Every portrait photographer eventually wants to place a light with purpose: knowing which position will flatter a face, set a mood, or tell a story, instead of moving a stand around until something looks right. That is what lighting patterns are for.
For this In the Limelight group chat, I was joined by three South African photographers: Dave Ravenstone of Evermore Photos, who shoots musicians and creative portraits; Brendon Koeberg, who shoots studio portraits and fashion campaigns; and Michael Alexander, who shoots physique, fine art body portraits, and aerial artists in Johannesburg. Using a 3D studio simulator and a mannequin lit with a single hard light, we worked through each pattern and when to use it.
Video: Portrait Lighting Techniques, CameraStuff "In the Limelight" Group Chat, CameraStuff Shop.
TL;DR
Lighting patterns are named after the shadow they create, mostly around the nose. Butterfly sits in front and above, loop slightly to the side, Rembrandt around 45 degrees, and split lighting at 90 degrees. Short lighting slims a turned face and broad lighting widens it. Horror lighting comes from below and is usually a mistake. Learn the patterns so they become second nature, then choose light for the story you want to tell, not the textbook.
Why Learn the Patterns at All?
Michael put it simply: learn every rule so you can ignore them later. With practice, the patterns become instinct. We all agreed: lock in the fundamentals, especially if you shoot to a client's brief, so you can think about the person, not the light.
| Pattern | Where the light goes | Look and mood |
|---|---|---|
| Butterfly | In front of and above the face, in line with the camera | Butterfly-shaped shadow under the nose; defined cheekbones, fashion and vintage looks |
| Clamshell | Butterfly light from above plus a reflector or fill below | Softer shadows under the chin, bigger catchlights, beauty work |
| Loop | Slightly to the side and above | Small loop shadow beside the nose; safe, flattering starting point |
| Rembrandt | Further to the side, around 45 degrees | Triangle of light on the shadow cheek; dramatic, three-dimensional, duality |
| Split (side) | At 90 degrees to the face | Half the face in shadow; mystery and menace, popular with musicians |
| Horror | Below eye level, aimed up | Spooky uplighting; usually a mistake unless intended |
| Broad and short | Depends on which side of a turned face is lit | Short lighting slims the face; broad lighting widens it |
Butterfly Lighting
The light sits in front of and above the face, in line with the camera, creating a small butterfly-shaped shadow under the nose. Michael uses it more than any other pattern, because it is hard to get wrong when a subject moves, and it gives a fashion look with defined cheekbones and jawline.
The panel's warnings:
- Watch the height. Too high and the catchlights disappear and the eye sockets go dark, a skull-like look. Dave's guide: if the nose shadow reaches the lip, you have gone too far.
- Use a boom. Brendon's tip: the light must be dead centre, so a boom keeps the stand out of the way.
- Think about body shape. Lighting the whole front of the body shows the most mass, so it suits slimmer subjects and defined jawlines best.
- Size changes the story. Dave noted that a small, hard butterfly light feels like an interrogation scene, while the same position with a big, soft source can feel ethereal.
Add a reflector or fill below the face and you have clamshell lighting, with softer shadows under the chin and bigger catchlights. A little fill also keeps the head visually connected to the neck against a dark background.
Loop Lighting
Move the light slightly to the side and the nose shadow becomes a small loop. Dave called it the standard starting point, the look most people find when they first put a light off to one side. It flatters almost everyone, which makes it a safe choice when you do not know who will sit in front of you. Michael described it as a beginner's Rembrandt: the triangle is not quite there yet. Dave added an important reminder: simple does not mean bad, and a one-light loop setup can do the job well.
Rembrandt Lighting
Move the light further around, roughly to 45 degrees, and the nose and cheek shadows connect to leave a small triangle of light on the shadow cheek. Brendon often uses it with a V-flat on the far side, and loves it in black and white. Michael noted it is popular with wedding photographers because it slims and adds depth.
Dave offered a reality check. With actors and musicians who never stop moving, holding a perfect Rembrandt pose wastes shooting time, and no client has ever asked him for it by name. A slight head turn turns it into loop or split lighting anyway. I would add two cautions: the more side-on the light, the more it shows texture and wrinkles, and it is easy to light one eye and leave the other dead.
I like to compare Rembrandt lighting to a yin-yang symbol: light and shadow in balance, suggesting duality and instant story.
Conrad's Advice: "Think of yourself as a movie director. You have a character, you have a scene, you have a setting. What type of lighting would make sense then and there?"
Split (Side) Lighting
At 90 degrees, half the face falls into shadow. Michael rarely uses it, because his editorial work is not that dramatic. For Dave it is a favourite: his heavy metal clients love it, and it is forgiving when they move. Visually, a split face asks the viewer a question: can I trust this person, is something hidden? Brendon uses it with musicians too, for a moodier, edgier look.
Split lighting works better with a turned head than a straight-on, passport-style pose, and patterns are always relative to where the subject looks. Ask someone to look at different corners of the room, and one light moves through every pattern without moving the stand.
Short and Broad Lighting
When the face is turned, short lighting lights the side turned away from the camera and slims the face; broad lighting lights the side towards the camera and widens it. Dave loves short lighting for his alternative clients, sometimes with just one eye peeking out of the shadow. His advice: lean into it. If you go dramatic, commit, so your audience knows it was intentional.
Horror Lighting, and How to Avoid It by Accident
Light from below eye level gives the classic campfire ghost-story look. Michael, though, uses low light deliberately: when an aerial artist looks down, or to rake shadows across muscles in physique work.
I like teaching it because photographers so often create it by accident: a fill light stronger than the key, a silver reflector too strong below the face, or an on-camera flash fired up from a low angle.
"Build your shot, don't just set up lights."Dave Ravenstone
Dave's method: start from a black frame, add the key light and check it, then add each other light on its own and check that too. Michael works from back to front, setting background lights first so he knows exactly what the key adds. My suggestion: put a different coloured gel on each light, so you can see where every bit of light comes from.
Gels and Coloured Light
Breaking down a viewer's band photo, we discussed gridded strip boxes turned sideways, coloured background lights, and a clean key light to restore natural skin tone. My tip is to tape gels inside the softbox, keeping them away from the flash tube and modelling lamp. More power through a gel actually weakens the colour, so adjust exposure with ISO, shutter, or aperture instead. Brendon likes a smaller speedlight, like the Godox V1, for gels.
Beauty Dishes and Small Budgets
Where should a beauty dish go? Dave: wherever the look requires; it can create split, Rembrandt, or loop. I start at about arm's length, because pulled too far back it behaves like a small, harsh source. A grid makes it far more directional and keeps light off the background.
And if all you have is a speedlight? Bounce it off a wall or ceiling, shoot through a 5-in-1 reflector's diffuser or a white sheet, bring it close, or move your subject into shade and use the flash as your light. A shoot-through umbrella is an underrated, affordable next step.
Conrad's Advice: "Light is light. The magic of the game is how you modify the light."
"Your photo comes from you, not from your gear."Dave Ravenstone
"Don't underestimate harsh light."Michael Alexander
Gear Mentioned in the Chat
A boom for overhead light, a beauty dish, gels, and a cheap way to soften a flash.
For butterfly lighting
Neewer ST-CB Boom Arm Stand
Light stand and boom in one, up to 297cm, arm extends to 115cm.
View
Beauty dish
Godox BDR-S55 Beauty Dish
55cm silver dish for semi-soft, contrasty light, diffuser included.
View
Soft on a budget
101cm Shoot-Through Umbrella
A simple, affordable way to make a flash bigger and softer.
ViewAdvice From the Panel
- Dave: shoot with intent. Set yourself a goal, learn it, then move to the next one, instead of just filling hard drives.
- Brendon: find a photographer whose lighting you admire, like Lindsay Adler, and study how they work.
- Michael: be hungry for knowledge, ask people questions, and do not let pride stop you growing.
- Me: search each pattern on Pinterest, note the mood it creates, and practise on different faces.
Conrad's Advice: "These are not rules, these are just starting points."
Meet the Panel
Dave Ravenstone runs Evermore Photos, photographing musicians, celebrities, and live performances. @evermore_photo_sa
Brendon Koeberg shoots studio portraits and fashion campaigns. @bkphotographyss
Michael Alexander is a Johannesburg photographer whose work spans physique, fine art body, aerial, editorial, and wedding photography. michaelalexanderphoto.com
Related Guides
Portrait Lighting FAQs
What are the main portrait lighting patterns?
Butterfly, loop, Rembrandt, and split (side) lighting, plus clamshell, broad and short lighting, and horror lighting. Each is defined by where the light sits relative to the face and the shadow it creates, usually around the nose.
What is the difference between short and broad lighting?
When the subject turns their face, short lighting lights the side turned away from the camera, which slims the face. Broad lighting lights the side turned towards the camera, which widens it.
Why do my portraits look spooky or unflattering?
Light coming from below eye level creates horror lighting. It often happens by accident when a fill light or silver reflector below the face is stronger than the main light, or when an on-camera flash fires up at someone from a low angle.
How far should a beauty dish be from the subject?
Start at about arm's length. Too far back and it behaves like a small, harsh light source; closer gives the semi-soft, contrasty look beauty dishes are known for.
Can I light portraits well with only a speedlight?
Yes. Bounce it off a wall or ceiling, shoot through the diffuser of a 5-in-1 reflector or a white sheet, and bring it close to the subject to make the light source bigger and softer.
Conrad Knuist
Head of Marketing and Photography Specialist
Conrad Knuist is Head of Marketing and Photography Specialist at CameraStuff, South Africa's specialist camera and lighting retailer. With over 18 years of hands-on experience across portrait, event, and commercial photography, Conrad hosts CameraStuff's In the Limelight conversations with South African photographers.
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