Portrait Photography Studio Basics

So, you have decided to venture into the realm of portrait photography. Whether it is for the fulfillment of your monetary needs or purely just for fun, there are some basic things that you need to know to take a high quality portrait. The number one job of a portrait photographer is to flatter the subject. To do this there are three things that affect the look and feel of your portrait. They are the length of your lens, your lighting, and your facial perspective.

The length of your lens is a very important criterion for portrait photographers. You want to be sure to have a lens that will flatter your subject. As a general rule for head and shoulder portraits the length of your lens should be double the diagonal of the film plane or in the case these days the digital sensor. For example, the diagonal measurement of a full size sensor is 45mm therefore your lens should be 90mm or even longer for flattering portraits. You would probably also want to have a wider lens for full length or group portraits.

Lighting is probably the most important piece of creating a great portrait. The lighting is what creates depth and dimension to your photograph. Through the color, direction, and intensity of the light it creates mood and feeling of each portrait.

Since proper exposure is an obvious must for good portraits you will need an incident meter, which measures the light that is falling on the subject.

A basic starting point for metering your lights for a typical portrait:

• Take independent readings of all lights
• All the lights should read the same except for your main light
• The main light should read 1-1½ stops above the common reading
• The camera should read 1 stop above the common

In the portrait studio there are two divisions of lights:

• Ratio lights - Main and fill
• Separator lights - hair and back

Ratio lights are the lights that determine the difference between the light and shadow areas on the subject.

Main light - This is the dominant light. Its intensity should always be greater than the other lights. It is the light that will be moved and modified to produce the desired look of the portrait. It determines the direction of the shadows.

Usually in a classic portrait this light is equipped with a soft box. This is because the soft box creates a soft light, which is most flattering to your subject. It is common knowledge in photography that the bigger the light source, the softer and warmer the light appears on the subject. So move the soft box as close to the subject as possible with getting into the frame of the picture.

Be sure to watch the height of this light relative to your subject. You want to be sure that you can see the catch light in their eyes. The catch light really brings the eyes out and makes them sparkle. It is what brings life to your portrait.

Fill light - This light places an important role in the overall quality of your portrait. It is the light that determines the light to shadow ratio of your portrait. It fills in the shadows to give them detail. This light is often a bounce light, a light with a large umbrella, a soft box, or even just simply a large reflector of some sort.

The separator lights are really a matter of choice. You can use one or the other, or both. Its up to you and the vision you have for your photograph.

Back light - This light is needed to create separation between the background and the subject. This will give your portrait dimension. Without this light your photograph will look flat. It is also used to establish the tonal values of your background by adjusting the lighting intensity or even using gels. It can also provide an area of concentration on the backdrop.

The background light usually has a parabolic reflector used with barn doors, grid, snoot, or other modifiers.

Be careful when using this light because it can easily become too prominent or distracting if it is used wrong.

Hair light - this light also creates separation between the subject and the background. It is especially necessary during a low-key work. A hair light can be a soft box, or a reflector with barn doors or snoot, usually attached to the ceiling or boom above the subject. It should be place slightly behind the subject. Be sure that it is not shining light onto their nose or causing a glare in your camera.

Here is a diagram of what your studio set up will generally look like

1. Broad lighting or flat lighting - this is when all the lights meter the same. It is usually not recommended as it is the least flattering and least artistic.
2. Short lighting or Rembrandt lighting - when the main light is placed at a 45-degree angle from the camera and also at 45 degrees above the subject so that a triangle of light appears under the eye on the shadow side of the face. This creates added dimension, it can also slim or widen the face and reduces ear prominence. This is probably the most used lighting style in portraiture. (The setup is shown above.) This lighting can completely change the look of your subject; it can slenderize or broaden the face. Shooting into the shadow side of the face (short lighting) this is usually most flattering.
3. Butterfly lighting - when the main light is behind the camera above the subject. Brings out cheek bones (use a table top reflector for a little fill)
4. Split - light and shadow sides are split down the middle of the face. Very dramatic
5. Rim lighting, back lighting, profile lighting

In addition to the lighting styles there are also 5 views of the human face (facial perspective) that are typically used in portraiture.

• Profile of the right side
• Profile of the left side
• The front
• 2/3 view of the right
• 2/3 view of the left

The 2/3 view is created when the subject is positioned with their back or shoulder to the camera and turns their face to the camera. The nose should be within the cheek line. Also, be sure that you can see the edge of the outside eye; otherwise it will create a strange look.

These are just the basics of studio lighting for portraiture. It is important to become familiar and comfortable with these things for quickness and ease during a sitting. These instructions are not always definite; they are a starting point. You are the artist have the ability to add upon and change as you see fit.

Good luck in all your portrait endeavors!