the nose.

5. Broad ligh ng
Technically, broad lighting isn’t a
portrait lighting pattern; it’s a
portrait lighting style, which you can
use with loop lighting, Rembrandt
lighting, or split lighting. However,
it’s a useful lighting setup that’s
often grouped with the patterns
discussed above, and I definitely
recommend you master it.

You get broad lighting when the

subject’s face is slightly turned away
from the camera, and the side of the
face turned toward the camera is
illuminated by the light, like this:

This type of lighting makes a

person’s face look broader or wider
(hence the broad lighting moniker)
and works well when photographing
 subjects with very slim faces. But most
people want to look slimmer, not wider,
so this type of lighting would not be
appropriate for someone who is heavier
or round faced.

To create broad lighting, turn the face

away from the light source, as shown in
the diagram below. Notice how the side
of the face nearer to the camera receives
light, while the far side of the face
remains in shadow.

6. Short ligh ng
Short lighting is the opposite of broad
lighting; the side of the face turned toward
the camera is shrouded in shadow, while
the side of the face turned away from the
camera is brightened

It’s a useful lighting pattern for darker,

moodier, and even low-key portraits. Note
that short lighting puts more of the face in
shadow, is more sculpting, adds 3D
qualities, and is very slimming and flattering
for most people.

To create short lighting, ask your subject to

turn slightly toward the light source, so that
the shadows fall on the side of the face
closer to the camera:
 Portrait ligh ng setups:
pu ng it all together
Once you can quickly create each of the
different lighting patterns, you can start
to learn when to apply them in your
portrait sessions. You’ll eventually be able
to determine the best portrait lighting
simply by studying your subject’s face.
And you’ll learn, over time, how different
lighting patterns change the mood of the
final shot.

Technically, you can create these setups

with any type of light: window light,
natural light, speedlights, continuous
lights, or strobes. But note that it’s much easier to change the lighting pattern if you
can move the light source, so it pays to begin with a portable studio light.

(Though if you can’t move the light source, you can always ask your subject to rotate
in relation to the light.)

Portrait photography ligh ng pa erns: final

words
Now that you’ve finished this article, you’re well equipped to create beautiful
portraits. Simply practice the lighting tips I’ve shared, learn to quickly form each
lighting setup, and you’ll be good to go!