It is astounding how much you can do with one main light and one or two fill lights. For those of you thinking three lights doesn’t sound simple to me, let me clarify. In this article what I am describing is one light and one or two reflective surfaces to help bounce that light or to fill in the shadows. With one light and one or more reflectors, you can make amazing photographs.

Having the tools and knowing what to do with those tools are two different things. Today I want to show you what to do with these basic tools.

1) Short Light is the type of studio lighting setup, where the face side of the subject which is the farthest from the camera gets the main light. In this type of lighting setup, the side of the face which is toward the camera gets less light then the side facing away form the camera. The effect you get when using this lighting setup is a thin face, this is why it is good to photograph large (or chubby) people with a short light setup. A photo tip worth remembering is: short light helps to visually thin your subject.

2) Broad light is just the opposite of Short light. In the Broad Light setup, the side that is getting the most light is the side facing the camera. This setup is less commonly used for portraits as it tends to make people look chubby. In both these cases, you can place a reflector on the opposite side of the light (at about a 45 degree angle) to help fill in the shadow side.

3) Split Light sounds more complex than it is. Position your main light on one side of your subject so that it’s exactly 90 degrees to the subject. In other words, you will see a dramatic shadow going right down to the middle of his or her face. If your main light is a flash, you might want to consider a secondary light; not for exposure . . . but just for light placement. We call this small secondary light a modeling light. In some units, they actually have a modeling light built in around the main light, so you can visually see what’s happening.

Using the modeling light, make sure the line between light and dark runs directly down the center of your model’s face, right down the tip of the nose. The model should be looking directly at the camera. This is what we call a split light portrait. Another photo tip is this: split light portraits, create dramatic visual results.

4) Rembrandt Light is considered an artistic classic. The main light is positioned high and on the side of the face that is away from the camera. Generally the subject is placed at a 45 degree angle to the camera (as opposed to just looking straight on.) This technique produces an illuminated triangle on the cheek closest to the camera. The triangle will illuminate just under the eye and not below the nose. The face should appear illuminated on one side and heavily shadowed on the other.

Place your reflector (or white poster board) on the opposite side of the studio light. The reflector should be angled so that it reflects any remaining light in the room to the subject’s darken side. The key here is NOT to eliminate the dark shadows, but to add detail within the shadows. The third photo tip to remember: adding subtle detail makes images appear more artistic.

5.) Butterfly Light is achieved by positioning the main light directly in front of the subjects face and adjusting the height to create a shadow directly under, and in line with the nose. This style is best suited for subjects with a normal oval face and is considered to be a glamor style of lighting best suited for women. This lighting technique creates hard shadows in the eye sockets and under the chin depending on the size of your main light and distance to your subject. Use a reflector under the main light source to fill in the underside of the face (eye sockets, under nose and under chin areas). Sometimes this is referred to as “over and under lighting”.

Now the setups given above; can use extra lights, but they don’t have to. Just as you can take an award winning photographs with a $50.00 camera or a $5,000.00 camera, you can also take great shots with a single light source. As we mentioned before, having the tools and knowing what to do with them are two totally different things.

It is my firm belief that photographers who learned to master Black and White photography first and then learned Color photography; will ALWAYS have the advantage over those who started with color photography. This is not meant to insult younger photographers. If a cake taste bad, it doesn’t matter what kind of icing you put on it. Learn the basics of good photography first, and then you can add more lights, more lenses, or whatever the case may be. Thus the fourth photo tip to remember is this: start with the basics, master them first. Then go forward.

A photo tip worth remembering is: lines can be positive or negative. If you have a photo that shows a road diagonally going from the lower left corner to the upper right corner, and there it blends into a beautiful sunset . . . that’s a positive line. On the other hand, if you shoot the same sunset and the road runs horizontally from left to right; that would be a negative line. Why? Because it is going side to side and NOT interacting with the main subject, therefore it distracts. It may only be briefly, but most viewers will jump back and forth between the sunset and the road, and wonder where the road is going.

Many young couples like to hold hands while taking their picture. That’s fine, but if they hold hands and their hands are down at their side, it literately points away from the couple and makes people stare at their feet. On the other hand; if you have them holding hands and they bend at the elbow so their hands are closer to their face . . . that visual line actually points back to the couple. The second photo tip is: lines can reinforce your subject or distract.

One of the reasons most portrait photographers avoid hands, is because it is so easy to accidentally shoot them uncomplimentary. Imagine a young couple where the man in a friendly loving manner puts his arm around the young ladies’ waist. If the fingers show up in the shot what does that do? They usually end up pointing either to the waist or the stomach. Most women really don’t want you looking at their stomach or waist. It’s not the viewers fault, but if you have five little lines pointing back to the belly it’s very hard NOT to look in that direction.

As we have demonstrated when two lines meet they form a point. When two lines actually cross it does something different that is also hard to control. Have you ever heard the phrase X marks the spot?? If a tree branch crosses a fence or a fence crosses a road, its’ almost like posting a sigh that says, “Look HERE!” If your subject is in the upper right corner and you have a visual X in the lower left corner, your mind will go back and forth. It will be extremely difficult to just concentrate on the subject. Photo tip number three: avoid the visual X at all cost, unless your subject is directly in the middle of that X.

Photo tip number four: lines convey thoughts and feelings. Horizontal lines represent rest or relaxation. Vertical lines often give a mental image of strength. Diagonal lines tend to give a feeling of movement. Curved lines are loose and flexible (usually considered sexier.) Jagged lines suggest energy or conflict. If you are trying to create a calm, peaceful scenic photograph and you have several sharp jagged lines in the image, your photo is already in conflict with itself.

To summarize these are important photo tips to remember about lines:

A) Lines can be positive or negative.

B) Lines can reinforce your subject or distract.

C) Avoid the Visual X.

D) Lines convey thoughts and feelings.

Since all shapes are formed with lines, it stands to reason that all subjects are affected by lines. It does not matter if you are taking pictures of people, trees, or cars all subjects have their own natural lines. Be aware of the lines of your subject, around your subject, and those caused by your subject. Lines can be your best friend, or your worst nightmare. Use these photo tips to your advantage and take your photographs to the next level.

Take a waterfall, tall and beautiful. Now visualize a small stream trickling over the edge of a few large stones. If you shoot it just right, they could look the same. “Wait a minute,” you’re saying, “those are as different as night and day.” That’s a good point, but unless you also include something to compare the water to, you have no point of reference. This concept is generally referred to as opposition.

Say you’re hiking in a National Park, and find a really cool waterfall. You get close to capture detail, and shoot against a clear blue sky (so the background won’t distract.) You tell your friends about the adventure, and eagerly await your pictures from the photo lab. When they finally come back, you flip through the shots looking for your master piece. When you finally see it, your heart sinks. It looks OK, but there’s no magic, no majesty. It’s just not the same.

What happened? When you saw it live, you were there. You climbed over rocks; you walked through streams, and pushed pine branches out of your way. When you looked through the view finder of your camera, these images were also in the back of your mind. The human mind is a wonderful creation; it takes images, sounds, and smells and blends them all into wonderful memories. The problem lies in the limitations of the medium.

A photo tip worth remembering is; we experience in three-dimensions; but we photograph in two-dimensions. Opposition is one of several creative techniques that makes your photo appear more three-dimensional. The more three-dimensional you photo appears the more likely your viewer is to experience at least part of what you did when you took the shot.

Size is relative. A small mountain may seem big compared to a boulder. A boulder may seem huge compared to a rock. Even a small rock will seem gigantic compared to a grain of sand. In the world of micro photography, even a grain of sand could look like a vast landscape if there was nothing to compare it to.

At one time or another, most of us have seen a close-up of something that was made to make us think it was something else. Why did we not recognize the item for what it truly was? Simply put, you had nothing to compare it to. You had no point of reference. This works in both directions, small and large. I’m a big fan of simplifying an image when you can, but there are times when you can simplify too much. Leaving a rock or a branch in the edge of the picture can often mean the difference between a nice shot and a great shot!

A few years back I did a series of nature shots in which I included a “Barbie Doll” in every shot. This was the California doll; because her skin was more tan than most, so from certain angles she did look more realistic. Most of the shots I did either had the doll in silhouette or they were looking over her shoulder from behind. In most cases, I could have used a real model, but not all of them. One shot in particular showed this beautiful girl who had apparently hiked through the woods (pine needles were framing the shot) and she was looking at this gorgeous waterfall. The catch was: the waterfall in question was only 24 inches tall.

Think of your subject as the star in a major motion picture. Often that star does well, because of his or her supporting cast. No one is expected to go through life as a one man show. The people we meet, hang out with, or interact with also influence how people see us. Your subject; be it human or nature, is the same way. Include elements that support your vision, eliminate the distractions that do not. I firmly believe that in order to get the big picture, you need to include the small details. One of those details is showing size, by using opposition.