What
is Split Lighting?
Split Lighting is one of the 5 basic
lighting setups used in studio portrait photography. Split lighting at its most
basic level is constructed with a single light source placed 90 degrees offset
from the subject and a bit higher than eye level, lighting one half of the
face, and leaving the other in shadow.
When do I Use Split Lighting?
Split lighting is a very ‘moody’
lighting option, so it is generally used when the photographer wants to create
a strong sense of drama with the image. It is less frequently used in portrait
photography because generally people want to see a subject’s whole face in a
picture, though it does go in and out of fashion for commercial and advertising
photography every few years. This is often referred to as ‘the comic book
villain’ lighting style, and indeed, many comic artists use this technique when
they are portraying the bad-guy in their comic books. Whereas Short Lighting and
Rembrandt Lighting are 'everyday' lighting choices and the vast majority of
portraits will use one of these lighting setups, Split Lighting is an 'accent'
lighting choice... A session with a small number of Split Light portraits can
add some variety, but a little goes a long way and an entire session of Split
Light portraits can become boring very quickly.
Butterfly
Lighting
Butterfly lighting is aptly named for
the butterfly shaped shadow that is created under the nose by placing the main
light source above and directly behind the camera. The photographer is
basically shooting underneath the light source for this pattern. It is most
often used for glamour style shots and to create shadows under the cheeks and
chin. It is also flattering for older subjects as it emphasizes wrinkles less
than side lighting.
Butterfly lighting is created by having
the light source directly behind the camera and slightly above eye or head
level of the subject (depends on the person). It is sometimes supplemented by
placing a reflector directly under their chin, with the subject themselves even
holding it! This pattern flatters subjects with defined or prominent cheekbones
and a slim face. Someone with a round, wide face would look better with loop or
even split to slim their face. This pattern is tougher to create using window
light or a reflector alone. Often a harder light source like the sun or a flash
is needed to produce the more defined shadow under the nose.
Broad Lighting
Broad
lighting is when the subject’s face is slightly turned away from center, and
the side of the face that is toward the camera (is broader) is in the light.
This produces a larger area of light on the face, and a shadow side that
appears smaller. Broad lighting is sometimes used for “high key” portraits.
This type of lighting makes a person’s face look broader or wider (hence the
name) and can be used on someone with a very slim face to widen it. Most people
however 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 the face is turned away from the light source. Notice how the
side of the face that is towards the camera has the most light on it and the
shadows are falling on the far side of the face, furthest from the camera.
Simply put broad lighting illuminates the largest part of the face showing.
Short
Lighting
Short lighting is the opposite of broad
lighting. As you can see by the example here, short lighting puts the side
turned towards the camera (that which appears larger) in more shadow. It is
often used for low key, or darker portraits. It puts more of the face in
shadow, is more sculpting, add 3D qualities, and is slimming and flattering for
most people.
In short lighting, the face is turned towards the light source this
time. Notice how the part of the face that is turned away from the camera has
the most light on it and the shadows are falling on the near side of the face,
closet to the camera. Simply put short lighting has shadows on the largest part
of the face showing.
Loop Lighting
Creating a small shadow of the subjects’
noses on their cheeks this makes loop lighting. To create loop lighting, the
light source must be slightly higher than eye level and about 30-45 degrees
from the camera (depends on the person, you have to learn how to read people’s
faces).
In this diagram the black backdrop
represents the bank of trees behind them. The sun is coming over the trees but
they are completely in the shade. A white reflector is used at camera left to
bounce light back into the subjects’ faces. The reflector may or may not be in
the sun but you can still pick up light even if it’s not. Just play with the
angles, by changing the placement of the reflector you can change the lighting
pattern. For Loop lighting it will need to be somewhere around 30-45 degrees
from the camera. It also needs to be slightly above their eye level so the
shadow or loop of their nose angles down towards the corner of the mouth. That
is one mistake I often see beginners make with reflectors is to place them down
low and angle it up. That lights up the bottom of your subject’s nose and does
not create a flattering pattern.
Rembrandt
Lighting.
Rembrandt lighting is so named because
the Rembrandt the painter often used this pattern of light in his paintings, as
you can see in his self-portrait here. Rembrandt lighting is identified by the
triangle of light on the cheek. Unlike loop lighting where the shadow of the
nose and cheek do not touch, in Rembrandt lighting they do meet which, creates
that trapped little triangle of light in the middle. To create proper Rembrandt
lighting make sure the eye on the shadow side of the face has light in it and
has a catch light, otherwise the eye will be “dead” and not have a nice
sparkle. Rembrandt lighting is more dramatic, so like split lighting it creates
more mood and a darker feel to your image. Use it appropriately.
To create Rembrandt lighting the subject
must turn slightly away from the light. The light must be above the top of
their head so that the shadow from their nose falls down towards the cheek. Not
every person’s face is ideal for creating Rembrandt lighting. If they have high
or prominent cheekbones it will probably work. If they have a small nose or
flat bridge of the nose, it may be difficult to achieve. Again, keep in mind
you don’t have to make exactly this pattern or another, just so long as the
person is flattered, and the mood you want is created – then the lighting is
working. If you are using window light and the window goes down to the floor,
you may have to block off the bottom portion with a gobo or card, to achieve
this type of lighting.
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