Portrait Lighting Patterns
Written by Abin Alex and Anu Joseph.
Abstract
Portrait lighting patterns are the shapes of light and shadow that a key light makes on a face. This guide covers butterfly, loop, Rembrandt and split lighting, broad and short lighting, badger lighting and clamshell lighting, with key light positions, shadow cues, common mistakes and fixes, with ten diagrams and two tables.
Keywords: portrait lighting patterns, butterfly lighting, loop lighting, Rembrandt lighting, split lighting, broad and short lighting, clamshell lighting, badger lighting
What is a portrait lighting pattern?
Short answer. A pattern is the shape of light and shadow on the face, set by where the key light sits.
- The key light position decides the shadow under the nose and on the cheek (Grey, 2004, p. 27). Figure 1 marks four positions as seen from above, and Figure 2 shows the result on the face.
- Move the light, not the camera, to change the pattern. If the subject turns the head, the shadow shifts too.
- Start with one light. Every pattern here works with a single source and, if needed, a reflector.
- Set the key high enough that the nose shadow runs down along the cheekbone, but not so high that the eye sockets go dark under the brows (Grey, 2004, p. 27).
Shoot one subject with the key light at 0, 30, 45 and 90 degrees. Keep the camera and the subject still.
On screen the same patterns set mood. Butterfly and loop read as clean and open, and Rembrandt and split read as tense.
Cham tipMove the light, not the camera.
Cham taskShoot four patterns with one light.
Check yourself: What decides the pattern?
Where the key light sits.
What is butterfly lighting?
Short answer. Butterfly lighting puts the key light in front and above, with a small shadow under the nose.
- The light sits in front of the subject, slightly above the lens, and casts a shadow under the nose that can look like a butterfly. It is also called Paramount or glamour lighting (Grey, 2004, p. 48). Figure 3 shows the light position and the shadow.
- Set the height so the nose shadow ends about halfway between the nose and the lip. Too low looks flat, and too high pushes the shadow onto the upper lip.
- If the eyes show no catchlight, lower the light. A reflector or a low-power light under the chin softens the shadows, but keep it weaker than the key.
Raise the key light in small steps and watch the nose shadow. Stop where it ends halfway to the lip.
Butterfly gives a clean, even look for beauty and commercial frames. Keep the actor still, because the shadow moves with the head.
Cham tipCheck the catchlight before the first test frame.
Cham taskShoot butterfly lighting with a reflector under the chin.
Check yourself: Where does the key light sit?
In front, slightly above the lens.
What is loop lighting?
Short answer. Loop lighting moves the key light to one side and above, so the nose shadow forms a small loop.
- Move the key light slightly off centre and above eye level. The nose shadow forms a loop that stays apart from the cheek shadow (Grey, 2004, p. 37). A good start is 30 to 45 degrees from the lens (Marr, 2004, p. 29). Figure 4 shows the light position and the shadow.
- The loop should end about halfway between the nose and the lip. If it reaches the cheek shadow, the pattern becomes closed loop, and the shadow can make the face look broad (Grey, 2004, pp. 37-38).
- Loop suits most faces, so it is a safe default. Fill the shadow with a reflector or a second light on the other side.
Start at butterfly, then slide the light sideways until a small loop forms beside the nose. Stop before it touches the cheek.
Loop is the standard look for interviews and drama, because the actor can move without losing it.
Cham tipStop before the loop touches the cheek.
Cham taskShoot loop and closed loop on the same face.
Check yourself: What makes the pattern closed?
The nose shadow joins the cheek shadow.
What is Rembrandt lighting?
Short answer. Rembrandt lighting puts the key light higher and further round, leaving a triangle of light under the eye.
- The nose shadow meets the cheek shadow, and a small triangle of light remains under the eye on the shadow side (Marr, 2004, p. 28). The look is named after the painter, who used light from a high window or skylight (Grey, 2004, p. 41). Figure 5 shows the light position and the shadow.
- Aim for about 45 degrees and a higher position than for loop (Marr, 2004, pp. 28-29). The triangle should be no wider than the eye socket and no longer than the nose.
- Leave out fill for strong contrast, or add a silver reflector for a softer result.
From loop, raise the light and move it further round until the cheek triangle appears. Then add a reflector and compare.
Rembrandt lighting gives a moody, painterly face. Use it for tense or quiet scenes.
Cham tipLook for the triangle, not the angle.
Cham taskShoot Rembrandt with and without a reflector.
Check yourself: What marks Rembrandt lighting?
A triangle of light under the eye on the shadow side.
What is split lighting?
Short answer. Split lighting puts the key light at 90 degrees, so half the face is lit and half is in shadow.
- The key light sits at the side, roughly perpendicular to the camera. One half of the face is lit, and only one eye shows. Figure 6 shows the light position and the shadow.
- It is a bold, graphic look, and less flattering than the other patterns. Use it for mystery or tension.
- A single bare source gives the strongest contrast. Add a reflector on the dark side to lift the shadow.
Place the key at 90 degrees. Shoot once with no fill and once with a reflector on the dark side.
Split lighting suits a character with a hidden side, or a moment of doubt.
Cham tipKeep the dark side dark, or use a reflector on purpose.
Cham taskShoot split lighting and compare with and without fill.
Check yourself: Where is the key light for split lighting?
At 90 degrees to the camera.
What are broad and short lighting?
Short answer. Short lighting lights the side turned away from the camera. Broad lighting lights the side facing it.
- In broad light, the brighter side of the face turns toward the camera (Grey, 2004, p. 28). In short light, the darker side turns toward the camera (Grey, 2004, p. 32). Figure 7 compares the two.
- Short light makes the face look longer and slimmer, and suits wide or round faces. Broad light makes the face look larger and suits very thin faces.
- Short light shows skin texture and lines. Broad light softens them. For most subjects, short is the safer choice.
Keep the light still and turn the subject toward it, then away from it. Compare the width of the face.
Turn the actor, not the light, to change from broad to short between shots.
Cham tipTurn the face, not the light.
Cham taskShoot one subject in short and broad light.
Check yourself: Which side faces the camera in short light?
The darker side.
What is clamshell lighting?
Short answer. Clamshell lighting uses a key light above the lens and a reflector or light below the face.
- The main light sits in front and above the subject. A reflector below the chest, angled up, bounces light back into the face. From the side the two sources look like an open clamshell. Figure 8 shows the layout.
- The fill softens lines and wrinkles, and gives two catchlights in the eyes. A second light instead of a reflector gives more control over the lower brightness.
- Do not place the main light too high, or the eyes look dark. Use a medium-sized modifier, and adjust the light height or head angle if glasses show glare.
Set a butterfly key, then raise a white reflector under the chin. Compare with and without it.
Clamshell works for beauty close-ups and talking-head shots. The reflector stays out of frame below the chest.
Cham tipCheck the glasses and the catchlights.
Cham taskShoot a clamshell headshot with a reflector.
Check yourself: What sits below the face in clamshell lighting?
A reflector or a second light.
What is badger lighting?
Short answer. Badger lighting uses two lights, one on each side of the subject, and leaves the centre of the face in shadow.
- Two lights sit on either side of the subject. Sources place them differently: beside the subject at head height, or behind at about 45 degrees so the light wraps round the hair and shoulders. Either way the middle of the face stays dark, like the markings of a badger. Figure 9 shows the idea.
- Hard or bare lights give a harsh, sculpted look. Softboxes give softer shadows. Meter both lights so they give equal light.
- Moving the subject toward the camera adds shadow, and stepping back toward the lights evens the light. Add a light behind the subject, aimed at the backdrop, to separate it. Ask the subject to lengthen the neck so it is not lost in the shadow, and shoot from a low angle.
Place one light on each side of a subject. Shoot with the subject close to the camera and then back toward the lights. Compare the shadow.
Badger lighting suits a hero or villain frame. Smoke and gels add mood, but smoke can wash out the image.
Cham tipMeter both lights equal.
Cham taskShoot badger lighting with hard and soft lights.
Check yourself: Where does the centre of the face sit in badger lighting?
In shadow.
How do you choose a pattern and avoid mistakes?
Short answer. Start with loop. Use Rembrandt and split for mood, and check the nose shadow and the catchlight.
- Table 1 compares the patterns. Loop is the safest start for most faces. Figure 10 compares the key light angle of the four patterns.
- Check the nose shadow and the catchlight in the first test frame. Table 2 lists common mistakes and fixes.
- Match the pattern to the subject and the mood, not to a rule. Try two patterns before you decide.
| Pattern | Key light | Shadow cue | Mood |
|---|---|---|---|
| Butterfly | In front, above the lens, 0 degrees | Small shadow under the nose | Clean, glamorous |
| Loop | 30 to 45 degrees, above eye level | Loop beside the nose | Natural, flattering |
| Rembrandt | About 45 degrees, higher | Triangle of light under the eye | Moody, painterly |
| Split | 90 degrees | Half the face in shadow | Bold, tense |
| Short | Face turns toward the light | Dark side faces the camera | Slimming |
| Broad | Face turns away from the light | Lit side faces the camera | Open, wide |
| Clamshell | Above the lens, with fill below | Soft, even face | Beauty, headshots |
| Badger | Two lights, beside or behind the subject | Middle of the face dark, edges lit | Dramatic, sculpted |
Table 1. Portrait lighting patterns compared.
| Mistake | Result | Fix |
|---|---|---|
| Light too high | Dark eyes, no catchlight, long nose shadow | Lower the light until a catchlight shows |
| Light too low | Flat face, lost shape | Raise the light a little |
| Loop shadow joins the cheek | Wide, flat face | Lower the light or move it toward the camera |
| Fill as strong as the key | Flat light, double catchlights | Reduce the fill or move it back |
| Subject turns the head | Shadow shape changes | Recheck the nose shadow after each pose |
Table 2. Common mistakes in portrait lighting.
Shoot the same subject in loop, Rembrandt and clamshell. Choose the one that suits the face and mood.
Pick one pattern per scene and keep it, so the look holds across shots.
Cham tipTwo patterns, then decide.
Cham taskPick a pattern for a portrait and give two reasons.
Check yourself: Which pattern is the safest start?
Loop lighting.
Questions beginners ask
What is butterfly lighting?
The key light sits in front of the subject and slightly above the lens, leaving a small shadow under the nose.
What is the difference between loop and Rembrandt lighting?
In loop the nose shadow stays apart from the cheek shadow. In Rembrandt the two meet, and a triangle of light remains under the eye.
Which portrait lighting pattern should a beginner start with?
Loop lighting, because it suits most faces and is easy to set up with one light.
What is short lighting?
The side of the face turned away from the camera is lit, which makes the face look slimmer.
How many lights does clamshell lighting need?
One light above the lens and a reflector below, or two lights.
What is badger lighting?
Two lights, one on each side of the subject, leave the centre of the face in shadow and the edges lit, like the markings of a badger.
References
- Grey, C. (2004) Master lighting guide for portrait photographers. Buffalo, NY: Amherst Media.
- Marr, D. (2004) Beginner's guide to photographic lighting: techniques for success in the studio or on location. Buffalo, NY: Amherst Media.
Further reading
- Begleiter, S.H. (2008) 50 lighting setups for portrait photographers: easy-to-follow lighting designs and diagrams. Buffalo, NY: Amherst Media.
- Grey, C. (2010) Studio lighting techniques for photography. Buffalo, NY: Amherst Media.
- Hunter, F. and Fuqua, P. (1997) Light: science and magic: an introduction to photographic lighting. 2nd edn. Boston: Focal Press.
- Siskin, J. (2011) Understanding and controlling strobe lighting: a guide for digital photographers. Buffalo, NY: Amherst Media.
How to cite this guide. Alex, A., & Joseph, A. (2026). Portrait lighting patterns: A guide for photographers and cinematographers. Creative Hut Academy. https://creativehut.org/library/portrait-lighting-patterns/
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