[Photography] Understanding Depth of Field for Beginners

The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

You may have heard the term depth of field (DoF), but if you are new to photography you may not yet be taking advantage of how DoF can enhance your photos.

A basic definition of depth of field is: the zone of acceptable sharpness within a photo that will appear in focus. In every picture there is a certain area of your image in front of, and behind the subject that will appear in focus.

This zone will vary from photo to photo. Some images may have very small zones of focus which is called shallow depth of field.

Here’s a series of images with very shallow depth of field.

Others may have a very large zone of focus which is called deep depth of field.

Here’s a collection of images with much deeper depths of field.

Three main factors that will affect how you control the depth of field of your images are: aperture (f-stop), distance from the subject to the camera, and focal length of the lens on your camera. Here are some explanations and answers to other common questions concerning depth of field.

How does aperture control depth of field?

Aperture refers to the access given to light from the lens to the camera sensors. The size of your aperture (the diameter of the hole through which light enters the camera) controls the amount of light entering your lens. Using the aperture (f-stop) of your lens is the simplest way to control your depth of field as you set up your shot.

Large aperture = Small f-number = Shallow (small) depth of field
Small aperture = Larger f-number = Deeper (larger) depth of field

It may be easier to remember this simple concept: The lower your f-number, the smaller your depth of field. Likewise, the higher your f-number, the larger your depth of field. For example, using a setting of f/2.8 will produce a very shallow depth of field while f/11 will produce a deeper DoF.

The image on the left was captured at 250th of a second at f/5.0 which resulted in a very shallow depth of field.  Because of this the background is out of focus allowing the subject to stand out. The image on the right was captured at 1/5th of a second at f/32 which created a deep depth of field and a sharper background.

How does distance control depth of field?

The closer your subject is to the camera, the shallower your depth of field becomes. Therefore, moving further away from your subject will deepen your depth of field.

How does the focal length of a lens control depth of field?

Focal Length refers to the capability of a lens to magnify the image of a distant subject. This can get complicated, but the simple answer is that the longer you set your focal length the shallower the depth of field. Example: Your subject is 10 meters (33 feet) away, using a focal length of 50mm at f/4; your depth of field range would be from 7.5 -14.7 meters (24.6-48 feet) for a total DOF of 7.2 meters (23.6 feet). If you zoom into 100mm from the same spot, the depth of field changes to 9.2-10.9m (30.1-35.8′) for a total of 1.7m (5.7′) of depth of field. But if you move to 20m (66′) away from your subject using the 100mm lens, your depth of field is almost the same as it would be at 10 meters using a 50mm lens.

This image of a swan hiding in the tall foliage was captured from about 5m (16′)  with a 300mm focal length lens. This combination of focal length and distance created a depth of field of approximately 5cm (2″).

What if I just have a point and shoot camera, or don’t know how to change those settings?

Even with a point and shoot camera, there are ways to control your depth of field. In the Scene Modes menu, look for a symbol of a human head, which is the setting for portraits. This will give you a narrow depth of field. In the same menu there is also a mountain symbol, which is a setting for landscapes, which will give you a deeper depth of field.

If you are a beginner with a DSLR there are some simple ways you can control depth of field and still use and automatic shooting mode. By choosing Aperture Priority mode you can set your aperture to get the depth of field that you want, and the camera will automatically set the shutter speed.

Can I set the depth of field exactly for each situation?

Yes, but because changing your aperture affects your shutter speed, the result may not meet the needs of your image. For instance, if you are trying to increase your depth of field by reducing aperture size you will also need to increase (slow down) your shutter speed which could make your image blurry. Understanding how all these settings work together can increase your control over depth of field.

Is depth of field equally distributed in front and back of my focus point?

No, it’s usually about one third in front and two thirds behind your focal point, but as your focal length increases it becomes more equal.

How will understanding depth of field improve my images?

Managing depth of field is one of the most important tools at your disposal, because having tack sharp images is one of the most important factors to getting that great shot. Knowing how to make the parts of your image you want sharp and the parts you want to be out of focus, is a great artistic tool to create great images.

Getting the right depth of field for your shot can make all the difference.

When should I use a shallow depth of field?

Using a shallow depth of field is a good way to make your subject stand out from its background and is great for portrait photography. Shallow DoF can also be useful in wildlife photography, where you want the subject to stand out from its surroundings. This is also useful because many wildlife photo opportunities are low light situations, and increasing your aperture size will give you more light. Shallow depth of field is also effective for sports photography where many times you want to separate the athlete from the background to bring attention to them. The result of this should also help give you a fast enough shutter speed to freeze the action.

This image captured at 300mm focal length and f/5.6 produced a very shallow depth of field. Because of this, it is important to set your focal point on the subject’s eye. Notice how the bird pops out from the background.

When should I use deeper depth of field?

In landscape photography it is important to get as much of your scene in focus as possible. By using a wide angle lens and a small aperture you will be able maximize your depth of field to get your scene in focus.

This landscape was captured with a 50mm focal length at f/16. The focus point was set at 8 meters, which made everything from 4 meters to infinity in focus.

How can you determine depth of field?

There are several on-line sites that will provide depth of field charts for your camera and lenses. Also, there are a number of apps available for smart phone users that can calculate it for you while you’re in the field. Most cameras have a DoF preview button which will give you a preview as you look through the eye piece. (This is probably the easiest and most under-utilized method.) Using this button may cause your image to appear darker as you view it through the eye piece, but not to worry. Your image will be properly exposed as long as you have the correct exposure settings.

Can depth of field be adjusted to get everything in focus?

Yes, using what is called the hyperfocal distance. When you are focused at the hyperfocal distance, your depth of field will extend from half the distance to your focal point to infinity. Use a DOF calculator to find your hyperfocal distance. If you don’t have a DoF calculator, a good rule of thumb is to focus a third of the way into the scene. Using an aperture of about f/11 or higher with a wide angle lens will maximize your depth of field.

What about depth of field in macro photography?

Because most macro images are produced in low light and with a longer focal length, the depth of field is often very shallow. Adjust your lens to the smallest aperture that the light will allow. It may also be necessary to increase your ISO to allow you to properly expose the image and to maximize your depth of field. Still, in many macro images your DoF may be very minute. With this very narrow focus it becomes necessary to use a tripod, because even the slightest movement of the camera will move your macro subject outside your depth of field.

This 120 mm macro even at f/8 still has a very shallow depth of field.

What is bokeh?

Bokeh (boh-ke) comes from the Japanese word meaning blur. This effect is produced by the out-of-focus areas in your image that are beyond the depth of field. Bokeh commonly refers to the pleasing circle shapes caused by the shape of the lens aperture. Usually created when shooting with your aperture wide open, such as f/2.8, bokeh can also be created with smaller apertures if the background is distant enough.

Learn more about how to get beautiful bokeh in your images here.

Bokeh in this image was created by the distance of the subject to the background, which fell well beyond the depth of field.

To summarize controlling depth of field:

Increase depth of field

• Narrow your aperture (larger f-number)
• Move farther from the subject
• Shorten focal length

Decrease depth of field

• Widen your aperture (smaller f-number)
• Move closer to the subject
• Lengthen your focal length

Take control of your depth of field. Understanding how these adjustments control your it will greatly improve your photography. What questions do you have about depth of field? Please share your photos and comments.

Recommended Reading for Beginner to Intermediate Photographers

If you enjoyed reading this tutorial we’ve put together a series of comprehensive advice for photographers:

• Ultimate Guide to Photography for Beginners
• Ultimate Guide to Landscape Photography
• Ultimate Guide to Taking Portraits and Photographing People
• Ultimate Guide to Nature and Outdoor Photography
• Ultimate Guide to Street Photography
• Ultimate Guide to Getting Started in Lightroom for Beginners
• Ultimate Guide to Fine Art Photography
• Ultimate Guide to Photography Terms and Common Words

The post Understanding Depth of Field for Beginners appeared first on Digital Photography School. It was authored by Bruce Wunderlich.

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[Photography] Nikon Announces the Full-Frame Z5 With a Sub-$1500 Price

The post Nikon Announces the Full-Frame Z5 With a Sub-$1500 Price appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Last week, Nikon officially unveiled the Z5, an addition to the full-frame Z-mount mirrorless lineup that had previously only included the Z6 and the Z7.

While the Z5 doesn’t offer any groundbreaking features on par with Canon’s EOS R5/R6 announcement, the camera offers plenty to love, and will likely fall into place as an affordable full-frame option for those looking to move up from Nikon APS-C bodies.

So what does the Z5 include?

First, a full-frame, 24.3 MP sensor. This resolution is standard for entry-level APS-C and full-frame cameras, but it’s more than enough for all but the most megapixel-hungry of photographers, and generally offers a nice balance between detailed images and low-light capabilities.

Nikon promises a spectacular high-ISO performance, claiming that the Z5 will “excel in low-light situations, making it ideal for shooting everything from low-light events to an all-nighter under the Milky Way.”

As with the Z6 and Z7, you’ll also get in-body image stabilization, which ensures the Z5 is handholdable even in more difficult low-light scenarios or when shooting video, and allows the camera to deliver high-quality landscapes and travel photos even when there’s no tripod at hand.

You also get a 3.6M-dot electronic viewfinder, which should be enough to impress even more demanding shooters, as well as a 3.2-inch rear-LCD with tilting and touchscreen capabilities. Interestingly (and perhaps in response to complaints from Z6/Z7 users), the Z5 will offer dual SD card slots, which provide a level of redundancy required by many professional shooters.

As for autofocus, Nikon promises 273 AF points, which “cover nearly the entire frame,” as well as human and animal eye-detection technology for easy tracking of pet, portrait, and wildlife subjects. This appears identical to the highly-regarded AF system on the Z6, and should provide Z5 shooters with fast focusing and tracking, even in trickier conditions.

Unfortunately, while the Z5 boasts a maximum shutter speed of 1/800s, a significant drawback is the continuous shooting speed, which tops out at 4.5 fps, and makes the Z5 immediately unsuitable for more serious sports and wildlife photographers.

And while the Z5 is compatible with a slew of excellent lenses via the FTZ adapter, the number of native Z lenses is still limited compared to mirrorless competitors such as Sony and Fujifilm.

On the other hand, the Z5 features a weather-sealed body, which is (surprisingly) on the same level as the Z6 and Z7. And regarding video: The Z5 does offer 4K/30p recording, but this comes with a pretty substantial (1.7x) crop, which will undoubtedly make the Z5 less compelling for more serious video shooters.

Bottom line:

The Z5 will be an appealing option for photographers looking to transition to mirrorless, especially given a relatively reasonable ($1400 USD) body-only price. But the slow continuous shooting speeds will force fast-paced photographers (e.g., wildlife, sports, and street) to look elsewhere, while the presence of the Z6 (at around $1800 USD) will be a compelling alternative for photographers desiring faster (12 fps) shooting speeds.

The Z5 will begin shipping in late August, and is currently available for pre-order here.

Now over to you:

What do you think of the Nikon Z5? What is your favorite and least favorite feature? And is it a model you’d be interested in purchasing? Share your thoughts in the comments!

The post Nikon Announces the Full-Frame Z5 With a Sub-$1500 Price appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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[Photography] How to Use Neutral Density Filters to Make Better Landscape Photos

The post How to Use Neutral Density Filters to Make Better Landscape Photos appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

In an earlier article, I wrote that neutral density filters are the secret weapon of the landscape photographer. I couldn’t work without mine and I suspect most landscape photographers would say the same.

But why are they so useful? There are two reasons. One is that neutral density filters give you control over exposure, and the other is that they give you creative control over shutter speed.

Let’s take a closer look at these concepts.

What is a neutral density filter?

First, some definitions. A neutral density filter is one that blocks light. The result is that less light passes through the lens and reaches the camera’s sensor (or film).

There are several ways of measuring the strength of neutral density filters, but they are basically all different ways of stating how many stops of light the filter blocks. Typical strengths are one stop (0.3 or ND2), two stops (0.6 or ND4), three stops (0.9 or ND8), six stops (1.8 or ND64 )and ten stops (3.0 or ND1024). Some manufacturers even make neutral density filters that block 16 stops or more light, although these are more of a specialty item.

This photo shows a ten stop neutral density filter mounted on a lens. As you can see the filter is nearly opaque and you can’t see through it well.

Different kinds of ND filters

Neutral density filters block light evenly across the frame. Graduated neutral density filters, on the other hand, block light across just part of the frame. Half the filter is clear, and half is opaque, with a graduated area in-between (hence the name).

This photo shows a two stop Lee graduated neutral density filter in a square filter holder. The top half of the filter is dark (to block light) and the bottom is clear.

Graduated neutral density filters and the landscape

Graduated neutral density filters (often just called grads or GND filters) are used by landscape photographers to control exposure.

Imagine you are taking a landscape photo that includes the sky and the setting sun. In this scenario, the sky is much brighter than the foreground. If you expose correctly for the sky, the foreground goes dark. If expose correctly for the foreground, the sky is burnt out.

A graduated neutral density filter blocks light from the sky without affecting the foreground. If for example, the sky is three stops darker than the foreground then a three-stop graduated neutral density filter will help even out the difference between the two, allowing you to capture the scene in a single frame.

Here’s an example

For this first photo below I set the exposure by exposing to the right (on the histogram) so that there were no clipped highlights. The problem is that the bottom half of the photo is too dark. You can make it lighter  in Lightroom, but not without introducing noise.

I made another photo (below) and increased the exposure by two stops. The foreground is exposed properly but now the sky is burnt out. There is no way to bring back the lost highlight detail in Lightroom.

I made this last photo using a three-stop soft graduated neutral density filter. The filter allowed me to capture detail in both foreground and sky.

The advantage of using the filter is that it let me continue working as the light faded, taking longer exposures without having to bracket. The last photo of the evening had an exposure time of six minutes.

It also saves time in post-processing compared to using techniques like exposure blending or HDR in Lightroom. Before digital cameras (and processing), graduated neutral density filters were the only way that photographers had to balance out exposure between foreground and sky.

Disadvantages of graduated neutral density filters

Graduated neutral density filters do have some disadvantages.

The first is that they don’t work well with scenes broken by something that sticks up above the horizon (like a tree or mountain).

The photo below is a good example. The sky is a small part of the frame and it’s impossible to cover it with a graduated neutral density filter without making the rocks darker as well. The only solution was to take two different exposures, one for the foreground, the other for the sky, and blend them in post-processing.

Another disadvantage is that good quality graduated filters are expensive.

Despite this, some landscape photographers like to use them as it gives them choice. With graduated neutral density filters you can decide which technique is best suited for the scene you are photographing.

Neutral density filters and the landscape

Landscape photographers use neutral density filters for creative control over shutter speed.

Think about the exposure settings landscape photographers tend to use. You normally set ISO to the lowest setting and aperture to f/11 or f/16. This gives you maximum image quality (low ISO) and good depth-of-field (narrow aperture).

The shutter speed required to give the correct exposure will depend on the ambient light leves. In bright light, it might be around 1/125th of a second. In the fading light at the end of the day, it might be around 1/2 second.

But what if you want a longer shutter speed? This is where neutral density filters come in. They block light so that you can get longer shutter speeds. Longer exposures allow moving parts of the landscape (like clouds or water) to blur, which in turn creates mood and atmosphere.

The ultimate example of this is long exposure photography, where exposures of several minutes are used to blur the motion of the sea and clouds. Here’s an example. This photo was taken at ISO 200, at f/11 for 1/125th of a second.

With a neutral density filter, I was able to turn that into a shutter speed (exposure time) of 210 seconds. The photo is transformed.

The neutral density filters I use

One of the problems with neutral density filters is that there are so many to choose from. How do you know which ones to buy? Ultimately you have to decide how much you want to spend and then look at the options. But I can start by telling you which filters I own, why I bought them, and give you some tips for choosing filters.

Take note – filter size is a factor

But before I do that, I’d like to make the point that filters are very closely related to lens size. The bigger your lens, the bigger the filter required to cover the front element, and the more expensive it will be to buy. The difference can soon add up to hundreds of dollars. You have to bear in mind the filters you may want to buy later when you buy the lens itself.

My Neutral Density Filter Kit

My neutral density filter kit is the circular Formatt Hitech 72mm Firecrest Joel Tjintjelaar Signature Edition Long Exposure Kit #1. It contains three neutral density filters with strengths of three, six and ten stops respectively. You can also use two filters together to block nine, 13 or 16 stops of light. I bought the circular filters because they are less expensive than the square ones. (NOTE: if you plan to use your filters on multiple lenses, buy the size you need for the largest one, and get step-down rings to adapt the filters to fit the smaller ones – OR get the square drop-in kind instead.)

My Graduated Neutral Density Filter Kit

My graduated neutral density filter kit is the Lee Seven5 system, which I bought in a set that includes the filter holder, an adapter ring, and four graduated neutral density filters. The Lee Seven5 system is smaller (and less expensive) than Lee’s full size filters and is designed for mirrorless camera systems. This comes back to the point I made earlier about lens size.

I love these filters because they help me take photos like this.

I would love to hear from you what neutral density filters you use. Which ones did you choose and why did you buy them? What brands would you recommend to other photographers? Please let us know in the comments below.

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If you enjoyed this article and would like to learn more about landscape photography then please check out my ebook The Black & White Landscape.

The post How to Use Neutral Density Filters to Make Better Landscape Photos appeared first on Digital Photography School. It was authored by Andrew S. Gibson.

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[Photography] 6 Portrait Lighting Patterns Every Photographer Should Know

The post 6 Portrait Lighting Patterns Every Photographer Should Know appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

In classical portraiture there are several things you need to control and think about to make a flattering portrait of your subjects, including: lighting ratio, lighting pattern, facial view, and angle of view. I suggest you get to know these basics inside out, and as with most things, then you can break the rules. But if you can nail this one thing you’ll be well on your way to great people photos. In this article we’re going to look at lighting pattern: what is it, why it’s important, and how to use it. Perhaps in another future article, if you enjoy this one, I’ll talk about the other aspects of good portraiture.

Lighting pattern I’d define as, how light and shadow play across the face to create different shapes. What shape is the shadow on the face, in simple terms. There are four common portrait lighting patterns, they are:

• Split lighting
• Loop lighting
• Rembrandt lighting
• Butterfly lighting

There are also Broad and Short lighting which are more of a style, and can be used with most of the patterns above. Let’s look at each of them individually.

1. Split Lighting

Split lighting is exactly as the name implies – it splits the face exactly into equal halves with one side being in the light, and the other in shadow. It is often used to create dramatic images for things such as a portrait of a musician or an artist. Split lighting tends to be a more masculine pattern and as such is usually more appropriate or applicable on men than it is for women. Keep in mind however, there are no hard and fast rules, so I suggest you use the information I provide here as a starting point or guideline. Until you learn this and can do it in your sleep, default to the guideline whenever you’re not sure.

To achieve split lighting simply put the light source 90 degrees to the left or right of the subject, and possibly even slightly behind their head. Where you place the light in relation to the subject will depend on the person’s face. Watch how the light falls on them and adjust accordingly. In true split lighting, the eye on the shadow side of the face does pick up light in the eye only. If by rotating their face a bit more light falls on their cheek, it’s possible their face just isn’t ideal for split lighting.

NOTE: any lighting pattern can be created on any facial view (frontal view showing both ears, or ¾ face, or even profile). Just keep in mind that your light source must follow the face to maintain the lighting pattern. If they turn their head the pattern will change. So you can use that to your advantage to easily adjust the patten just by them rotating their head a little.

What the heck is a “catchlight”?

Notice in this photo above that the baby’s eyes have a reflection of the actual light source in them. It shows up as a little white spot, but if we look closer we can actually see the shape of the light I used in this portrait.

See how the bright spot is actually hexagon with a dark centre? That’s the light I used which was a small hexagon shaped soft box on my Canon speedlight.

This is what is known as the “catchlight”. Without the eye of the subject catching this light, the eyes will appear dark, dead and lifeless. You need to ensure that at least one eye has a catchlight to give the subject life. Notice it also lightens the iris and brightens the eye overall. This also adds to the feeling of life and gives them a sparkle.

2. Loop Lighting

Loop lighting is made by creating a small shadow of the subjects noses on their cheeks. 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).

Look at this image to see where the shadows fall, and on their left sides you can see a small shadow of their noses. In loop lighting the shadow of the nose and that of the cheek do NOT touch. Keep the shadow small and slightly downward pointing, but be aware of having your light source too high which will create odd shadows and cause loss of the catchlights. Loop light is probably the most common or popular lighting pattern as it is easy to create and flatters most people.

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.

3. 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 cheek bones 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.

4. 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 cheek bones 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 windowlight 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.

5. Broad Lighting

Broad lighting is not so much a particular pattern, but a style of lighting. Any of the following patterns of light can be either broad or short: loop, Rembrandt, split.

Broad lighting is when the subject’s face is slightly turned away from centre, and the side of the face which is toward the camera (is broader) is in the light. This produces a larger area of light on the face, and a shadow side which 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.

6. 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.

Putting it all together

Once you learn how to recognize and create each of the different lighting patterns you can then start to learn how and when to apply them. By studying your subject’s face you will learn which lighting pattern will be best for them, and for the type of portrait and mood desired. Someone with a very round face that wants to appear slimmer in a grad portrait, will be lit very differently than someone that wants a promo shot for their band that makes them appear mean or angry. Once you know all the patterns, how to recognize and master quality of light, direction of light and ratio (we’ll discuss that in a future article) then you will be well equipped to handle the challenge.

Of course it is much easier to change the lighting pattern if you can move the light source. However if the main light source is the sun, or a window – it’s a bit tougher to do that. So what you will need to do instead of moving the light, is to have the subject rotate in respect to the light to change the direction it falls on them. Or change your camera position. Or change their position. So basically move the things you can move in relation to the light, if you cannot move the light source itself.

Practice Exercise

Corral yourself a subject (as in a real live person, not your dog) and practice creating each of the lighting patterns we just discussed including:

• butterfly lighting
• loop lighting
• Rembrandt lighting
• split lighting

Remember to show both broad lighting and short lighting – for each of the different patterns, where applicable. Don’t worry about any other aspect (ratio, fill light, etc) for now, just concentrate getting the patterns down pat first. Use light from a window, a floor lamp with a bare bulb (take the shade off) or the sun – but try and use a light source that you can see what’s happening (I’d suggest that you do not try using flash until you’ve got more experience, it’s harder to learn with because you can’t see it until after the photo is taken) This also works best to start out with the subject facing the camera directly, no turning except to create the broad and short.

Show us your results please and share any challenges or problems you encountered. I’ll try and help you solve them so you and others can learn from it, and get better for next time.

If you’re on Pinterest – here’s a graphic to save this tutorial.

The post 6 Portrait Lighting Patterns Every Photographer Should Know appeared first on Digital Photography School. It was authored by Darlene Hildebrandt.

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