How to Position Lights for Photography

[lputman]

I'm copying this from a page I had bookmarked. Very good information here.

Things You’ll Need:
Lights:
Main light (a.k.a. key light)
Fill light
Kicker light (a.k.a. hair light or side light)
Background light
Back light
Accessories:
For diffusing and reflecting light:
Umbrellas
Flat Reflectors
Diffusion panels
Softboxes
For modifying light shapes:
Barndoors
Grids
Snoots (a.k.a. cones)
Gobos
For modifying light hues:
Filters
Gels

The Main Light
Step 1:
The main light is your first priority. It defines the character of your shot. The most popular method for positioning the main light in a studio setting is "short lighting", which creates distinct pools of light and areas of shadow on your subject. For short lighting, set the main light off to one side 45 degrees from the camera-subject axis, just above the level of the subject. The light should shine slightly downward and onto the side of the subject that is facing away from the camera.
Step 2:
For "butterfly lighting" (a.k.a. "beauty", "glamor", or "paramount" lighting), place the main light directly in front of the subject. Adjust the height of the light so that a subtle butterfly shape appears just under the nose of the subject.
Step 3:
For "broad lighting", you can position the main light directly in front of the subject, flattening out the subject's features and correcting blemishes. The light should shine on the side of the face that is closest to the camera.
Step 4:
To create the "Rembrandt" effect, position the main light as you would for short lighting, but raise it to higher in relation to the subject. This technique creates greater contrast by illuminating the top and shadowing the lower part of the subject.
Step 5:
The last main lighting technique is called "split lighting". Here you position the main light at a 90-degree angle from the camera-subject axis. This makes for some dramatic shadows, can be used to hide blemishes on the near side of the face, and can narrow a broad nose.

Other Lights
Step 1:
The fill light is the second most-important part of studio lighting. Position it to the side of the camera so that its light falls in the shadows created by the main light. It is not as powerful as the main light, but that is why it is so great for fine tuning the contrast between the light and dark portions of the subject. Move it closer or farther away from the subject to soften or harden the shadows. Make sure the fill light does not create an extra pair of catchlights (reflections in the subject's eyes), as the main light already does this, and to double the catchlights is to deaden the subject's eyes.
Step 2:
Background lights can liven up a boring backdrop. Place it behind the subject and on the floor. Aim the background light upwards at the backdrop.
Step 3:
A hair light (a.k.a. kick light or side light) can be placed above the subject's level so that the light falls on his or her hair. Make sure it does not spill onto the face. This will create extra depth and serve to separate the subject from the background.
Step 4:
A back light is optional. Set it on the floor behind the subject. You can aim it upward towards the subject to create a subtle silver lining. This can increase the excitement of an image, but takes practice.

Diffusing and Reflecting Light
Step 1:
Light diffusers and reflectors are just as important as lights for achieving the right contrast and coverage in your shot. Light diffusers, such as umbrellas and diffusion panels, are used to soften light. You attach the umbrella to the main light or fill light. Diffusion panels are set the light and the subject. You also may use umbrellas and diffusers in combination. Light diffusers usually come in white, but they also come in gold and silver for added warmth.
Step 2:
Light reflectors are flat panels that can be placed near the subject to reflect existing light (or "spilled light") back onto the subject. Move them closer or further away to attain the desired contrast or softness. Some reflectors are standalone; others are held by the photographer's free hand. If a handheld reflector is used, simply extend the reflector toward the subject so that existing (or "spill") light bounces off it and onto the subject.
Step 3:
Softboxes are a special kind of lighting accessory in that they can serve as the main or fill light as well as a reflector and diffuser in one package. A softbox is shaped like a box (as the name implies) with five of the sides opaque and lined with aluminum, and one side translucent and tinted white, silver or gold. The light at the back of the softbox bounces around the aluminum walls (reflector aspect) and filters out through the translucent front of the box (diffuser aspect). It behaves much like an umbrella diffuser, but its effects are more splendid. The light is consistent, the tones and contrasts soft as butter.

Modifying Light Shapes and Hues
Step 1:
To change the size or shape of a pool of light, a variety of accessories are available. Barndoors, for example, attach to lights and are used to change the size and direction of the cone of light. Open or shut the four flaps however much you wish. The idea is to spread the light evenly, sculpting the light so that it illuminates only what needs illuminating.
Step 2:
Grids are perforated discs that attach to lights and perform a function similar to that of barn doors. In essence they adjust the angle of the light cone--usually ranging from 10 degrees to 80 degrees--so that the pool of light grows or shrinks according to the requirements of the shot. Grids are useful for hair lighting.
Step 3:
Snoots are similar to grids in that they adjust the size of the pool of light, only they are shaped like cones. They attach to the light source and are most useful for hair lighting.
Step 4:
Gobos are perforated discs similar to grids, only they have distinct designs carved out of them to create special light patterns on a backdrop. They are most often used in background lighting.
Step 5:
For modifying light hues (or colors) there are filters and gels. Often used in conjunction with barn doors, filters and gels serve to change the color spectrum that is shining on the subject from the light source. For example, one type of filter can filter out the ultraviolet color that tends to plague outdoor shots. Gels are generally just colored plastic that you insert into a barn door to add color effects to a backdrop.

Tips & Warnings
As you build your photography lighting arsenal, you will gain a better feel for how all the components work together. If you are just beginning and are on a budget, just make sure you have the main light, fill light, and background light, and build up from there.
This article is only an introduction to the art and science of photography lighting. There is plenty more out there to learn. So go explore, and Happy Shooting!
There is a reason why continuous lighting systems (as opposed to flash systems) are called "hot lights". Be careful when you are working with these. The good news is that many manufacturers are working to develop and market hot lights that are actually not so hot after all.
Be kind to your subject. Never place any lights or accessories directly above the subject's head, as they could fall. There is never any aesthetic need to do so anyway.

[trelaflip]

Thats great information but I often have people coming up to me stating they were on a website and it told them about key light, fill light, kickers etc and they ask..... do I need all this stuff????? No you don't.

Many photographers only shoot with just one light. Use the available light available before setting up lights that are not needed.

Choose your lighting outfit according to your style. Why go out and waste $$$ on equipment you may never use.

[gh patriot]

Originally Posted by trelaflip

Thats great information but I often have people coming up to me stating they were on a website and it told them about key light, fill light, kickers etc and they ask..... do I need all this stuff????? No you don't.

Many photographers only shoot with just one light. Use the available light available before setting up lights that are not needed.

Choose your lighting outfit according to your style. Why go out and waste $$$ on equipment you may never use.

Since all of your shots have near perfect to perfect lighting Im happy to hear this because all that "stuff" costs tons of money... which I have not a lot of just lying around.

Jason. would you reccomend purchasing the 430 or the 580?

[trelaflip]

I got 1 580 and 2 430's. When I need a flash on my camera the 580 is the one I choose. The 580 is also the flash I use in shoot through umbrellas. The 430's are what i use for extras (rim or fill light). The 430's also work great with umbrellas but I like to favour the 580 since its got a bit more kick.

If I was starting over again from start I would of gotten 1 430 and 2 Vivitars or Sunpaks. 430's are cheap on ebay and the Vivitar flashes brand new go for like $80 and make awesome secondary lights if using them on light stands.

Its all come down to what type of photography you want to do. For much of my work I resort to small flashes but I also have an arsenal of AlienBees which I only used once, when I need to go big.

[gh patriot]

Originally Posted by trelaflip

I got 1 580 and 2 430's. When I need a flash on my camera the 580 is the one I choose. The 580 is also the flash I use in shoot through umbrellas. The 430's are what i use for extras (rim or fill light). The 430's also work great with umbrellas but I like to favour the 580 since its got a bit more kick.

If I was starting over again from start I would of gotten 1 430 and 2 Vivitars or Sunpaks. 430's are cheap on ebay and the Vivitar flashes brand new go for like $80 and make awesome secondary lights if using them on light stands.

Its all come down to what type of photography you want to do. For much of my work I resort to small flashes but I also have an arsenal of AlienBees which I only used once, when I need to go big.

Thanks for the input. I really need something other than the oncamera flash

[jdepould]

Rembrandt (or loop) isn't all about height, it's farther away from the camera than your 45 (between 45 and split), so there's a triangle of light below the eye, and the shadow of the nose connects with the rest of the shadow on that side of the face. I'm not plugged into my hard drives, but I'll upload examples later.

[lputman]

Examples of any of the types would be great.

trelaflip, you are correct, starting with one light is the way to go but when folks want to venture into more as they learn more about lighting, they'll no doubt run into situations where the additional items referenced could be mentioned.

We've got quite a few members who have already invested in some type of lighting kits with at least three lights so hopefully this will help get them started.

[krypticide]

Many thanks for the info, great place to start.

[jdepould]

Ok, here we go, exposure for all:
Key light metered to f/11, fill at f/4(2), that's a 9:1 ratio.

Starting with Paramount (butterfly):


The nice thing about Paramount is that it highlights cheekbones and separates the lips, which gives the face great shape. It also minimizes lots of unflattering bits. The height and angle of your light determines the size of the shadow under the nose, it's best to adjust for your specific model, since everybody has different bone structure. If someone has prominent cheek bones and a fairly thin face, you can go with a lower height and flatter angle; don't want to make them look malnourished. If someone has a face that's a little bit rounder, crank that light up and give it more angle.

This example is sort of middle-of-the-road, maybe a little bit steep.

Moving to the broad side first (in order)

Broad 45:


Broad loop:


Broad split:

[jdepould]

To the short side

Short 45:


Short loop:


Short split:


It's a lot easier to see the difference between the different positions when you're looking at the short side, since you're looking into the shadows. Notice the separation between the shadow of the nose, and the shadow on the side of the face in the 45, and how those shadows merge in the loop.