single broad backlight that creates an even effect over a
wider area. In fact, when photographing children’s por-
traits, if one light will suffice, don’t complicate the ses-
sion. Simplify!
Three Dimensions and Roundness.
A photograph is a two-dimensional representation of a
three-dimensional subject. It is, therefore, the job of the
portrait photographer to show the contours of the sub-
ject—and particularly the face. This is done with high-
lights and shadows. Highlights are areas that are
illuminated by a light source; shadows are areas that are
not. The interplay of highlight and shadow creates
roundness and shows form. Just as a sculptor molds clay
to create the illusion of depth, so light models the shape
of the face to give it depth and form.
Quality of Light.
Light can be sharp and specular or soft and gentle. Which
quality a given light source will display is a function of its
size in relation to the subject.
Size of the Source.Small, undiffused light sources
produce light that is crisp with well-defined shadow areas
and good rendering of texture. These sources can create
a portrait that is quite dramatic. Large light sources, on
the other hand, produce a smoother, more gentle look
3. STUDIO LIGHTING.
W
hen kids are photographed in the studio, the lighting setups
you use should be simplified for active subjects and short at-
tention spans. Elaborate lighting setups that call for precise place-
ment of backlights, for example, should be avoided in favor of a
Tim Kelly is a master of lighting and, like the great portraitists
throughout history, he creates light that seems to emanate from
within the portrait. His standard tools are large softboxes, strip
lights for hair and the background, and reflectors everywhere. This
remarkable portrait, titledTo the Nines, is a home run.STUDIO LIGHTING 27