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There are a lot of lighting patterns for you to use in your portrait photography. Some of these are covered quite well. Rembrandt and butterfly lighting are two that are both easy to set up and yield great results a lot of the time. Of course, you can use just one lighting pattern all of the time and build a fantastic portfolio; however, if you want to have a full skillset with a variety of techniques to use in your portraits at any time, you will want to learn and understand as many of these lighting patterns as possible.
This article will introduce you to the broad and short lighting patterns and explain when and why you might want to use them and what you can expect to achieve while using them. These are two very easy lighting patterns that can seem confusing at first, but once you get your head around them, they give you powerful tools to help shape the light and your subjects in your photos.
First, let’s start with the very basics. A lighting pattern is any named lighting setup that gives you specific results. There is a fair list of these established lighting patterns for you to learn outside of the broad and short patterns discussed here. These include Rembrandt, Butterfly, split, cross, clamshell and more. Learning and understanding these lighting patterns can act as a shortcut to helping you get great results in your portraits. These lighting patterns apply to both natural light and artificial light, so it does not matter which you prefer.
Sometimes, understanding what broad and short mean in terms of lighting can be confusing. To make it as simple as possible, imagine a face turned slightly away from you. That face now has two sides divided by the nose. The side of the face that is closest to you is the broad side because you see more of it than the other. The other side, the one that’s furthest from you, is the short side.
With broad lighting, your light is going to hit the broad side (or the side that’s closest to you) of the face first.
With short lighting, your light is going to hit the short side (or the side that’s furthest from you) of the face first.
When you choose to light the broad side of the face, it has several effects on your image. These include:
Because broad lighting tends to broaden (go figure) the face, you’ll want to use broad lighting when you’re photographing subjects with a narrow face. Using it on subjects with a wider face can exaggerate that shape and you’ll want to avoid it there.
If there’s a feature on one side of your subjects face that you want to take the emphasis away from, you can pose your subject so that feature is on the short side of their face and use broad lighting to ensure that it’s in shadow, taking the emphasis away.
While there is no one way to set up broad lighting, here is a basic method to get you started.
As in the diagram above, place your light forty-five degrees from your subject. Ensure that you have your subject’s face posed away from the light source.
Lighting patterns are a starting point. This isn’t a zero-sum game. To take your broad lighting setups further, feel free to experiment with fill light. You can use reflectors or a second light to lift up the shadows and reduce the contrast in your images for more flattering portraits. Conversely, you can also choose to emphasize the shadows and the contrast for darker, bolder portraits. The best advice here is to know what result you are after before you start.
When you choose to light the short side of the face first, it also has several effects on your portraits:
Again, there is no one way to go about a short lighting setup.
For this example, start with your light source forty-five degrees to your subject just like you did for the broad lighting setup. This time, have your subject face towards the light. If you have a modeling light, or you’re using natural light, watch the highlights on your subjects face carefully. Either move the light or your subject until the brightest part of your subject’s face is the short side.
Tip: If you’re having trouble seeing the contrast with your eyes, you can squint. I can’t even begin to tell you why this works, but it does. Squinting makes it far easier to see the contrast in a scene with your eyes.
That’s it. While short lighting is slightly trickier than broad lighting, it is still easy to accomplish. Once you have it figured out, it will become second nature.
Since short lighting is so shadow-centric, you will almost certainly want to use fill light to control the contrast in normal situations. You can use a reflector, but if your shadows are quite deep, you may want to opt for fill light. Try exposing your fill light three stops less than your key (your main light) to retain your shadows while ensuring that all of the details are still there.
There you have it; two basic, but powerful lighting patterns that you can use to create bold dynamic portraits. I encourage you to go out and practice with each of these set-ups. Experiment liberally with your distances between your light and subject and try as many different fill lighting techniques that you can come up with. Once you have the basics down; if you want a real challenge: use the short lighting pattern to create a high key image.