Each face can display a multitude of personality and individual characteristics.
features. It is up to the portraitist to bring to light
the best characteristics of the subjects with an interesting and good conversation
Turning on.
The photographer’s first task is to assess facial features and
decide which ones to emphasize and which ones to minimize. Length
noses look better from a low angle, for example, and jowls
they respond well to a high camera angle, but this article will be directed
on the effects of lighting on the human face.
It’s easier to gauge proper lighting by looking at the key points.
A flattering main light produces a defined shadow that extends from
the ridge of the nose to the cheek and includes everything non-photogenic
area near the nose. The height of the main light is determined by
the angle of the shelf below the eyebrow. Cavernous eyes are fine
served by a low key light and bulging eyes can benefit from a
high head light A second consideration is the appearance of a noticeable
catch the light in the eye as too high a key light will not show a catch
light. The bottom edge of the nose shadow should not touch or darken
the upper lip line. Proper shadow is the key to a flattering ‘loop’ light.
This lighting shows most faces to a good advantage, with both three
dimensional and youthful.
If a face appears round or heavy, side or split lighting is required. Weather
a lighting ratio of three to one is good for loop lighting, a softer two to one
The ratio is better for split lighting. Bring the light source closer to the face at a
ninety degree camera angle. The short side of the face will show
a line of shadow that travels from the bridge of the nose to the center
from the chin, dividing the face into a well-lit half and a shadowed half. Tea
The fill light should be placed close to the lens and slightly above it to
to produce a clearly defined chin line and to minimize unsightly wrinkles.
The key to keep in mind is proper exposure in the highlights and enough
light in shadow areas to give a good skin tone.
The lighting of the hair and shoulders is important and sets the mood of the image.
All hair disproportionately absorbs light and should be adjusted in strength
depending on the color of the hair. Black hair may require three times more
amount of light that blonde or gray hair requires. Be careful not to allow
light hair spilling over the nose for obvious reasons. a wide source
is preferable to a point source because the latter emphasizes the
reflective qualities of the hair rather than the true color and tone.
If an edge light is used for a character portrait, make sure the light is on.
Well goboed and placed as close to being in the picture as possible without
demonstration. Some photographers place their fill lights high above the lens to
safety and comfort reasons. But this placement produces undesirable
neck lines, eye bags and dazzling foreheads. Fill light or lights work
best at or just below eye level, filling in the neck lines and almost eliminating
bags under the eyes
Rembrandt’s so-called lighting shades the eyes completely, emphasizing the
upper cheeks triangular in shape. Special care must be taken not to
darken the eyes too much. While some studio photographers work with wrap
around general lighting with a lighting ratio of one to one and a half, without model-
ing is present to enhance features. The only benefit is that the study
Never get complaints about shadows being too dark.
The backlights when set to the same power as the main light will produce
a background color and density equal to what appears to the naked eye. Tea
The purpose of the background is to provide a nice distant contrast that is not
does not compete with the subject, but enhances it and separates it from the
distance. A darkening of the edges is a traditional way of keeping the eye
in the center of interest.
Lighting and its many variations is the most important tool to help the portrait.
The photographer reveals people at their best.
