This article appeared in the September/October 2003 issue of PT. To purchase this issue and receive this and other valuable articles in this issue, CLICK HERE: Ship within the U.S. | Ship outside the U.S.

We live in a world with one light source—the sun. It’s normal for us to see directional light that creates a specific set of highlights and shadows. But the surroundings—both natural and man-made—create additional highlights with light bouncing off buildings, or landscapes, sidewalks, etc. The sky acts as a fill light. However, when we’re in the studio, we need to create everything very carefully. It’s up to us to decide the effect or mood, as well as the direction, quality and depth of the light.

We truly only need one light, but one light alone may not fit all the requirements of the set. For example, if the subject has dark hair against a dark background, detail will be lost in the shadow areas. The classic three-light set-up consists of a main light, a hair light and a background light. Deciding where to place the lights and what ratios to use is the key to making an effective photo. The examples shown here are for a low-key set with a dark-haired woman wearing dark-colored clothes against a rich brown muslin background. The desired mood is like a Rembrandt painting—soft window light, yet with detail in the textures. The woman has a Mona Lisa smile that is subtle, friendly and evocative. This set is neither for a bright, happy look, nor for an overly dramatic one. It is just somewhat subdued and noble. Since “everything depends upon everything,” the choices of tools and ratios would change for a different mood.

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