Portrait Lighting Patterns

Portrait lighting patterns are the vocabulary of studio photography. These classic configurations have been refined over decades—understanding them gives you predictable results and the foundation to create your own variations.

This guide covers the six fundamental patterns and when to use each.

The Core Patterns

Each pattern is defined by how the key light falls across the face—specifically, where shadows fall relative to the nose and cheeks.

Rembrandt Lighting

Named after the painter who used this lighting in his portraits. The defining feature is a triangular highlight on the shadowed cheek.

Setup (viewed from above): Subject faces camera. Light positioned 45° to camera-left (or right), slightly above eye level. This creates the characteristic triangle of light on the shadow-side cheek.

Key characteristics:

• Light positioned 45 degrees to the side and 45 degrees above eye level
• Creates a triangle of light on the shadowed cheek
• Triangle should be no larger than the eye and no wider than the nose
• Dramatic but not harsh
• Works well for most face types

How to create it:

When to use Rembrandt:

• Character portraits
• Men (traditionally, but works for anyone)
• Subjects with defined cheekbones
• When you want depth and drama without extreme contrast

Watch for:

• If the triangle is too large, raise the light
• If no triangle forms, move light more to the side
• If the eye on shadow side goes too dark, add fill or reflector

Loop Lighting

The most versatile and forgiving pattern. Named for the small loop-shaped shadow the nose casts on the cheek.

Setup (viewed from above): Subject faces camera. Light positioned 30-45° to one side, at or slightly above eye level. The nose casts a small shadow that angles toward the corner of the mouth but doesn't connect with the cheek shadow.

Key characteristics:

• Light positioned 30-45 degrees to the side, slightly above eye level
• Creates a small, looping nose shadow on the cheek
• Shadow doesn't connect to the cheek shadow (unlike Rembrandt)
• Flattering for most faces
• Natural-looking

How to create it:

When to use loop lighting:

• General portraits (most versatile pattern)
• Commercial work
• Family portraits
• When you're uncertain—loop is safe and flattering

Variations:

• Lower light = shorter shadow, flatter light
• Higher light = longer shadow, more dramatic
• Closer to front = almost flat lighting
• Further to side = approaching Rembrandt

Butterfly Lighting (Paramount)

Named for the butterfly-shaped shadow under the nose. Also called Paramount lighting because it was popular at the studio in Hollywood's golden age.

Setup (viewed from above): Subject faces camera. Light positioned directly in front of the subject, on the camera axis, raised high (typically 45° above eye level and angled down). The symmetrical shadow falls directly beneath the nose.

Key characteristics:

• Light positioned directly in front of and above the subject
• Creates symmetrical shadow under the nose
• Shadow should point straight down
• Sculpts and slims the face
• Emphasises cheekbones

How to create it:

When to use butterfly:

• Beauty photography
• Fashion
• Subjects with strong cheekbones
• Feminine portraits (traditionally)
• When you want a glamorous look

Variations:

• Clamshell lighting: Add a reflector or fill light from below to reduce the shadow
• Higher key light = longer shadow (more dramatic)
• Lower key light = shorter shadow (softer)

Watch for:

• Deep-set eyes may go too dark
• Strong cheekbones become very prominent
• Can be unflattering for round faces

Split Lighting

The most dramatic pattern. Half the face is lit, half is in shadow.

Setup (viewed from above): Subject faces camera. Light positioned at 90° to the camera-subject axis (directly to one side), at approximately eye level. The dividing line between light and shadow runs vertically down the centre of the face.

Key characteristics:

• Light positioned at 90 degrees to the camera-subject axis
• Divides face in half vertically
• Very high contrast
• Reveals texture dramatically
• Creates strong mood

How to create it:

When to use split lighting:

• Dramatic portraits
• Artists, musicians, actors
• When subject has interesting facial features
• Editorial and conceptual work
• Low-key dramatic images

Watch for:

• Very high contrast—may lose shadow detail on film
• Not traditionally flattering (but can be striking)
• Consider the eye in shadow—should it have some fill?

Broad Lighting

Not a pattern itself, but a way of applying other patterns. The lit side of the face is turned toward the camera.

Characteristics:

• Subject turns slightly away from camera
• Key light illuminates the side of face closest to camera
• The "broad" (wider) side of the face receives the light
• Makes face appear wider/fuller

When to use broad lighting:

• Subjects with narrow or thin faces
• When you want a fuller appearance
• Can be combined with Rembrandt, loop, or split patterns

Short Lighting

The opposite of broad lighting. The shadowed side of the face is turned toward the camera.

Characteristics:

• Subject turns slightly away from camera
• Key light illuminates the side of face away from camera
• The "short" (narrower) side of face receives the light
• Makes face appear slimmer/narrower

When to use short lighting:

• Subjects with wide or round faces
• When you want a slimmer appearance
• More dramatic than broad lighting
• Most common professional approach

Identifying and Creating Each Pattern

Quick Reference

Setting Up Each Pattern

For Rembrandt: Start with light at 45 degrees. Raise it until the nose shadow meets the cheek shadow, forming the triangle. The triangle should be small—no bigger than the eye.

For loop: Start with light at 30 degrees. Raise it slightly. You want a nose shadow that points toward the corner of the mouth but doesn't connect with anything.

For butterfly: Put the light directly in front, on axis with the camera. Raise it high and angle down. The shadow should be symmetrical beneath the nose.

For split: Put the light directly to one side. The dividing line between light and shadow should run down the centre of the face.

Lighting Ratios in Practice

The ratio between key and fill light determines how dramatic the pattern appears.

Measuring Ratios

Method 1: Meter each light

1. Turn on only the key light
2. Meter at the subject's lit cheek
3. Turn on only the fill light
4. Meter at the subject's shadow cheek
5. Calculate the difference in stops

Method 2: Combined metering

1. Meter the lit side with both lights on
2. Meter the shadow side with both lights on
3. Calculate the difference

Ratio Guidelines

Film Considerations

Film doesn't handle extreme ratios as well as digital:

• Slide film: Keep ratios moderate (3:1 or less) or accept blocked shadows
• Negative film: Can handle 4:1 or more
• Black and white: Very flexible, handles high ratios well

Face Shape Considerations

Different patterns flatter different faces.

Round Faces

Flattering patterns:

• Rembrandt (slims with shadow)
• Split (maximum slimming)
• Short lighting (narrower appearance)

Avoid:

• Broad lighting (widens)
• Flat lighting (no slimming)

Long/Narrow Faces

Flattering patterns:

• Loop (moderate modelling)
• Butterfly (widens slightly)
• Broad lighting (widens appearance)

Avoid:

• Split lighting (emphasises length)
• Very low ratios (adds drama to length)

Square Jaws

Flattering patterns:

• Butterfly (softens jaw line)
• Higher light positions (shadow softens jaw)

Consider:

• Short lighting can emphasise jaw

High Cheekbones

Flattering patterns:

• Butterfly (emphasises cheekbones beautifully)
• Rembrandt (works with bone structure)

Deep-Set Eyes

Challenge: Eyes fall into shadow easily

Solutions:

• Lower light position
• More frontal light position
• More fill light
• Reflector positioned to catch light in eyes

Beyond Portraits

These patterns apply to non-portrait subjects too.

Product Lighting

Loop-equivalent: Main light at 30-45 degrees creates depth without harsh shadows.

Rembrandt-equivalent: More dramatic angle for products with interesting texture.

Butterfly-equivalent: Top lighting for flat lay and symmetrical products.

Still Life

Classic still life painting used similar principles:

• Window light = large soft source
• Reflectors = fill from opposite side
• Strong modelling but controlled contrast

Copy Work

Butterfly position (light from above, centered) creates even illumination for flat art. Usually use two lights at 45 degrees for most even coverage.

Creating Your Own Variations

The classic patterns are starting points. Once you understand them, you can modify:

Mixing Patterns

• Start with loop, add a hair light → more separation
• Rembrandt with strong fill → character with detail
• Butterfly with reflector → clamshell beauty lighting

Breaking the Rules

• Very high contrast Rembrandt → editorial drama
• Butterfly with no fill → stark beauty
• Double key lights → unusual look

Film-Specific Creative Choices

• Black and white + split lighting → maximum drama
• Push-processed Tri-X + Rembrandt → gritty character portrait
• Portra + butterfly + low ratio → smooth beauty
• Slide film + careful contrast control → rich colour portraits

Practical Exercises

Exercise 1: Create All Four Patterns

With one subject and one light, create:

1. Rembrandt (find the triangle)
2. Loop (disconnect the shadows)
3. Butterfly (center and raise)
4. Split (move to 90 degrees)

Take one photo of each. Compare the mood and effect.

Exercise 2: Vary the Ratio

Using loop lighting:

1. No fill (high contrast)
2. White reflector (moderate fill)
3. Silver reflector (strong fill)
4. Fill light at lower power (controlled fill)

See how ratio changes the mood without changing the pattern.

Exercise 3: Broad vs Short

With the same pattern:

1. Subject faces camera → short lighting
2. Subject turns toward light → broad lighting

Compare the difference in apparent face shape.

Equipment for Pattern Work

Minimum Kit

• One light source (flash or continuous)
• One modifier (softbox or umbrella, 60cm or larger)
• One reflector (white/silver)
• One light stand

This is enough to create all four patterns and explore ratios.

Expanded Kit

• Second light for dedicated fill
• Third light for hair/rim
• Background light
• Grid for hair light control
• Flag for shadow control

Summary

• Rembrandt: 45° with triangle on shadow cheek—dramatic but classic
• Loop: 30-45° with disconnected nose shadow—most versatile
• Butterfly: Centered above with symmetric nose shadow—glamorous
• Split: 90° with half-face lit—maximum drama
• Short lighting is generally more flattering than broad
• Ratios control drama independently of pattern
• One light is enough to master all patterns

These patterns are vocabulary, not rules. Master them and you can communicate clearly; then break them when creativity demands. The goal is control—knowing what light will do before you turn it on, so you can achieve any effect you envision.