Paramount Lighting
Fill Light. The fill light is placed at the subject’s head height directly under the key light. Since both the key and fill lights are on the same side of the camera, a reflector must be used opposite these lights and in close to the subject to fill in the deep shadows on the neck and shaded cheek.
Hair Light. The hair light, which is always used opposite the key light, should light the hair only and not skim onto the face of the subject.
Hair Light. The hair light, which is always used opposite the key light, should light the hair only and not skim onto the face of the subject.
Background Light. The background light, used low and behind the subject, should form a semicircle of illumination on the seamless background (if using one) so that the tone of the background grows gradually darker the farther out from the subject you look.
Loop Lighting
Key Light. To create this setup, the key light is lowered and moved more to the side of the subject so that the shadow under the nose becomes a small loop on the shadow side of the face.
Fill Light. The fill light is also moved, being placed on the opposite side of the camera from the key light and close to the camera–subject axis. It is important that the fill light not cast a shadow of its own in order to maintain the one-light character of the portrait. The only position from which you can really observe whether the fill light is doing its job is at the camera. Check carefully to see if the fill light is casting a shadow of its own by looking through the viewfinder.
Hair and Background Lights. The hair and background lights are used in the same way as they are in Paramount lighting.
Rembrandt Lighting
Key Light. The key light is moved lower and farther to the side than in loop and Paramount lighting. In fact, the key light almost comes from the subject’s side, depending on how far his head is turned from the camera.
Fill and Hair Lights. The fill light is used in the same manner as it is for loop lighting. The hair light, however, is often used a little closer to the subject for more brilliant highlights in the hair.
Background and Kicker Lights. The background light is in the standard position described above. With Rembrandt lighting, however, kickers are often used to delineate the sides of the face (particularly the shadow side) and to add brilliant highlights to the face and shoulders. When setting such lights, be careful not to allow them to shine directly into the camera lens. The best way to check this is to place your hand between the subject and the camera on the axis of the kicker. If your hand casts a shadow when it is placed in front of the lens, then the kicker is shining directly into the lens and should be adjusted.
Split Lighting
Key Light. In split lighting, the key light is moved farther to the side of the subject and lower than in other setups. In some cases, the key light is actually slightly behind the subject, depending on how far the subject is turned from the camera.
Other Lights. The fill light, hair light, and background light are used normally for split lighting.
Profile Lighting
Key Light. In rim lighting, the key light is placed behind the subject so that it illuminates the profile of the subject and leaves a polished highlight along the edge of the face. The key light will also highlight the hair and neck of the subject. Care should be taken so that the accent of the light is centered on the face and not so much on the hair or neck.
Fill Light. The fill light is moved to the same side of the camera as the key light and a reflector is used to fill in the shadows (see the rim-lighting diagram above).
Hair and Background Lights. An optional hair light can be used on the opposite side of the key light for better tonal separation of the subject’s hair from the background. The background light is used normally.
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