morethree-dimensionalasthereareshadowsandtextures
suggesting depthand strength.Quiteoften usedto light
strongmaleportraits,thetechniquecanbeappliedtomost
portraitsittings,asitcanbevery flatteringbynarrowing
and shaping the face.
Whenstudying imagescapturedwith this lightingset-up
you will notice a few key features, most noticeably a
triangleoflightfound onthecheekofthesitter, onthe
opposite side to the placement of thekey light. It is a
generalrulethatthistriangleoflightshouldbe nowider
than the base of the eye and no longer than the nose.
InitiallytoachieveagoodexampleofRembrandtlighting,
you willneeda key light,most preferably an octagonal
softbox,so asto obtainlovely roundcatch lightsin the
subject’seyes.Thekeylightmustbeplacedata45-degree
angletothemaskoftheface,andinapositionhigherthan
theeyelevelofthesubject.Thephotographerideallywill
wanttoseethehighlightsateither 11 o’clockor 1 o’clock
in the eyes; if not, the key light is placed incorrectly.
Whenthecorrectplacement hasbeenachievedyoumay
wanttoaddinafilllightorreflectoratalesserpowerthan
thekeylighttosoftentheshadowsalittle.Ifrequired,the
filllightorreflectorisplacedagainat 45 degreesonthe
oppositesidetothekeylightsoastosoftenalittleofthe
harshnessorsharpnessofanyshadows;itissetathalfthe
powerratio ofthe keylight soasnot to cancelout the
desiredeffect.Thelightwillbeataslightlylowerangleto
lift any shadows under the chin.