After we assemble our new umbrella kit, then we place them in front of the subject. The topic then becomes Lighting. Maybe see a lighting setup article. But this page is more about the philosophy of learning lighting, than about the techniques.
At first, photography novices simply don't know what to look for, and we overlook so much in our flash pictures. At first, we naturally may think we do look, but we do not see yet. At first, we don't know what we are looking at, or looking for. We only see what we want to see, which is not the same as searching out all details. At first, we may only "see" that it's a picture of friend Mary, or that she has cute clothing, or maybe that it was taken at the park or zoo. We see what it is, but we may never notice the lighting that creates it, the angle of the lights, the gradient shadow tones sculpting the face, or the catch lights in the eyes, etc. Everyone starts there, looking but not seeing anything at first. Lighting is not the same as exposure or brightness, there is a lot more. To see the lighting, to actually recognize its elements, we have to learn to stop and intentionally look at the actual shadows of the tonal gradients that we create. Seeing is about awareness (realizing what we do see). This becomes easy automatic habit, but it isn't easy at first, we don't even know we don't know, not until we become aware. This does not happen overnight, learning to see occurs in steps which takes time to develop. As we learn that there are more details, then that is more things to look to see.
This awareness takes a conscious decision to stop, and actually look, and think, in a determined way, to search your images at length — to realize what we see (to notice detail that we actually are aware of). I wish I were better at it, but I have finally learned there is much more to be seen than beginners ever have a clue about. We can spend many years still as a beginner (been there, done that), until one day, we realize we have to look, and see. To have a clue, we just need to practice looking, learning to actually see. The first step is to realize what you are looking for in the lighting. Your eyes and brain are the best tool you've got. And then our life changes, at least with regard to photography and lighting. Study your photo results carefully, numerous times on multiple occasions. The more you look, the more you can see (if you try), and thinking about what you see becomes the norm. Then, after awhile, you easily see more, automatically, it immediately jumps out at you as you first walk up. Think about what you see, search out every shadow, every gradient tone. What do you see? (think about it). Was there a plan for the lighting? Account for each light, and account for their shadows, and their location and degree. The portrait lighting is about the shadows. That's always true.
This is a simple bounce flash snapshot, but bounced from ceiling to improve the shadows. By "shadows", I don't mean the flash shadow behind the subject (but which is generally filled by the bounce). There is slight evidence of a dark shadow rim under the lower edge of the ear from the frontal fill card above the camera lens, but which is hardly noticeable. Generally we do try to eliminate those shadows behind the subject (using close umbrellas, and more distant background, or with bounce flash). And we do try to create the mild shadow shading on the face. So what I mean is look at the shadows and shading on the subject, especially on the face, intentional shading which creates the desirable natural gradient tonal shading which adds interest, which sculpts (shapes or models) our subject's curves. Even the shadows added on her shirt, it all shows "shape" (not flat).
So we have two light sources here. The bounce flash was mounted on the camera, aimed up at ceiling as the off-camera soft main light, and the flashes pull-out bounce card was used to add a little forward fill, weaker just to lighten the bounce shadows, especially to fill the eye shadows (to prevent the raccoon eyes that bounce can cause when camera is too close), and specifically to add the catch lights in the eyes (which look more "alive"). You don't have to pull the bounce card all the way out, which is more control, if you just actually look. This is what we try to create with the off-camera lighting. We know where the light was, and can see what it actually did (if we think to look), and learn what the shadows actually show. To learn, we just have to remember to simply look at results, and think a second. And then we can better plan those shadows and gradient shading tones (not necessarily specifically, but certainly generally — a natural look that we might call "avoiding the flat deer-in-the-headlights look"). This is hard to describe, but this picture is an example from the bounce page. It's just a quicky snapshot, one bounced speedlight on camera, but the point is that the lighting is not at all flat (and is a better picture than the deer-in-the-headlights look).
Note that these facial shadows (gradient tonal variations) are why studio flash modeling lights are called modeling lights. From the big dictionary: "Modeling: The technique of rendering the illusion of volume on a two dimensional surface by shading". "Model" in the sense of to help visualize something. If using studio lights, the modeling lights show the sculpting or shaping that the setup of our flashes will create with shadows. Using like f/8 or f/5.6, and low ISO 100 and the fastest maximum sync speed shutter will hide the continuous light. The flash power will overwhelm the modeling lights so that there is no orange incandescent contribution to the final picture (a test picture with flash trigger disabled should be Black). But a digital camera simply allows a preview of the first test shot, the "real thing", more precise. The available power of a bounced speedlight may need like ISO 400 and f/4 or f/5.6 (as a starting point). The incandescent modeling lights provide a continuous light so we can see the shading that the instantaneous flash would create. Which is good, but might not match the flash power, and now that we use digital, our first setup test shots can show the same results, better really, but certainly the modeling lights were essential in the film days. Note though, the idea is about looking, and seeing. We should look, and we must learn to see, as a conscious plan.
It is true when showing people your pictures, that they don't see this detail either. They do see it is a pleasant natural attractive picture that they like, without realizing why. But you should know — it is your job to learn why it is, and how to do it, every time, automatically.
This is not rocket science at all — we can see everything that happens in the picture result. The lighting is all there right in front of us, obvious even, so we ought to learn to just look for it. You may be amazed when you realize how much is already right in front of your face... Learn to see the light, and the gradient tonal variations. Where are the shadows? Really, is that all of them? You didn't miss anything? Look again. And again, and again tomorrow, and every day. This new seeing ability slowly builds, not overnight, and we slowly start realizing that there is more to see if we just look. We see more and more (but which was always there). It becomes easy and obvious, once we become aware. I am repeating a lot, and it is hard to describe in words, but the goal sought here is for you to realize there is actually more to see, right there in front of your face, and hoping for your determination to watch it and think about it. The actual problem is that beginners typically don't see much, until they teach themselves to look. Start by concentrating a little harder, what can you actually see?
At the top of my list of dumb questions is to ask what will happen if I change this setting, or try that procedure? Because, with digital cameras today, we can immediately see that answer, so don't ask, just try it, and then look at the result, so that you will actually know. We can see everything that lighting does, if we learn to look. Seeing is the tool, and practice is what makes perfect.
It is considered to be very good standard classic academic portrait practice to start learning with one light and a reflector (specifically to learn about lighting, to learn to see the shading on the face, etc). A reflector can provide the fill, to modify the shadows we see. Beginners typically don't see much at first, so the first skill is to learn to SEE this lighting, to recognize what you are trying to do. A reflector may be sort of doing it the hard way (passive, only does what it can do, from where it can do it), but maybe is about the same deal as not letting little kids use a calculator in school, to teach the principles first. And both the results and the learning can be absolutely excellent. An excellent inexpensive and stiff reflector is a white foam board from the craft store.
You could read a bit here: Google: one light portrait lighting
Clearly, photographic lighting mostly boils down to personal preferences, either the look you want to create, or simply the method you want to use. There are many ways it might be done, some better than others, but no one way is right or wrong (some do seem to approach wrong). It's your picture, create it as you wish. But those who have learned to observe the shadows that we can see if we look, often have different preferences than those who don't see yet. They might choose to move or re-aim a light, or to set a different intensity ratio. Lighting is simply about what we can see, and there are obvious details that we can learn to see (so practice looking, and think about it). You will see more and more as you progress, if you think to look. And if you think when you look — which is admittedly platitudes, and admittedly hard to describe, but seeing really does require practice looking, and practice thinking. If you have not started looking yet, you have much to discover.
The first day of looking may be disappointing, because nothing will change until you start thinking. What am I seeing? (gradient shadows). Where are the shadows? (maybe on the distant cheek for starters). What do they do? (they show and define the shapes and curves, of the face for example). Why are they there? (the angle from the light). How can I recreate that look? (if you can see and recognize it, then you likely already know). Seeing and recognizing what you're doing is the big part. Know your goal. Learning to see does not come quickly, ability to see builds over time, but every session can increase it, if you are thinking about trying to see.
Adding more light is easy, and IMO is almost always better than too much dark. This illumination is the major advantage, and about anything is better than nothing. If the exposure is acceptable, then a cute little kid or a pretty girl will be wonderful, nearly no matter what you do. However, there is more you can do, there definitely are some subtleties too. About any weird lighting plan you can think to try probably already has a name, and may have some fans too. But some of these methods are classics, with far wider appeal than others. Pros also have the need to learn what sells.
Lighting books are sometimes disappointing to novices, because they show pictures, and to get it, we have to look, and we still have to see. So practice your seeing, which is much of the skill of lighting. They do say "photography is about light", however IMO, portrait lighting seems more about the shadows (the gradient tonal variations). To recognize it or to control it, you have to be able to see it (meaning, an awareness to notice it and think about it). There is much known lighting information online, but seeing is an awareness which involves the thinking brain.
Here are a few generalities, examples of lighting types, of its initial steps, about the things we can see, which should become obvious to your seeing.
- One speedlight flash aimed forward on the camera is direct frontal light. Easiest to do, sometimes required as only possibility, but rarely the best light. It certainly can be considered "even" lighting, it is at the same position as the lens, so it lights anything the lens can see. Light from any flash of course falls off with distance (2x distance is down -2 EV, 1.414x distance is down -1 EV), but otherwise, frontal flash at the same distance is excessively even, often to a fault, very flat (dull, no lighting variations to show gradient tonal shading). No shadows ON the subject, only behind the subject. So this flat frontal light does show some things well (clinically), which for some purposes, can often be considered a good picture if exposed correctly.
The on-camera direct flash can make a harsh dark shadow behind the subject. However, if the flash on the camera, the shadow is mostly hidden directly behind the subject. The flash is usually slightly higher than the lens, which can show the rim of the dark shadow below at some points (which becomes at the side of subject if the camera is rotated, which is objectionable, and is the purpose of flash brackets added to the camera, rotating to always keep flash directly ABOVE the lens, even when camera is rotated up on end for portrait view).
But the even illumination of direct hot shoe flash is always a very flat frontal light, flat and even, same light for anything the lens sees, which allows no subtle shadow gradient tones on the subject, no shading to show shapes (very even, but flat and uninteresting). Not necessarily a bad picture, great in some cases to "show things", but Not best to make portraits attractive. This on-camera flash is all that is of interest to the skill level of many people, but some of us want more, something more special.
One major exception: Flat frontal light (near the camera) at reduced level is a very good fill light, including from hot shoe direct flash for fill flash on faces in bright sun. The fill is normally compensated to be a less intensity (a stop or more) than the ambient (the sun makes the interesting shadows, and the fill at about -1.7EV softens them acceptably). Note that this compensation is done rather different between TTL and TTL BL flash modes (Part 4). Fill does NOT just mean another light out there. IMO, Fill means a light placed near the camera lens axis, to light exactly the shadows that the lens sees, without making another set of shadows. The main light is placed high and wide to intentionally make shadows, and the fill light is placed near the lens axis to smooth and lighten them, to be acceptable and desirable additions.
So saying, the best portrait lighting is from a off-camera main light, perhaps near about 45 degrees both high and wide, to intentionally make shaded shadows on the subject's face to show the shape and curves (to NOT be flat lighting). Plus one frontal fill to lighten those shadow tones to be less harsh and more pleasing (frontal to prevent making a second set of shadows). See more. Or bounce flash is a way to do a lot of both with one on-camera flash.
- One off-camera flash is better than direct hot shoe, as it can better mimic the sun's position, to cause natural shadows (which actually show detail by their shape). A light from a different angle than the lens will make shadows the lens can see. A direct flash can be handheld in an outstretched arm — this is a major purpose of the coiled hot shoe extension cords — but watch out for the bad shadows behind subject that this can create. But off-camera direct flash is a small light (diameter), and typically causes dark harsh shadows (on the subject), same as the Sun might. A white reflector surface on the opposite side can help to add fill, to lighten the shadows (inexpensive white foam boards from craft store). Learning to control the shadows is a major part of lighting skill. Shadow tones are essential and desirable, in mild and controlled degree, but first, we have to learn to see them.
- Hot shoe Bounce flash (aimed up at ceiling or at a near wall or at a large reflector) is typically rather good lighting (and still quite mobile indoors) — an entirely different concept, creating a large soft light, not exactly off-camera lighting, but coming from the large ceiling above certainly is from another direction. Or it could be bounced from a side wall, or even a rear wall behind camera. Or from a large reflector held at the side or above. Just Not flat frontal light.
Ceiling bounce also greatly helps the front to back depth light fall off problem in the room. In the picture above, the far wall is nearly twice the distance as the girl, but the light is Not two stops down on the wall. Because the source on the ceiling is about the same distance from the subject. This could be extremely important for a picture of a group seated around a long table. Both ends of the table are at more nearly about the same distance from the ceiling.
Bounce does require substantially more flash power, but a very popular opinion is that bounce should be the automatic first preference for hot shoe flash, if applicable to the situation (if the proper ceiling or wall exists). Bounce from the ceiling above is pretty much natural looking (direct frontal flash is far from optimum). Bounce from close range can cause "raccoon eyes", or bad dark shadows in eye sockets, etc. However, as here, a small bounce card can add slight forward fill, which also adds catch lights in the eyes (sparkle, which is great, to look "alive"), and it can become near perfect. Just don't overdo the card size, to overwhelm the bounce lighting, reverting back to direct flash. Look and see the shadows from the bounce, and look and see the direct shadows from the bounce card. Know what you are creating, so you can control it. The realization that this is our job to do should work wonders for our photography.
- One Umbrella - is off-camera so it creates shadows (intentional gradient shadows on the subjects face). But it is large and close, and large and close creates very soft and mild and vague shadows — more just soft gradient tonal values. This is the good stuff, and the umbrella is a major advantage — it can be positioned and aimed at will, and if up close, it is a large soft light (see example of soft) which really tones down and modifies the shadows — the rear shadows can almost disappear, yet lighting somewhat from the side does cause faint natural shadows (to detail shapes on the subject). The large close light sort of wraps around the subject's face, gradually. These will be less perceptible shadows, but still, it creates gradient tones which really help to define the shape of the subject. The intentional faint shadows show a natural view, including gradual shading, which is called modeling or sculpting. Because, the shadows make curves look like curves, to show shape, specifically to add interest (not present in flat even frontal lighting). These are effects you can see, if you look to recognize them. Anything you do with an umbrella is usually much better than it was without, but the goal is to intentionally create and control these shadows (those directly on the subject). We are not trying to eliminate them, we are trying to create and control them.
- Two Umbrellas - The first beginner's try is one umbrella simply on each side of camera, which is an even illumination, but is then two sets of shadows (they can be faint, but two sets of shadows is not natural. But the more faint and even the shadows, the more flat). Simply an umbrella on each side is not so bad, better illumination than many tries, even great for flat subjects like paintings or documents, but flat is not very interesting light for portraits of individuals. Still, this evenness is rather necessary for lighting a wide area, like a group.
This page is concerned with portrait lighting, specifically about the modeling shadows on one persons face. If even only two people, one is necessarily closer to the main light than the other.
- But consider photographing a large group, when due to the light falling with distance, our first concern requires that we must evenly light the expanse of the group. A frontal umbrella located towards each end of the group, and aimed inward back at the center, provides a nice even light across the group. One light falls off toward the more distant center, but it is reinforced by the other light there. If that angle to the center is 45%, then the light there is half intensity, and the two halves add to 1x.
But if a group has two or three rows of people, it also causes major shadows on the rear rows, that the camera angle sees (one row blocking the light, causing shadows on the next row), and there is great risk of some faces being in the shadow of other heads.This can work well for one single row, but we can get terrible shadows from multiple rows. We cannot see this from a flash until the picture is taken (tell all people they must have a clear view of both the camera, and the flash on that side). Better, bleacher steps or a stair case can be used to raise the rear rows, or the camera angle can be raised too (maybe on a step ladder), to look down on the rows, to see all faces in the clear, but the picture still sees all these shadows from the lights, so the photographer should look for them too.
So in contrast, another choice for multiple rows is two lights, both near and above camera position, and aimed somewhat outward (to prevent too much light adding in the center), illuminates the same faces that the camera angle sees, helping to prevent shadows on the rear rows. But in all cases, pay attention to any lighting center overlap being excessive. In either method, a little practice will be a very good experience.
- Portrait lighting: Two umbrellas positioned as Main light and Fill light - this standard concept for individual portraits is one Main light, perhaps 45 degrees high and wide from the subject's face, to mimic natural shadows from a well placed sun above (but a large and close and soft light). The second weaker Fill light is positioned close to the lens axis (often above the camera), to be flat frontal light (to light the same shadows as the lens sees, without making a second set of shadows), to simply fill in the darkness and harshness of the main light shadows (without causing other another set of shadows). Not to completely fill them, which would be too flat. Shadows add intentional contrast, but are controlled to be mild degree. The Fill light located Above the camera is good to minimize its angle that makes a second set of shadows. The main light strong creates the desirable shadow, and the fill light weaker creates the desirable lighting ratio. Weaker meaning metered at the subject to usually be perhaps around 1 EV less than the main light, depending on contrast preference. So the Fill light is set to meter about 1 EV weaker, but due to it being near the camera might be 3x further than the Main, so maybe the Fill is the best location for your most powerful light.
Lighting ratio of Main and Fill
The fill light level is frequently metered to set it to be about one stop less than the main light (for this ratio purpose). More Fill difference is darker gradient shadows and more contrast, and less difference is lighter shadows and flatter, less contrast (baby pictures maybe). Which of course you can see and notice in your result if you just look. First time, start at One EV less Fill, and experiment later. One EV less might sound like half power level, except the fill light back by camera is much further from the subject than the Main light, so it may need more power level than the Main, but still be metered as one EV less at the subject. A hand-held incident lightmeter will be valuable for doing very much portrait work, to set your individual lights powers for ratio. A meter such as the Sekonic L308S will be very adequate for portraits (a review).
But the ratio of the two lights is a choice — it can be a high ratio which is a weak fill, retaining dramatic dark shadows only slightly softened, for high contrast (dramatic for pictures of rugged old men). Or the ratio can be low, more equal fill, creating a more smooth even low contrast (often preferred for softer pictures of women and children). One stop difference is a good general value for color work. This is something we can see, and it is your preference. The degree of that fill light creates intentional lighting ratio (shadow density). This ratio is speaking of one face, we cannot hold a ratio across a group (because of light falloff with distance from flash). There are classic variations of lighting details, the names of which usually concern the shadow of the nose. For example, Rembrandt lighting, the nose shadow reaches across face to just barely touch the shadow at side of face there. This leaves a bright triangle on cheek above the shadow. I don't care much about the name, but my opinion is that the far cheek ought to have both some light and some shadow on it. There are many choices, but several variations for individual portraits involve a main light about 45 degrees high and wide (from subject's nose), and a weaker fill light, frontal from near the lens axis.
If no light meter yet, another way to determine Lighting Ratio is by placing the then equally powered lights (same lighting modifiers and same power level) at measured distances from subject, at distances matching f/stop numbers. For example, Main light at 4 feet and Fill light at 5.6 feet (or Main at 5.6 feet and Fill at 8 feet) which will be a 1 EV lighting difference (if the lights are equal). Modifiers like umbrellas and softboxes will seriously alter the intensities, but equal modifiers should still be close. More about that technique on the Inverse Square Law page. There are some strong IFs and BUTs, but you can always adjust the distances by eye to achieve better lighting ratio results. But if planning to do much of this, an incident hand held light meter to meter and adjust the flashes will be extremely helpful, like day and night.
More about Main and Fill and Lighting Ratio in this sample general purpose setup. There are of course several other lighting setups sometimes used, but next time, notice the lighting setup at the commercial portrait studio or at the school year book picture sessions. There are reasons this one is used.
My preaching here is hoping to convey the advantage of learning to actually see your results to be able to create them (look and actually see the lighting). Beginners are confused because they don't even realize that they do not see yet — they are unaware that they are missing the nuances of the lighting. Once you finally realize there is a lot more to be seen by just looking, then you will get it, and will know your preference and how to create it. But this awareness is a beginning step which always requires conscious effort, to actually look and see. I started clueless too, we all did. Believe me, I understand about not seeing nuthin' at first. We can spend years that way, before we wake up and look around, and realize there is more to be seen. Lighting simply requires looking, and thinking, which becomes seeing. I'm talking a lot, and beginners may scoff at this, we all think we see everything. I imagine I do too, but as you practice looking, there will come a time when you finally realize what it is about, and will understand more, and will be aware that you have become more aware. You can consciously decide to practice actually looking, and thinking about what you see, and about how it was created. It will not be real easy, it will take time and thought, and is mostly about paying close attention, but anyone can do it if they try — just not many of us bother to try. But photography is so much more than just point & shoot. Mostly it is about actually seeing the subject and scene.
Just learn to look, so you can see, to better know what you are trying to do. Pretty soon, you will be noticing the gradient shadows in all the pictures you see, magazines, movies, television, the catch lights in the TV news anchors eyes, all the visible stuff you never thought about before. This might sound hard, but everything is there to see, just learn to look for it. A high point will be when you realize you are contemplating the lighting ratio in the dramatic scene in the movie, instead of worrying about who is the murderer.
After lighting ratio, the next new basic studio lighting concept to be grasped is short and broad lighting (look at the shadows). Simply good and important starting stuff to realize, an excellent first step towards realizing the goal of lighting is these shadows. A lighting ratio is required to create those shadows. There are of course choices and preferences, but I am trying to say — if you can look and consciously notice (see) these obvious shadows, and their differences, then you are on your way to actually seeing when you look. It is all out there for us to simply see, if we look. Then, after you see, you will know what you are trying to do. And then, you have a pretty good idea how to do it.
