The direction of light determines when shade will fall on the subject. The use of directional lighting can affect the texture of and form of the subject (Langford 2000). As we’re used to seeing light from above, due to the sun, people typically see lighting from above as more acceptable and pleasing. Lighting from below tends to relay an eerie tone, particularly in faces. Flat lighting, lighting parallel to the subject is named as such due to producing a very flat looking texture to the subject as it fills in any shadows. The opposite is true when side or top lighting, shadows are created therefore creating texture.

Flat lighting is when a subject is lit from the point of the camera. It is called as such as the result often produces a very low contrast, flat light due to filling in any shadows that may be being cast.

Out of the studio, when using flash on camera it’s typically best to try and bounce the flash of a wall or ceiling to creating some interesting shadows to enhance texture and form as the results can look very dull.

However flat light is often used in fashion and beauty portraits due to it’s ability to mask flaws in skin thanks to the low contrast.

Butterfly Lighting

Directional Lighting

Butterfly lighting is the result of having a light just above camera pointing down slightly. It’s called as such due the shape of the shadow under the nose supposedly resembling a butterfly.

As shadows are now being cast on Nicola’s face we can see more detail and definition. I think it has also slimmed Nicola’s face slightly due to the shadows cast from Nicola’s cheek bones and brow creating depth and shape to her face.

Sometimes butterfly lighting can create a dark shadow under the chin which is often remedied by using a reflector.

Loop lighting is similar to a butterfly lighting set-up but about 30 degrees from camera, depending on the subject. It’s called as such due the shadow cast from the nose creating a loop on the subjects cheek.

Loops lighting is relatively popular as it flatters most people. It creates interesting shadows leading to depth and contrast in the image.

Here, the right side of Nicola’s face is rather dark, a reflector or fill light could remedy thing creating a less contrasty image while still keeping the loop lighting style.

Rembrandt Lighting

Directional Lighting

Rembrandt Lighting is again a similar set up to loop lighting but around 60 or so degree from camera. It’s identified by a distinct triangle of light on the subjects cheek in the shaded half of their face and is named as such due to the iconic style being used in renowned artist Rembrandt Harmenszoon van Rijn’s portraits.

Rembrandt is similar to loop to whereas in loops lighting the shadow from the nose and cheek do not meet, here they do creating the iconic triangle just below Nicola’s eye

I find Rembrandt lighting to be moody and dramatic in tone, particularly without fill light particularly when comparted with flat or butterfly lighting.

Split lighting is achieved by lighting your subject 90 degrees from the camera casting half of their face into shadow.

Here is an extreme example, it is full of contrast going from highlight to very deep shadows. Typically, I would lean towards adding a fill light or a simple bounce board to help fill in the shadow and retain from detail on the darker side of Nicola’s face.

Split lighting creates a very dramatic image portrait which I think would suit masculine subjects. I've also noticed, the more off centre the light gets from the subjects face, the more flaws, lines and wrinkles become apparent due to the deepening shadows.